About the middle of the eighteenth century a more legitimate material was found for the European decorator in small quantities of Chinese porcelain sent over “in the white.” Regular supplies in this state must have been forwarded from Ching-tê Chên to Canton for the enamellers there, and, no doubt, the European merchants were able to secure a small amount of this. Thus it was that Chinese porcelain is occasionally found with decoration by artists whose touch is recognised on Chelsea and other wares. It is not necessary to assume that such pieces were painted in the Chelsea factory. That may have been the case, but we know of important enamelling establishments, such as Duesbury’s in London, where Chelsea, Bow and Worcester porcelains obtained in the white were decorated to order. It is probable that the painters trained in this work afterwards passed into the porcelain factories. There are rare examples of Chinese porcelain with transfer prints executed at Battersea or even at Worcester, and apparently one or two pieces have had inscriptions added at Lowestoft; but, after all, this group of decorated Oriental is a very small one, and the specimens painted in the style of any particular English factory except Chelsea could be counted on one’s fingers. No doubt the same proceedings were repeated in various parts of the Continent, and there are certainly specimens decorated in the Meissen style, and in one piece in the Franks Collection the Meissen mark has been added. But besides this more or less legitimate treatment of Chinese porcelain, there is a large group of hideously disfigured wares known by the expressive name of “clobbered china.” On these pieces Chinese underglaze decoration has been “improved” by the addition of green, yellow, red, and other enamels and gilding, which fill up the white spaces between the Chinese painting and even encroach on the blue designs themselves. This malpractice dates from the early years of the eighteenth century, and we find even choice specimens of K’ang Hsi blue and white among the victims. Possibly there was a reaction at this time against the Chinese blue and white with which the Dutch traders had flooded the country, but it is pitiful to find nowadays a fine vase or bottle of this ware plastered with meaningless daubs of inferior colour.