The mazarine blue is similarly treated, and is also effectively heightened by a super-ornamentation of gold of different shades. There are many other tints to which it is hard to give even a distinctive name. They illustrate the extreme partiality of the Chinese for this color, a partiality which has never wavered for at least sixteen centuries. It has been the means of giving to the world a greater number of beautiful works of art than would otherwise seem to be within the reach of the most skilful manipulation and the most prolific fancy, when restricted to a single color. The _soufflé_ porcelain will be hereafter noticed, but in the mean time, to prevent misapprehension, reference may be made to the _bleu fouetté_, a style sometimes confounded with the _soufflé_. It is less deep in shade than the _lapis lazuli_, and has a mottled appearance. It is used as a ground color, in which are sections of white, and on the latter are brilliant designs in red, green, and gold. The effect is rich, and the contrast between the panel painting and the more sombre ground color is very striking. There are also blues splashed over with spots of red and lilac, and many others, such as the “transmutation” or flashed glaze, illustrative of the magical dexterity of the Chinese workman. What on first sight seems the result of an accident in the kiln, will often prove to be that of a carefully conducted operation and deliberate intention. We may now glance briefly at the various fabrics of the Ming Dynasty, in their chronological order. [Illustration: Fig. 92.--Turquoise-blue Chinese Porcelain. _Truité_ Crackle. (S. P. Avery Coll., New York Metropolitan Museum.)]