Elaborately moulded and pierced ornament coloured in _famille rose_ enamels often appears on the table ware of this period, a familiar example being the lotus services in which the motive of the pink lotus flower is expressed partly by moulding and partly by painting, the tendrils and buds being utilised for feet and handles; and there are elegant _famille rose_ teapots which have outer casings with panels of prunus, bamboo and pine carved in openwork in the style of the Yi-hsing pottery. Gilding was, of course, freely employed, and, to a lesser extent, silvering. Elaborate gilt patterns are found covering dark blue, powder blue, lustrous black, bronze green, pale celadon, and iron red monochrome grounds; and the finer enamelled vases and bowls are often finished off with gilt edging, which does not seem to have been much used before this period, though traces of gilding are sometimes seen on the lustrous brown edges of the older plates and bowls. The manual dexterity of the Ch’ien Lung potters is shown in openwork carving and pierced designs on lanterns, perfume boxes, insect cages, spill vases, etc., but more especially on the amazing vases with free-working belts, revolving necks, or decorated inner linings which can be turned round behind a pierced outer casing, chains with movable links, and similar _tours de force_. There are, beside, two types of ornament dating from this period which demand no little manual skill. These are the lacework and rice grain. In the former the design is deeply incised in the body and the whole covered with a pale celadon green glaze, and it is usually applied to small vases and tazza-shaped cups, the pattern consisting of close and intricate Ch’ien Lung scrollwork. The resultant effect is of a very delicate green lace pattern, which appears as a partial transparency when held to the light (Plate 128, Fig. 2). The rice-grain ornament carries the same idea a step farther, for the incised pattern is cut right through the body, leaving small perforations to be filled up by the transparent glaze. Only small incisions could be made, and these generally took the lenticular form which the French have likened to grains of rice (Plate 128, Fig. 1). The patterns made in this fashion are naturally limited. Star-shaped designs or flowers with radiating petals are the commonest, though occasionally the transparencies are made to conform to the lines of painted decoration and even of dragon patterns. Both ordinary and steatitic porcelain are used for this treatment; and the ware is either plain white or embellished with underglaze blue borders and designs, and occasionally with enamels. The effect is light and graceful, especially when transmitted light gives proper play to the transparencies.