Naturally the value of the specimens varies widely with the beauty of the colour. The pinker shades approach within measurable distance of the pink of the peach bloom, and they are often classed with the latter by their proud owners; but the colour is usually uniform, and lacks the bursts of russet brown and green which variegate the true peach bloom, and the basis of the maroon is a pure white glaze without the celadon tints which seem to underlie the peach bloom. It may be added that the maroon red glaze is usually uncrackled. As to the overglaze red, which is known by the names of _mo hung_ (painted red) and _ts’ai hung_ (enamel red), it is the colour derived from iron, and it was used both as one of the enamels of the _famille verte_ palette and as a monochrome. In both capacities it figured on Ming porcelain, and was fully discussed in that connection. On K’ang Hsi wares it varied in tone from dark brick red to a light orange, according to the density of the pigment, and in texture from a thin dry film to a lustrous enamel, according to the quantity of fluxing material[328] combined with it. Among the richly fluxed varieties is a fine tomato colour of light, translucent tone. Sometimes the iron red is found as sole medium for painted designs, as on a rouleau vase in the Salting collection, but more commonly it serves as a ground colour between panels of enamelled ornament (Plate 103), or in border passages. In these last two positions it is usually of a light orange shade, and broken by floral scrolls reserved in white. A dark shade of the same pigment is also used in diapers of curled scrolls, forming a groundwork for enamelled decoration. There are besides beautiful examples of a pure red monochrome formed of this colour, but I have only met with these among the later wares. * * * * * The blue monochromes include a large number of glazes varying in depth and shade with the quality and quantity of the cobalt which is mingled with the glazing material. These are _chiao ch’ing_ (blue monochrome glazes), and they are all high-fired colours. They include the _chi ch’ing_[329] or deep sky blue, whose darker shades are also named _ta ch’ing_ (_gros bleu_), the slaty blue, the pale clear blue,[330] the dark and light lavender shades, and the faintly tinted _clair de lune_ or “moon white” (_yüeh pai_), in which the amount of cobalt used must have been infinitesimal. But it would be useless to attempt to catalogue the innumerable shades of blue, which must have varied with every fresh mixture of colour and glaze and every fresh firing.