Marked examples of Wan Li monochromes are rarely seen, but we may assume that the glazes in use in the previous reigns continued to be made--blue, lavender, turquoise, violet and aubergine brown, yellow in various shades, leaf green, emerald green, apple green, celadon, coffee brown, and golden brown--besides the more or less accidental effects in the mottled and _flambé_ glazes. The plain white bowls of the period had a high reputation,[208] and a good specimen in the British Museum, though far from equalling the Yung Lo bowl (Plate 59), is nevertheless a thing of beauty. The white wares of the Ting type made at this time have been already discussed.[209] The monochrome surfaces were not infrequently relieved by carved or etched designs under the glaze, but it must be confessed that monochromes are exceedingly difficult to date. Particular colours and particular processes continued in use for long periods, and the distinctions between the productions of one reign and the next, or even between those of the late Ming and the early Ch’ing dynasties, are often almost unseizable. At best these differences consist in minute peculiarities of form and potting, in the texture of the body and glaze, and the finish of the base, which are only learnt by close study of actual specimens and by training the eye to the general character of the wares until the perception of the Ming style becomes instinctive. But something further will be said on this subject in the chapter on Ming technique. [Illustration: PLATE 81 Beaker-shaped Vase of bronze form, with dragon and phœnix designs painted in underglaze blue, and red, green and yellow enamels: background of fairy flowers (_pao hsiang hua_) and borders of “rock and wave” pattern. Mark of the Wan Li period (1573–1619) in six characters on the neck. An Imperial piece. Carved wood stand with cloud pattern. Height 18½ inches. _British Museum._] THE LAST OF THE MINGS _T’ai Ch’ang_ [chch 2] (1620) _T’ien Ch’i_ [chch 2] (1621–1627) _Ch’ung Chêng_ [chch 2] (1628–1643)