Omitting the underglaze blue as foreign to this particular group of _famille verte_ under discussion, the colours consist of dark leaf green often of a mottled appearance, a beautiful light apple green, which is characteristic of the K’ang Hsi wares just as the blue green is of the sixteenth century polychrome, an aubergine colour (derived from manganese) which varies from purple brown to rosy purple, a yellow of varying purity and usually of brownish tone, a green black formed of the brown black pigment under washes of transparent green, a blue enamel of violet tone, and the thin iron red. The blue enamel and the red are sometimes omitted, leaving a soft harmony of green, aubergine and yellow in which green plays the chief part. A little gilding is often used to heighten parts of the design. As for the shapes of the _famille verte_ porcelain, they are substantially the same as those of the blue and white and call for no further comment. The designs, too, of the painted decoration are clearly derived from the same sources as those in the blue and white, viz. books of stock patterns, pictures, illustrations of history and romance, and of such other subjects as happened to be specially appropriate or of general interest. To take a single instance of a pictorial design, the familiar rockery and flowering plants (peony, magnolia, etc.) and a gay-plumaged pheasant lends itself to effective treatment in enamel colours. It is taken from a picture, probably Sung in origin, but there are many repetitions of it in pictorial art, one of which by the Ming painter Wang-yu is in the British Museum collection.[316] The original is said to have been painted by the Emperor Hui Tsung in the beginning of the twelfth century. Another familiar design--quails and millet--is reputed to have been painted by the same Imperial artist. A good instance of the kind of illustrated book which supplied the porcelain decorator with designs is the _Yü chih kêng chih t’u_ (Album of Ploughing and Weaving, compiled by Imperial order), which deals with the cultivation of rice and silk in some forty illustrations. It was first issued in the reign of K’ang Hsi, and there are copies of the original and of several later editions in the British Museum. A specimen of _famille rose_ porcelain in the Franks Collection is decorated with a scene from this work, and in the Andrew Burman Collection there are two _famille verte_ dishes with designs from the same source. In the Burdett Coutts Collection, again, there is a polygonal bowl with subjects on each side representing the various stages of cotton cultivation, evidently borrowed from an analogous work. [Illustration: PLATE 103 Club-shaped (_rouleau_) Vase finely painted in _famille verte_ enamels with panel designs in a ground of chrysanthemum scrolls in iron red; brocade borders. Last part of the K’ang Hsi period (1662–1722) Height 17 inches. _Salting Collection_ (_Victoria and Albert Museum_).]