Signatures and seals of the artist usually attached to a stanza of verse, or a few phrases which allude to the subject, are often found in the field of the pictorial designs. Fig. 1 of Plate 102, for instance, belongs to a series of beautiful dishes in the Dresden collection, which display the same seal--apparently[317] _wan shih chü_ (myriad rocks retreat), the studio name not, I think, of the porcelain painter but of the artist whose picture was copied on the porcelain. There are numerous examples of similar seals in the field of the design, and we shall return to the subject later in a place where important issues turn on the solution of the problem which it raises.[318] The types of _famille verte_ porcelain are extremely numerous, almost as varied as those of the blue and white (p. 136). Like the latter they include much that was obviously made for European consumption, and most of the groups which were singled out from the mass of blue and white for special description can be paralleled in the _famille verte_. The thin, crisp, moulded ware with petal-shaped panels and lobed borders, the group with the “G” mark, and many other types are found with the same peculiarities of paste and glaze, and even the same design painted in on-glaze enamels. As in the case of the blue and white, the quality of this export ware varies widely, and the individual specimens will be judged by the drawing of the designs and the purity and fire of the enamels. A few of the more striking types are illustrated on Plates 103 and 104. Perhaps the most sumptuous effects of this colour scheme are displayed in the vases decorated with panel designs surrounded by rich diapers borrowed from silk brocades. A favourite brocade pattern consists of single blossoms or floral sprays woven into a ground of transparent green covering a powder of small brown dots. This dotted green ground is commonly known as “frog’s spawn,” and another diaper of small circles under a similar green enamel is easily recognised under the name of “fish roe.” But the variety of these ground patterns is great, and in spite of their prosaic nomenclature they render in a singularly effective manner the soft splendour of the Chinese brocades.