Another Ming monochrome freely used in the K’ang Hsi period is the lustrous brown (_tzŭ chin_), formed like the celadon by mixing ferruginous earth called _tzŭ chin shih_ with the ordinary glaze. Presumably the quantity of this material was greater in the brown glaze than in the celadon. Père d’Entrecolles describes this glaze in its diverse shades of bronze, coffee and dead-leaf brown, but he makes the curious error of proclaiming it a new invention in 1722.[350] He also refers to its use on the exterior of white cups and as a ground colour in which white panels were reserved. “On a cup or vase,” he tells us, “which one wished to glaze with brown, a round or square of damped paper was applied in one or two places; after the glaze had been laid on, the paper was peeled off, and the unglazed space was painted in red or blue. This dry, the usual glaze was applied to the reserve by blowing or by some other method. Some of the potters fill the blank spaces with a ground of blue or black, with a view to adding gilt designs after the first firing.” There were other methods of decorating these panels, and perhaps the most familiar is that in which the early _famille rose_ enamels were employed. This combination of brown ground with panels of floral designs in thick opaque rose red, yellow, white and green was a favourite with the Dutch exporters. In fact this ware is still called Batavian, the old catalogue name derived from the Dutch East Indian settlement of Batavia, which was an entrepot for far-Eastern merchandise. The date of the Batavian porcelain is clearly indicated by the transition enamels as late K’ang Hsi. The _tzŭ chin_ brown was used as a monochrome in all its various shades from dark coffee colour to pale golden brown, and the lighter and more transparent shades were sometimes laid over engraved decoration. In the British Museum there are two candlesticks, the stems of which with dragon designs in full relief are in an intensely dark _tzŭ chin_ glaze, so dark, indeed, that the tops have been exactly matched in the deep brown ware made by Böttger of Dresden about 1710, the latter polished on the lathe to simulate the lustrous surface of the Chinese glaze. In the same collection are two saucer dishes of dark _tzŭ chin_ glaze of fine quality painted with slight floral designs in silver.[351] This kind of decoration must have been singularly effective in its original state, but the silver does not stand the test of time, and though it still firmly adheres its surface has turned black. An unusual effect is seen on a vase in the Peters collection which has a lustrous coffee brown glaze passing into olive and clouded with black; and a very rare specimen in the same collection has a “leopard skin” glaze of translucent olive brown with large mottling of opaque coffee brown. The latter piece bears the Wan Li mark.