and stand out on the porcelain like a rich incrustation, and they are laid on not in broad washes, but with careful brush strokes and miniature-like touches. The _famille rose_ colours are known to the Chinese as _juan ts’ai_ (“soft colours,” as opposed to the _ying ts’ai_, or hard colours of the _famille verte_), _fên ts’ai_ (pale colours), or _yang ts’ai_ (foreign colours). Their foreign origin is generally admitted, and T’ang Ying in the seventeenth of his descriptions of the processes of manufacture alludes to them under the heading, “Decorating the round ware and vases with foreign colouring.”[389] Painting the white porcelain in polychrome (_wu ts’ai_) after the manner of the Europeans (_hsi yang_), he tells us, is called foreign colouring, and he adds that the colours employed are the same as those used for enamels on metal (_fo lang_). Taking this statement with the note on “foreign coloured wares” in the Imperial list,[390] where reference is made to painting on enamels (_fa lang_) “landscapes and figure scenes, flowering plants and birds,” it is evident that _fa lang_ is used here not in the usual sense of cloisonné enamel, but for the painted enamels on copper which we distinguish as Canton enamels. These, we are told elsewhere,[391] were first made in the kingdom of Ku-li, which is washed by the Western sea. Ku-li is identified as Calicut, but it does not necessarily follow that the Chinese associated the origin of the painted enamels with India. The expression was probably used quite vaguely in reference to European goods which came by way of India, and does not really conflict with the other phrase, _hsi yang_ (Western foreigners), which is always rendered “Europeans.” There is quite a number of references to the foreign or European colours in the Imperial list,[392] e.g. “porcelain in yellow after the European style,” which Bushell considers to be the lemon yellow which originated in this reign; “porcelain in purple brown (_tzŭ_) after the European style”; “European red-coloured wares,” i.e. rose pink; “European green-coloured wares,” which Bushell explains as pale bluish green or _eau de nil_ enamel; and “European black (_wu chin_) wares.” In fact the words, “foreign or European,” seem to be practically synonymous with “opaque enamel.”[393]