Apart from the numerous instances in which early Ming marks[530] have been indiscriminately added to later wares, the careful copies and imitations of true Ming types are comparatively few. Among the imitative triumphs of the Yung Chêng potters a few specialties are named, such as blue and white of the Hsüan Tê and the Chia Ching periods, and the enamelled decoration of the Ch’êng Hua and Wan Li, but reference has already been made to these in their respective chapters. The modern Chinese potters make indifferent reproductions of Ming types; and the most dangerous are those of the Japanese, who from the eighteenth century onward seem to have taken the sixteenth century Chinese porcelains as their model. The Chia Ching and Wan Li marks are common on these reproductions, which often catch the tone and spirit of the Ming ware with disquieting exactitude. A well-trained eye and a knowledge of the peculiarities of Japanese workmanship are the only protection against this type of imitation. The high esteem in which the K’ang Hsi porcelains are now held has naturally invited imitation and fraud. The ordinary modern specimen with a spurious K’ang Hsi mark is, as a rule, feeble and harmless, and even the better class of Chinese and Japanese imitations of the blue and white and enamelled porcelains of this period are, as a rule, so wide of the mark as to deceive only the inexperienced. Many frauds, however, have been perpetrated with French copies of _famille verte_, of _famille rose_ “ruby-back” dishes, and of vases with armorial decoration. These are cleverly made, but the expert will see at once that the colours and the drawing lack the true Oriental quality, and that the ware itself is too white and cold. Clever copies of Oriental porcelain, especially of the _famille rose_, have also been made at Herend, in Hungary. But perhaps the most dangerous Continental copies are some of the French-made monochromes of dark blue and lavender colours, with or without crackle, fitted with ormolu mounts in eighteenth century style, which conceal the tell-tale base. Monochromes are, as a rule, the most difficult porcelains to date, and the well-made modern Chinese and Japanese _sang de bœuf_, apple green, and peach bloom are liable to cause trouble, especially when the surface has been carefully rubbed and given the appearance of wear and usage. The expert looks to the truth of the form, the finish of the base, and the character of the clay exposed at the foot rim, and judges if in these points the piece comes up to the proper standard.