Another name which has been used to include many of these variegated glazes is _Yao-pien_ or ‘furnace-transmutation.’ This last word very well expresses the process by which the colour is developed, but it must be remembered that this is not exactly the meaning that the word _yao-pien_ conveys to the Chinese mind.[94] With this term the happy accidents of the furnace were linked by the Père D’Entrecolles: he tells us that it was proposed to make a sacrificial red, but that the vase came from the furnace like a kind of agate. Dr. Bushell thinks that most of the fine pieces of this ware date from the time of Yung-cheng and Kien-lung (1722-1795), and he is of opinion that they were prepared by a _soufflé_ process rather than by any ‘academic transformation’ of a copper-red glaze. ‘The piece,’ he says, ‘coated with a greyish crackle glaze or with a ferruginous enamel of yellowish-brown tone, has the transmutation glaze applied at the same time as a kind of overcoat. It is put on with the brush in various ways, in thick dashes not completely covering the surface of the piece, or flecked as with the point of the brush in a rain of drops. The piece is finally fired in a reducing atmosphere, and the air, let in at the critical moment when the materials are fully fused, imparts atoms of oxygen to the copper and speckles the red base with points of green and turquoise blue’ (_Oriental Ceramic Art_, pp. 516-17). Some practical experiments lately made in France would tend to show that the critical moment should be placed a little earlier, _before_ the glaze is completely fused, for after that point is reached the surrounding atmosphere has little influence upon the metallic oxides in the glaze. It is to this capricious action of the furnace gases that are due those wonderful effects that may be observed in looking _into_ these glazes, curdled masses of strange shapes and varying colour suspended in a more or less transparent medium, and assuming at times those textures resembling animal tissues which are graphically described by the Chinese as pig’s liver or mule’s lungs. It must be understood that into many of the more modern and _apprêtés_ specimens of _flambé_ ware the sources of the violent contrasts of colour are found not only in the oxides of copper and iron, but in those of cobalt and manganese also. But in contrast to ‘the stern delights’ of these flamboyant wares there is another kind of glaze, chemically closely allied, for it is also of transmutation copper origin, of which the associations are of another kind. This is the peach-bloom, the ‘apple-red and green,’ or again the ‘kidney-bean’ glaze of the Chinese. Although claiming an origin from Ming times, this glaze is always associated with the great viceroy Tsang Ying-hsuan. The little vases and water-vessels of a pale pinkish red, more or less mottled and varying in intensity, are highly prized by Chinese collectors.