Of the various types which we have enumerated, the white wares need little comment. The glaze was no doubt thick and lustrous like mutton fat jade, and though Hsiang in his Album usually describes the white of his examples as “white like driven snow,” it is worthy of note that in good imitations of the ware particular care seems to have been given to impart a distinct greenish tint to the glaze. The honours of the period appear to have been shared by the “blue and white” and red painted wares. Out of twenty examples illustrated in Hsiang’s Album, no fewer than twelve are decorated chiefly in red, either covering the whole or a large part of the surface or painted in designs, among which three fishes occur with monotonous frequency. The red in every case is called _chi hung_, and it is usually qualified by the illuminating comparison with “ape’s blood,” and in one case it is even redder than that! The expression _chi hung_ has evidently been handed down by oral traditions, for there is no sort of agreement among Chinese writers on the form of the first character. The _T’ao lu_ uses the character [chch], which means “sacrificial,” and Bushell[28] explains this “as the colour of the sacrificial cups which were employed by the Emperor in the worship of the Sun.” Hsiang uses the character [chch] which means “massed, accumulated.” And others use the character [chch] which means “sky clearing,” and is also applied to blue in the sense of the “blue of the sky after rain.” In the oft quoted list of the Yung Chêng porcelains we find the item, “Imitations of Hsüan _chi hung_ wares, including two kinds, _hsien hung_ (fresh red) and _pao shih hung_ (ruby red).” There can be little doubt that both these were shades of underglaze red derived from copper oxide, a colour with which we are quite familiar from the eighteenth century and later examples.