Bushell[470] describes as a speciality of the Chia Ch’ing period, vases with elaborate scrollwork of various kinds in underglaze blue enhanced by a richly gilded background; and the mark of this reign will be found on many of the choicer snuff bottles, including those sumptuous little vessels with richly carved and pierced outer casing as finely tooled as Su Chou or Peking lacquer. We have already seen that rice-grain decoration was effectively used at this time, and no doubt many specimens of the kindred “lacework” were also made. In fact in a general classification of Chinese porcelain it would be almost superfluous to separate the Chia Ch’ing from the Ch’ien Lung groups. _Tao Kuang_ [chch 2] (1821–1850) The reign of Tao Kuang is the last period of which collectors of Chinese ceramics take any account. It is true that the general deterioration which was already remarked in the previous reign became more and more conspicuous towards the middle of the nineteenth century. It seemed as though the wells of inspiration in China had dried up and the bankrupt arts continued to exist only by virtue of their past. Curiously enough the same wave of decadence was felt all the world over at this period, and if we compare the porcelain of Tao Kuang with the contemporary English and Continental productions we must confess that the decadence of China was Augustan beside the early Victorian art. The Tao Kuang porcelain in the main is saved from utter banality by the high traditions on which it was grounded and by the innate skill of the Chinese potters. Indeed there are not a few out of the numerous specimens of this period in our collections which have a certain individuality and distinction entitling them to a place beside the eighteenth-century wares. But, speaking generally, the porcelain is a weak edition of the Yung Chêng types. The forms are correct but mechanical, the monochromes are mere understudies of the fine old colours, and the enamels are of exaggerated softness and weak in general effect. There are numerous marked specimens of all varieties in the Franks Collection. These include a blue and white vase with bronze designs of ogre heads, etc., in the K’ang Hsi style, but painted in pale, lifeless grey blue, and a bowl with lotus designs and symbols surrounding four medallions with the characters _shan kao shui ch’ang_[471] neatly painted in the same weak blue and signed by Wen Lang-shan in the year 1847. Among the monochromes is a dignified vase of bronze form with deep turquoise glaze dated 1844, besides coffee brown bowls, full yellow bowls, vases with curiously bubbled glaze of dark liver red, and a coral red jar and cover. There is also a large bowl with “tiger skin” glaze patched with yellow, green, aubergine and white. All of these pieces are lacking in quality and distinction, though I have seen far superior specimens of lemon yellow monochrome and tea dust glaze.