A conspicuous feature of the Ch’ien Lung export porcelain in general is the use of a thin, washy pink in place of the thick carmine of the early _famille rose_. This is a colour common to European porcelain of the period, and it may have been suggested to the Chinese by specimens of Western wares. We may, perhaps, note here a design of Oriental figures (as on the Mandarin porcelain) in pink and red surrounded by borders of pink scale diaper, broken by small panels of ornament. It has no connection with the armorial group, but it has apparently been bandied back and forward from East to West. Based on a Chinese original, it was largely copied on English porcelain, such as Worcester, Lowestoft, etc., and apparently services of the English make found their way east and were copied again at some coast factory, or even in Japan, for the export trade. Much of this hybrid ware is found in Australia and on the east coast of Africa, and though the material and the colours are obviously Oriental, the drawing of the faces reflects a European touch. The porcelain is coarse and greyish, and the decoration roughly executed, probably in the first decades of the nineteenth century. The trade in Chinese armorial porcelain seems to have gradually died out in the nineteenth century, for reasons which are not far to seek. As far as England was concerned, the improvements in the manufacture both of porcelain and fine earthenware changed her position from that of a consumer to that of a producer. In addition to which, a high protective duty must have adversely affected the import trade, for we read[468] in the notes of Enoch Wood, the Staffordshire potter, that alarm was felt in 1803 in the potteries at the “proposed reduction of £59 8s. 6d. per cent. from the duty on the importation of Oriental porcelain, leaving it at 50 per cent.”