The use of enamels over the glaze was greatly extended in the Wan Li period, though practically all the types in vogue at this time can be paralleled in the Chia Ching porcelain, and, indeed, have been discussed under that heading. There is the red family in which the dominant colour is an iron red, either of curiously sticky appearance and dark coral tint or with the surface dissolved in a lustrous iridescence. Yellow, usually a dark impure colour, though sometimes washed on extremely thin and consequently light and transparent, and transparent greens, which vary from leaf tint to emerald and bluish greens, occur in insignificant quantity. This red family is well illustrated by a splendid covered jar in the Salting Collection (Plate 80), and by three marked specimens in the British Museum, an ink screen, a bowl, and a circular stand. It also occurs on another significant piece in the latter collection, a dish admirably copying the Ming style but marked _Shên tê t’ang po ku chih_[201] (antique made for the Shên-tê Hall), a palace mark of the Tao Kuang period (1821–1850). It should be added that this colour scheme[202] is frequently seen on the coarsely made and roughly decorated jars and dishes with designs of lions in peony scrolls, etc., no doubt made in large quantities for export to India and Persia. They are not uncommon to-day, and in spite of their obvious lack of finish they possess certain decorative qualities, due chiefly to the mellow red, which are not to be despised.