In the first of these groups the _Turquoise_ is the predominant colour--indeed it is often found alone (PL. IX.). As a monochrome ware it is distinguished by a fine crackle, which is always present but is often only to be seen by a close examination. How much it is sought after by collectors is shown by the fact mentioned by Dr. Bushell, that in the Walters collection there are more than a hundred specimens of this monochrome blue, and of these the majority probably date from the reign of Kang-he. A combination of this turquoise with aubergine purple derived from manganese was in favour at this time not only for the little _magots_ and for small vases, but also for larger decorative pieces as well as for tables and stands for other objects. It was above all this combination that was copied by Zengoro and others for the ‘Oniwa’ ware of the Princes of Kishiu, and some of this Japanese porcelain is very difficult to distinguish from the Chinese original. The aubergine purple, like the turquoise, always finely crackled, is seldom found alone in Chinese examples, but this is often the case on the Kishiu ware. The third colour of the triad, the yellow, is quite subordinate; there were evidently great difficulties in producing a fine tint under the conditions of the _demi grand feu_. In like manner in the early Ming ware, that with the ribbed cloisons, the yellow was only used sparingly for the petals of a flower or for a chain of pearls. It should be noted that this ware of Kang-he differs from its Ming predecessor in the absence of the dark blue glaze. FAMILLE VERTE.--In the first triad, that of the _demi grand feu_, the turquoise blue, as we have seen, is the predominant colour. Its place is taken in the triad of the muffle-stove by the green, which in many shades of intensity, but with a prevailing leafy hue, has come to be especially associated with the enamelled wares of this reign.[57] [Illustration: _PLATE IX._ CHINESE] It would be possible to make many subdivisions of this class--the well-known _famille verte_. In the majority of cases the ground is covered by a wash of one of the colours, so as to resemble a painted glaze. It will, however, always be found on close examination that the wash is _superimposed_ on the true colourless glaze, which may generally be seen at the mouth and foot. A green of greater or lesser strength, sometimes quite a thin wash, is the commonest colour for this ground; at other times it is of a pale straw colour, or, more rarely, a purple of a poor uncertain hue.[58]