Speaking generally, the Ch’ien Lung monochromes repeat the types in vogue in the previous reigns of the dynasty with greater or less success. Among the greens, the opaque, crackled glazes of pea, apple, sage, emerald, and camellia leaf tints described on p. 187 were a speciality of the time, and the snake-skin and cucumber tints were also made with success. There were, besides, beautiful celadon glazes of the _grand feu_, and an opaque enamel of pale bluish green _eau de nil_ tint. Underglaze copper red was used both for monochromes and painted wares, but with the exception of the liver or maroon colour the former had not the distinction of the K’ang Hsi _sang de bœuf_ or the Yung Chêng _soufflé_ red. There is a jug-shaped ewer with pointed spout in the British Museum which has a fluescent glaze of light liver red deepening into crimson, and known in Japan as _toko_. It has the Hsüan Tê mark, but I have seen exactly similar specimens with the mark of Ch’ien Lung, to which period this colour evidently belongs. On the other hand, great improvement is observable in the overglaze coral red monochrome derived from iron, whether it be the thin lustrous film of the _mo hung_ or the richly fluxed “jujube” red which attains the depth and fullness of glaze. Fig. 3, Plate 123, is a worthy example of the iron red monochrome of the period. As a thick, even and opaque colour this enamel was used in small pieces which wonderfully simulate the appearance of red cinnabar lacquer. An endless variety of blue glazes were used, the pure blue in dark and light shades, _soufflé_ or plain, the purplish blues and violets, the lavenders and _clair de lunes_. These are mainly high-fired glazes, but a favourite blue of this period is a deep purplish blue of soft, fluescent appearance and minutely crackled texture which is evidently a glaze of the _demi-grand feu_. The “temple of heaven” blue is of this nature, though of a purer and more sapphire tint. It is the colour of the ritual vessels used in the worship of heaven and of the tiles with which the temple was roofed. Another variety of this glaze has the same tint, but is harder and of a bubbly, pinholed texture, apparently a high-fired colour. The _t’ien ch’ing_ (sky blue) has already been mentioned--a lighter colour between lavender and turquoise. And among the blue enamels which were sometimes used as monochromes at this time is an opaque deep blue of intense lapis lazuli tone. Among the yellows, in addition to the transparent glazes of the older type, there are opaque enamels, including the lemon yellow with rough granular texture, the waxen[448] sulphur yellow which often displays lustrous patches, and the crackled mustard yellow.