It is difficult, if not impossible, to separate Keen-lung china from Yung-ching in unmarked pieces before the full developement of the "_rose famille_," but the reign of Keen-lung was so much longer comparatively, and during the period the porcelain manufacture was so active, that it will be safe to ascribe the fine specimens of this rose family to it as well as to Yung-ching, when the invention of the rose enamel took place. In the last reign we considered, but only shortly, this "_famille rose_." The exquisite delicacy of these specimens lies in the combination of an elaborate, but refined, style of decoration in which the painting was most artistic, with the graceful shapes of the pieces themselves. There are other types, bolder in colour, broader in execution, and, it may be, equally beautiful. Take, for example, a vase; its body would be covered with large sprays of flowers in rose, yellow, and other enamels, but the rose predominates and gives an effect which is very rich and striking. Chrysanthemums, peonies, irises or flags, anemones, pumpkin vines with flowers and fruit--all these were in common use with birds and butterflies, fishes and insects no less finely coloured, and, as it were, thrown up into relief by the use of black with that transparent green enamel which we have before described, and here and there a black spot is applied for the same purpose of enhancing the value of the coloured enamels. The porcelain body of the Keen-lung period is very fine and white, many of the specimens having a style of painting peculiar to the Chinese artists of this period. Flowers such as those we have mentioned--the chrysanthemum, peony, and rose--seem to be ribbed, as if when the enamel was not quite dry a tool was used for the purpose of breaking up the enamel and in this way getting finer effects from reflected light. The porcelain itself sometimes assumed a wavy appearance, such as would be left by the potter's fingers when the piece was turned on the wheel. A similar wavy appearance is found on characteristic pieces on Bristol hard paste porcelain when turned upon the wheel.
Amongst the rarest decoration of this class of porcelain in this period is what is called "_mille fleurs_." In this class the whole surface is covered with a thousand flowers in variety painted exquisitely in enamel colours of every conceivable hue. Yet though the colours are so varied there is nothing but the most pleasing and harmonious effect. Pale lilac, reds and yellows, alternate with delicate shades of greys and blues. When the panels are left in reserves, a figure decoration is freely applied to them, and the figures depicted represent the spirits of the flowers. On the bases, which are covered with pale sea-green enamel, are found the square seal marks of the Emperor Keen-lung. It is scarcely possible to have the privilege of seeing such perfect work of Ceramic art, but the collection of the late Mr. W. G. Gulland, of Brunswick Terrace, Hove, was especially rich in "_mille fleurs_" pieces.