Indeed, it is impossible to resist the conclusion that much of this ware was actually decorated in the enamelling establishments at Canton, the porcelain itself being sent in the white from Ching-tê Chên. The same designs are found on both the porcelain and the enamels, and there is one instance at least of an artist whose paintings were used on both materials, as is testified by his signature. This is the painter whose art-name is _Pai shih shan jên_ (hermit of the white rock), or in a shortened form, Pai-shih (see vol. i., p. 223). He was evidently a Cantonese, for one of his designs on a saucer in the British Museum is inscribed _Ling nan hui chê_ (a Canton picture), the subject being a vase of flowers and a basket of fruit. His signature is also attached to a dish with cock and peonies in the Victoria and Albert Museum,[394] and to a similar design figured by Jacquemart,[395] which also bears the date corresponding to 1724. It occurs, besides, fairly frequently on Canton enamels, though in this case usually attached to landscape designs. In all these instances, however, it is placed in the field of the design appended, as a rule, to a stanza of verse or a descriptive sentence. This is a usual position for the signature of a painter on silk or paper, and we can hardly be wrong in inferring that Pai-shih was the artist whose designs were copied on the wares, perhaps one who was specially employed to design for the enamellers, rather than an actual pot-painter or enameller. The proper place for the signature of the latter is underneath the ware, on the base; and here we find on a cup and saucer in the British Museum the name apparently of the real decorator whose painting is not to be distinguished from that on the piece with the Pai-shih signature, just mentioned as in the same collection. Under the saucer (Plate 119, Fig. 2) is the seal _Yü fêng yang lin_, i.e. Yang Lin of Yü-fêng, an old name for the town of K’un-shan; and under the cup is the seal _Yu chai_ (quiet pavilion), which is no doubt the studio name of Yang-lin.[396] K’un-shan Hsien is situated between Su-chou and Shanghai, in the province of Kiangsu, and we are to understand that Yang-lin was either a native of K’un-shan or that he resided there--more probably the former, for his work is typical of the Canton enamellers. It is, however, probable enough that there were decorating establishments working for the European markets in the neighbourhood of Shanghai as well as at Canton, just as there are still decorating kilns not only at Ching-tê Chên but “at the other towns on the river.”[397]