At a later time the Saint-Cloud works came more directly under the patronage of the Dukes of Orleans, both the regent and his son ‘Louis le Dévot.’ It was then in the hands of Henri Trou, who had married Chicoineau’s widow. Earlier Chicoineau pieces (1702-1712) bear as a mark the sun of Louis XIV. roughly traced in blue (PL. D. 51). At a later time, under the Trou _régime_, we find a roughly drawn T surmounted by the letters S.-C. (PL. D. 52). The specimens of this ware--there are plenty of them in the French museums and several at South Kensington--are seldom of any size, and the decoration is generally sparingly applied to the milk-white ground. In the earlier pieces the _lambrequins_ borders in under-glaze blue carry on the tradition of the seventeenth century renaissance style in use at Rouen, and we find similar patterns moulded in low relief.[171] The moulded surface is often covered with a scale-like pattern (PL. XXXIII.): with this we may probably identify ‘the quilted china of Saint-Cloud,’ of which there was a tea-service at Strawberry Hill. But it is rather the Oriental influence that is generally predominant; and the white ware of Fukien, decorated with sprigs of prunus blossom, is closely copied. Of special interest are some very successful imitations of the _famille rose_. On a _trembleuse_ saucer at South Kensington[172] the _rouge d’or_ is used with great effect; the way in which the pink is gradated with the white enamel shows full command of the materials. This saucer bears the T of the Trou family as a mark, but we unfortunately do not know the exact date when this mark was first introduced, and still less for how long it was employed.[173]