[373] i.e. porcelain services painted with European coats of arms. [374] See p. 215. [375] See p. 225, Nos. 41 and 42. [376] Cf. p. 25, where “high-flaming silver candle lighting up rosy beauty” is explained in this sense among the Ch’êng Hua designs. [377] See p. 13. [378] See p. 225, No. 45. [379] See p. 224, Nos. 19 and 20. [380] A beautiful example of a “stem-cup” in the Eumorfopoulos Collection, with three fishes on the exterior in underglaze red of brilliant quality and the Hsüan Tê mark inside the bowl, probably belongs to this class. [381] See p. 148. [382] See p. 225, No. 30. [383] See p. 224, No. 26. [384] See _Catalogue_ 300–303. “On each is a miniature group of the Seven Worthies of the Bamboo Grove with an attendant bringing a jar of wine and flowers. The porcelain is so thin that the design, with all the details of colour, can be distinctly perceived from the inside.” It is only right to say that their learned possessor has catalogued them as genuine examples of the Ch’êng Hua period. [385] See p. 224, No. 25. [386] See p. 201. [387] See p. 224, No. 27. [388] See p. 225, No. 36. [389] _T’ao shuo_, bk. i., fol. 15 verso. [390] See p. 225, No. 49. _Fo-lang_, _fa-lang_, _fu-lang_, and _fa-lan_ are used indiscriminately by the Chinese in the sense of enamels on metal. [391] In the _T’ao lu_, under the heading _Yang tz’ŭ_. It is a curious paradox that the Chinese called _famille rose_ porcelain _yang ts’ai_ (foreign colours) and the Canton enamels _yang tz’ŭ_ (foreign porcelain). See _Burlington Magazine_, December, 1912, “Note on Canton Enamels.” [392] See pp. 224–226, Nos. 29, 37, 38, 49, 51, 53, and 54. [393] Apart from the rose pinks which are derived from purple of cassius, i.e. precipitate of gold, and the opaque white derived from arsenic, the colouring agents of the _famille rose_ enamels are essentially the same as those of the _famille verte_. The colours themselves were brought to Ching-tê Chên in the form of lumps of coloured glass prepared at the Shantung glass works. These lumps were ground to a fine powder and mixed with a little white lead, and in some cases with sand (apparently potash was also used in some cases to modify the tones), and the powder was worked up for the painter’s use with turpentine, weak glue, or even with water. Cobaltiferous ore of manganese, oxide of copper, iron peroxide, and antimony were still the main colouring agents. The first produced the various shades of blue, violet, purple, and black; the second, the various greens; the third, coral or brick red; and the fourth, yellow of various shades. A little iron in the yellow gave the colour an orange tone.