In addition to the copies of the high-fired Chün glazes, there was the “Chün glaze of the muffle kiln” (_lu chün yu_) which is described as something between the glaze applied to the Yi-hsing stoneware and the Kuangtung glazes. The items immediately following this information in the Imperial list[409] make it clear that the writer refers to the glazes of Ou on the Yi-hsing pottery, and to the blue mottled glazes of the Canton stoneware. The enamel which most closely answers to the description of this Chün glaze of the muffle kiln[410] is that illustrated in Fig. 4 of Plate 128, a vase with dark-coloured foot rim, and an opaque greenish blue enamel flecked with dark ruby pink. This enamel varies considerably in appearance according to the preponderance of the red or the blue in the combination; but it is an enamel of the muffle kiln and its markings recall the dappled Chün glazes. I have, moreover, seen this glaze actually applied to a teapot of Yi-hsing red stoneware. This glaze seems to belong to a type, which was largely developed in the Ch’ien Lung period, of glazes resembling if not actually imitating the mottled surface of certain birds’ eggs, e.g. the robin, the lark, the sparrow, etc. In these instances one colour seems to have been powdered or blown on to another, the commonest kind having a powdering of ruby pink on pale blue or green. This glaze differs from the Chün glaze, described above, only in the size of the pink specks. It was probably in experimenting for the effect of the _flambé_ Chün glazes that T’ang Ying acquired the mastery of the furnace transmutations (_yao pien_) which made it possible for him and his successors to produce at will the variegated glazes. These had been described by Père d’Entrecolles a few years earlier as accidental effects in his time, but the French father already foresaw the day when they would be brought under control. Of the celebrated Ting Chou wares only the fine ivory white Ting (_fên ting_) was copied at the Imperial factory; but this does not preclude the reproduction of the other kind, the creamy crackled _t’u-ting_, in the other potteries. There are, at any rate, many lovely porcelains in both styles which appear to belong to the Yung Chêng and early Ch’ien Lung periods. Coloured glazes with crackle and crackled grey-white of the Ko type were made in great quantity, and most of the choicer crackles in our collections, especially those of antique appearance but on a white and neatly finished porcelain body, date from this time.