In the Ch’ien Lung period there was an ever-increasing tendency to displace the Chinese patterns in favour of European ornament. About the middle of the century small bouquets and scattered floral sprays in the well-known Meissen style of painting made their appearance, and the gradual invasion of the border patterns by European motives is apparent. It may be of interest to note a few of the latter as they occur on dated specimens: 1. Light feathery scrolls, gilt or in colours: first half of Ch’ien Lung period. 2. Rococo ornaments combined with floral patterns: first half of Ch’ien Lung period. 3. Large shell-like ornaments and scroll edged frames of lattice work, loosely strung together: early Ch’ien Lung period. 4. Similar motives with more elaborate framework, enclosing diapers, and interrupted by four peacocks at regular intervals and generally black and gold: about 1740 to 1760. 5. Black and brown hexagon diaper, edged with dragon arabesques in gold: an early type of border, but lasting as late as 1780. 6. Composite borders with diapers, symbols, flowers, etc., and sometimes including butterflies, half Chinese and half European: on specimens ranging from 1765 to 1820. This last border pattern was adopted at Coalport and in other English factories to surround the willow pattern.[467] In the last decades of the century, such purely European borders as the swags of flowers used at Bow and Bristol, floral and laurel wreaths and husk festoons; the pink scale patterns of Meissen; ribbons and dotted lines winding through a floral band, feather scrolls, etc., of Sèvres origin, and afterwards adopted at Worcester, Bristol, Lowestoft and elsewhere in England; blue with gilt edges and gilt stars, as on the Derby borders, which also derive from Sèvres; and the corn-flower sprigs of the French hard-paste porcelains.