Owing to the tremendous difficulty of firing these huge vessels the order for their supply in the reign of Shun Chih was eventually cancelled, and no attempt was made to resume their manufacture until T’ang’s directorate. The usual fish bowl of the K’ang Hsi period is a much smaller object, measuring about 20 in. (English) in diameter by 1 ft. in height; but from the note appended to Hsieh Min’s list in the _Chiang hsi t’ung chih_ on the Imperial _ta kang_, it appears that already (about 1730) the manufacture had been resumed on the old scale,[447] for the dimensions of those described are given as from 3 ft. 4 or 5 in. to 4 ft. in diameter at the mouth, and from 1 ft. 7 or 8 in. to 2 ft. in height. An example of intermediate size is given on Plate 133, one of a pair in the Burdett-Coutts Collection measuring 26½ in. in diameter by 20 in. in height. It remains to notice two glaze colours to which T’ang Ying appears to have paid special attention: the _fei ts’ui_ (turquoise) and the _mei kuei_ (rose colour). The former has already been dealt with in connection with Ming, K’ang Hsi, and Yung Chêng porcelain, and it is only necessary to add that it occurs in singularly beautiful quality on the Ch’ien Lung porcelains, often on vases of antique bronze form, but fashioned with the unmistakable “slickness” of the Ch’ien Lung imitations. Occasionally this glaze covers a body of reddish colour due to admixture of some coarser clay, which seems to have assisted the development of the colour, and it is worthy of note that there are modern imitations on an earthen body made at the tile works near Peking which, thanks to the fine quality of their colour, are liable to be passed off as old. I have noticed that Ch’ien Lung monochrome vases--especially those which have colours of the _demi-grand feu_ like the turquoise--are often unglazed under the base. The foot is very deeply cut, and the biscuit is bare or skinned over with a mere film of vitreous matter, which seems to be an accidental deposit. The _mei kuei_ is the colour of the red rose (_mei kuei hua_), and it is obviously to be identified with the rose carmines derived from gold which were discussed in the last chapter. These tints are found in considerable variety in the early Ch’ien Lung porcelains, from deep crimson and scarlet or rouge red to pale pink, and they are used as monochromes, ground colours, and in painted decoration. A superb example of their use as ground colour was illustrated on the border of Plate 120, which is probably a Yung Chêng piece. Among the gold red monochromes of the the Ch’ien Lung period one of the most striking is a dark ruby pink with uneven surface of the “orange peel” type. Mr. S. E. Kennedy has a remarkable series of these monochromes in his collection.