of pink, derived from the purple of Cassius, was much admired by Frederick, and forms the _pendant_ to the famous rose-colour of his bitter enemy, Madame de Pompadour. The changes made after this time were chiefly of a practical nature. The horizontal furnaces were early replaced by the cylindrical type now generally in use in Europe, and as long ago as 1799 steam power was employed in the preparation of the materials. The chemist, above all, has at all times played an important part at Berlin. Many strange applications of porcelain, some more curious than really beautiful, were introduced about the beginning of the nineteenth century. A close imitation of lace and _tulle_, made by dipping into a specially prepared slip a real tissue which was afterwards burned away, was a nine days’ wonder when first introduced. (A veiled bust in white biscuit of Queen Louise of Prussia, now at Dresden, is perhaps the most famous example of this ware.) Another application of porcelain was to the ‘transparencies’ or _lithophanie_, in which the design, as seen by transmitted light, was given by variations in the thickness of the paste. The only mark of interest on the porcelain of Berlin is the sceptre (PL. C. 31), the prized ensign that the electors of Brandenburg bore on their shield as an emblem of their position as Arch-Chamberlains of the Holy Roman Empire.[162] It was this sceptre (very slightly indicated on the earlier examples, and resembling, perhaps intentionally, the Saxon mark) that the Prince de Ligne observing on his plate, when dining with the king, affected to take for a sword, and made the occasion of a ‘two-edged’ compliment.