Fig. 2.--Blue and white Vase with fungus (_ling chih_) designs in Hsüan Tê style. Height 7½ inches. _Cologne Museum._] [Illustration: Plate 117.--Yung Chêng Porcelain. Fig. 1.--Vase with prunus design in underglaze red and blue. Height 15 inches. _C. H. Read Collection._ Fig. 2.--Imperial Vase with phœnix and peony design in pale _famille verte_ enamels over underglaze blue outlines. Height 25⅝ inches. _V. & A. Museum._] [Illustration: Plate 118.--Early Eighteenth Century Enamels. Fig.1--Plate painted at Canton in _famille rose_ enamels (_yang ts’ai_, “foreign colouring”). Yung Chêng period. Diameter 21½ inches. _S. E. Kennedy Collection._ Fig. 2.--Arrow Stand, painted in late _famille verte_ enamels. About 1720. Height 19¼ inches. _V. & A. Museum._] [Illustration: Plate 119.--Yung Chêng Porcelain, painted at Canton with _famille rose_ enamels. _British Museum._ Fig. 1.--“Seven border” Plate. Diameter 8¼ inches. Fig. 2.--Eggshell Cup and Saucer with painter’s marks (see p. 212). Diameter of saucer, 4½ inches. Fig. 3.--Eggshell Plate with vine border. Diameter 8¼ inches. Fig. 4.--Armorial Plate with arms of Leake Okeover. Transition enamels, about 1723. Diameter 8⅞ inches.] Thirdly, there are the reproductions of the enamelled porcelain of the Chêng Tê and Wan Li periods[385] (q.v.), characterised, no doubt, by the combination of underglaze blue and overglaze enamels. We have already seen[386] from the note on Nien yao in the _T’ao lu_ that this combination was conspicuous at this period, and it is probable that much of the “five colour” porcelain in late Ming style should be dated no further back than the Yung Chêng revival. Other types of Ming coloured wares reproduced at this time were “porcelain with ornament in Hsüan Tê style in a yellow ground,”[387] which seems to mean underglaze blue designs with the ground filled in with yellow enamel--a not unfamiliar type--and porcelain with designs painted in iron red (_ts’ai hung_) “reproduced from old pieces.”[388] But the most prominent feature of the enamelled porcelains of this time is the rapid development of the _famille rose_ colours. We have already noted the first signs of their coming in the thick rose pink and opaque white, which made their appearance in the latter years of K’ang Hsi. The group derives its name from its most conspicuous members, a series of rose pinks graduating from pale rose to deep crimson, all derived from gold, the use of which as a colouring agent for vitreous enamel was only at this period mastered by the Chinese potters. It includes besides a number of other colours distinguished from those of the _famille verte_ palette by their relative opacity. They display, moreover, a far wider range of tints, owing to scientific blending of the various enamels and to the judicious use of the opaque white to modify the positive colours. Most of the opaque colours have considerable body,