Père d’Entrecolles, writing in 1722, alludes to the K’ang Hsi celadon in the following terms[343]:--“I was shown this year for the first time a kind of porcelain which is now in fashion; its colour verges on olive and they call it _long tsiven_. I saw some which was called _tsim ko_ (_ch’ing kuo_), the name of a fruit which closely resembles the olive.” The _long tsiven_ is clearly a transliteration of the characters which we write _Lung-ch’üan_, the generic name of the old celadons; but it is odd that Père d’Entrecolles should not have seen copies of this glaze before 1722, for its use must have been continuous at Ching-tê Chên from very early times, and we have found reference to it in various periods of the Ming dynasty. It is evident, however, that the colour was enjoying a fresh burst of popularity just at this time. D’Entrecolles gives a few further notes which concern its composition. His recipe is substantially the same as that given in Chinese works, viz. a mixture of ferruginous earth, which would contribute a percentage of iron oxide, with the ordinary glaze.[344] He also states that _sui yu_ (crackle glaze) was added if a crackled surface was required, and there are numerous examples of this kind of ware to be seen. The most familiar are the vases with crackled celadon or grey green glaze interrupted by bands of biscuit carved with formal patterns and stained to an iron colour with a dressing of ferruginous earth. Monster heads with rings (loose or otherwise) serve as twin handles on these vases, which are designed after bronze models. These crackled celadons are evidently fashioned after an old model, but they have been largely imitated in modern times, and almost every pawnbroker’s window displays a set of execrable copies (often further decorated in underglaze blue) which are invariably furnished with the Ch’êng Hua mark incised on a square brown panel under the base. The yellow monochromes of the K’ang Hsi period are mostly descendants of the Ming yellows. There is the pale yellow applied over a white glaze reproducing the yellow of “husked chestnuts,” for which the Hung Chih (q.v.) porcelains were celebrated; and there is a fuller yellow, usually of browner shade, applied direct to the biscuit. Yellow is one of the Imperial colours, the usual tint being a full deep colour like the yolk of a hen’s egg, and the Imperial wares are commonly distinguished by five-clawed dragons engraved under the glaze. Other glazes[345] used on the services made for the Emperor are the purplish brown (aubergine) and the bright green of camelia leaf tint, which with the yellow make up the _san ts’ai_ or three colours. In fact the precise shades of these colours are those used on finer types of three-colour porcelain[346] with transparent glazes fired in the temperate part of the great kiln. All these glazes tend to become iridescent with age.