But though innocent of colour the white porcelain was rarely without decoration. The finest Imperial services were usually delicately etched under the glaze with scarcely visible dragon designs. Other kinds have the ornament strongly cut, such as the eggshell cups and saucers with patterns of hibiscus, lotus, or chrysanthemum petals firmly outlined, or the vases with full-bodied designs in low relief obtained by carving away the ground surrounding the pattern.[361] Others have faint traceries or thickly painted patterns in white slip, in steatite,[362] or in fibrous gypsum under the glaze. A fuller relief was obtained by pressing in deeply cut moulds or by applying strips and shavings of the body clay, and working them into designs with a wet brush after the manner of the modern _pâte sur pâte_. There are still higher reliefs in K’ang Hsi porcelain, figures, and symbolical ornaments, formed separately in moulds and “luted” on to the ware with liquid clay, but these generally appeared on the enamelled wares, and are themselves coloured. The applied reliefs on the white wares are usually in unglazed biscuit, and there are, besides, pierced and channelled patterns, but these processes have been fully described among the late Ming wares,[363] and nothing further need be said of them, except that they were employed with supreme skill and refinement by the K’ang Hsi potters. Père d’Entrecolles[364] alludes to these perforated wares in the following passage:--“They make here (i.e. at Ching-tê Chên) another kind of porcelain which I have never yet seen. It is all pierced _à jour_ like fretwork, and inside is a cup to hold the liquid. The cup and the fretwork are all in one piece.” Wares of various kinds with solid inner lining and pierced outer casing are not uncommon in Chinese porcelain and pottery. Sometimes, however, the cups are completed without the inner shell, like Fig. 2, of Plate 78, which could be fitted with a silver lining if required to hold liquid. Objects entirely biscuit are exceptional. There are, however, two small Buddhistic figures, and two lions of this class in the British Museum, and curiously enough both are stamped with potter’s marks, which is itself a rare occurrence on porcelain. The former bear the name of Chang Ming-kao and the latter of Ch’ên Mu-chih (see vol. i., page 223). Bushell[365] tells us that the Chinese call biscuit porcelain _fan tz’ŭ_ (turned porcelain), a quaint conception which implies that the ware is turned inside out, as though the glaze were inside, and the body out; and this illusion is occasionally kept up by applying a touch of glaze inside the mouth of the unglazed vessel.