Among the favourite designs[31] expressed in the Hsüan Tê red were three fishes, three fruits,[32] three funguses, and the character _fu_ (happiness) repeated five times.[33] All these are mentioned among the Yung Chêng imitations. A good idea of the fish design is given by a cylindrical vase in the Franks Collection, which is plain except for two fishes in underglaze red of good colour, and rising in slight relief in the glaze. The glaze itself is of that faint celadon green which was apparently regarded as a necessary feature of the Hsüan Tê copies, and which incidentally seems to be favourable to the development of the copper red. The _sang de bœuf_ red of the last dynasty is avowedly a revival of the Hsüan Tê red in its use as a glaze colour. Indeed, certain varieties of the _sang de bœuf_ class are still distinguished as _chi hung_. The large bowls, “red as the sun and white at the mouth rim,” as mentioned in the _Po wu yao lan_, have a counterpart in the large bowl of the last dynasty with _sang de bœuf_ glaze, which, flowing downwards, usually left a colourless white band at the mouth. The Hsüan Tê period extended only to ten years, and specimens of Hsüan red are excessively rare to-day, even in China. It is doubtful if a genuine specimen exists outside the Middle Kingdom, but with the help of the old Chinese descriptions and the clever imitations of a later date,[34] there is no difficulty in imagining the vivid splendours of the “precious stone red” of this brilliant period.