In addition to the foreign colours which were capable of being used as monochromes as well as in painted designs, there are a few other new glazes named in the Imperial list. The _fa ch’ing_ (cloisonné blue) which “resulted from recent experiments to match” the deep blue of the enamellers on copper, is identified by Bushell with the dark sapphire blue known as _pao shih lan_ (precious stone blue). It was, we are told, darker and bluer than the purplish _chi ch’ing_, and it had not the orange peel and palm eye markings of the latter. It has, however, a faint crackle, and is apparently a glaze of the _demi-grand feu_. We learn elsewhere that this cloisonné blue was one of T’ang-ying’s inventions. Among the yellows are “porcelain with yellow after the European style” which is identified by Bushell with the opaque lemon yellow enamel introduced at this time, and there are two kinds of _mi sê_ (millet colour) glazes,[414] pale and dark, which we are told “differed from the Sung _mi sê_.” Bushell’s explanation of the term _mi sê_ given in Monkhouse’s _Chinese Porcelain_,[415] traverses his rendering of the terms as rice colour in other books: “The Chinese term used here is _mi sê_, which Julien first translated _couleur du riz_, and thereby misled us all. It really refers to the colour (_sê_) of the yellow millet (_huang mi_), not of rice (_pai mi_). _Mi sê_ in Chinese silks is a full primrose yellow; in Chinese ceramic glazes it often deepens from that tint to a dull mustard colour when the materials are less pure. It has often been wondered why the old “mustard crackle” of collectors is apparently never alluded to in “L’Histoire des Porcelaines de King-tê-chin.” It is necessary to substitute yellow for “rice coloured” in the text generally, remembering always that a paler tone is indicated than that of the Imperial yellow, which Mr. Monkhouse justly likens to the yolk of an egg.” In Giles’s Dictionary _mi sê_ is rendered “straw colour, the colour of yellow millet,” and all my inquiries among Chinese collectors as to the tint of the _mi sê_ glaze have led to the same conclusion. One of the Chinese experts indicated a bowl with pale straw yellow glaze of the K’ang Hsi period as an example of _mi sê_, and this I take to be the _mi sê_ which “differed from the Sung colour,” being, in fact, an ordinary yellow glaze, following the type made in the Ming dynasty, and entirely different in technique from the Sung glazes. [Illustration: PLATE 120 Covered Jar or _potiche_ painted in _famille rose_ or “foreign colours” (_yang ts’ai_) with baskets of flowers: deep borders of ruby red enamel broken by small panels and floral designs. On the cover is a lion coloured with enamels on the biscuit. From a set of five vases and beakers in the collection of Lady Wantage. Late Yung Chêng period (1723–1735) Height 34 inches.]