Among the opaque enamels a few shades of blue are similarly used, while the others, as already mentioned, form plain or engraved backgrounds for floral reserves and panel decoration as on Fig. 2 of Plate 125, and on the Peking bowls. The latter are so named not because they were made at Peking, but because the specimens acquired by Western collectors have been chiefly obtained from that source. Many of them have the Ch’ien Lung mark, and their ground colours comprise a variety of pinks, yellow, green, French grey, dark blue, slaty blue, amaranth, lavender, bluish green,[454] delicate greenish white and coral red. The medallions on the bowls--usually four in number--are commonly decorated with growing flowers, such as the flowers of the four seasons in polychrome enamels, while others have figure subjects, frequently European figures in landscape setting and with Chinese attributes, such as a _ju-i_ or _ling-chih_ fungus. The finish of these bowls is extremely fine, and they are well worthy of the Imperial use to which they were mostly destined. The mention of a delicate greenish white enamel on these medallion bowls reminds us that this colour is used with exquisite effect for borders of floral design, or even for the main decoration of tea and coffee wares; and there is a little plate in the British Museum with Ch’ien Lung mark on which it appears with a peculiar chilled or shrivelled surface as a background for painted designs in iron red. There is a large class of enamelled porcelain, doubtless made chiefly for export, which found its way into our country houses in the last half of the eighteenth century. It is painted with panels of figure subjects in which rose pink and iron red are uncompromisingly blended, and the space surrounding the panels is filled with composite designs of blue and white with passages of pink scale diaper or feathery gilt scrolls broken by small vignettes in which a bird on a bough, insects, growing plants or fragments of landscape are painted in _camaieu_ pink, red or sepia. In some cases the panels are framed with low, moulded reliefs, which extend into the border spaces, and the groundwork in these parts is powdered with tiny raised dots. The wares include large punch bowls, bottle-shaped ewers with their basins, and sets of five vases, two of which are beakers and three covered jars with lion knobs, ovoid or square, and sometimes of eggshell thinness. Others again have their panels enclosed by wreaths of flowers and foliage or “rat and vine pattern” in full relief, and many of them have a glaze of lumpy, “orange peel” texture. The name “Mandarin” has been given to these wares because the central figure subjects usually contain personages in official dress; and the large punch bowls brought back by the tea-merchants are included in this group, though the mandarin figures in the panels are in this case often replaced by European subjects.