The Franks Collection includes, besides, numerous examples of profane subjects[464] copied in black or in colours from European engravings and designs. A striking instance of the patient skill of the Chinese copyist is given by two large plates completely covered with the designs--the Triumph of Mordecai and Achilles dipped in the Styx--copied line for line, apparently, from Le Sueur’s engravings. The effect of the fine lines and cross-hatching is perfectly rendered, and one would say at first that they had been transfer-printed if this process had ever been used by the Chinese. It is amusing, too, to find English topical and political subjects rendered on Chinese porcelain, mugs and punch bowls, with busts of the Duke of Cumberland, Prince Charles Edward, and John Wilkes with appropriate inscriptions. There are, too, satirical pictures in the style of Hogarth, and a few popular but not overrefined subjects which gain an additional drollery from the obviously Chinese rendering of the figures. Many large punch bowls still survive decorated to suit their owner’s tastes, with a full-rigged ship for the sea captain, a hunting scene for the master of hounds, and agricultural designs for the farmer, often proudly inscribed with the name of the destined possessor and the date of the order. The Chinese touch is usually betrayed in these inscriptions, which are obviously reproduced mechanically, and with no compunction felt for a letter here and there inverted or misplaced. These porcelains with European pictorial designs are, as a rule, more curious than beautiful, but it cannot be denied that the next group with European coats of arms emblazoned in the centre is often highly decorative. This is particularly true of the earlier examples in which the shields of arms are not disproportionately large, and are surrounded with tasteful Chinese designs. The heraldry is carefully copied and, as a rule, the tinctures are correct. In the older specimens the blue is usually under the glaze, and from this, and from the nature of the surrounding decoration in _famille verte_ or transition colours, one may assume that the pieces in question were decorated at Ching-tê Chên. From the middle of the Yung Chêng period onwards a large and constantly increasing proportion of the ware was decorated at Canton, in the enamelling establishments which were in close touch with the European merchants, and from this time European designs begin to encroach on the field of the decoration. Finally, in the last decades of the century the Chinese armorial porcelain is decorated in purely European style. An important though belated witness to the Canton origin of this decoration is a plate in the Franks Collection with the arms of Chadwick in the centre, a band of Derby blue, and a trefoil border on the rim, and on the reverse in black the legend, _Canton in China, 24th Jan^y, 1791_.