From this cumulative evidence it is clear that the manufacture of eggshell dishes and services with _famille rose_ enamels in the Canton style and with “ruby backs” was in full swing in the Yung Chêng period, and the general tendency to label them all Ch’ien Lung errs on the side of excessive caution. Passing from this particular group, which was affected by special influences, the general character of the Yung Chêng enamelled decoration is one of great refinement in design and execution. The over-elaboration and the overcrowding which are observable on the later Ch’ien Lung _famille rose_ are absent at this period. The tendency was on the contrary towards elegant and restrained effects, such as a flowering spray thrown artistically across the field, birds on a bough and other graceful designs which left plenty of scope for the fine quality of the white background. It is this nicely balanced decoration coupled with the delicacy of the painting and the beautiful finish of the porcelain itself, which gives the Yung Chêng enamelled wares their singular distinction and charm. There are still a few special types of painted wares to be noticed before passing to the monochromes. One of these is named in the Imperial list,[401] under the heading “Porcelain painted in ink (_ts’ai shui mo_),” a figurative expression, for Indian ink could not stand the heat even of the enamelling kiln, and could never have served as a true ceramic pigment. The material used was a dry black or brown black pigment derived from manganese, and closely allied to the pigment which had long served in a subordinate position for tracing outlines. Evidently this material was now greatly improved, and could be used for complete designs which resembled drawings in Indian ink or in sepia. It is certain, however, that the Chinese, whose methods were necessarily empirical, had first experimented with actual ink, for Père d’Entrecolles wrote in 1722[402]--“an attempt made to paint in black some vases with the finest Chinese ink met with no success. When the porcelain had been fired, it turned out white. The particles of this black had not sufficient body, and were dissipated by the action of the fire; or rather they had not the strength to penetrate the layer of glaze or to produce a colour differing from the plain glaze.” Between that date and about 1730 when the Imperial list was drawn up, the secret of the proper pigment seems to have been mastered, and we find the black designs effectively used on Yung Chêng eggshell and other wares, alone or brightened by a little gilding. Among other uses it was found to be admirably suited for copying the effect of European prints and line engravings, a _tour de force_ in which the proverbial patience and imitative skill of the Chinese are well exemplified. Another effect sometimes mistaken for black painting is produced by silvered designs which become rapidly discoloured; but it is generally