general thickness of the ware, the remarkable translucency of the thinner parts, and upon the fact that the transmitted light is of a somewhat yellowish tint, not greenish, as in the Worcester porcelain. The glaze, though nearly white, is of a pale straw colour, and it tends to accumulate round the reliefs; it contains much lead, and is liable to become iridescent and discoloured (_English Porcelain_, p. 31). I would add that a majority of the undoubted examples--I rely especially upon those collected by the late Sir A. W. Franks, now in the British Museum--are distinguished by a certain dirty and speckled appearance of the surface of the glaze. I think that the Bow china has been less influenced than other of our wares by French and German examples. Apart from the Oriental decoration of some of the earlier pieces, it is on the whole a very _English_ ware. The process of transfer-printing, which had been first applied to china by Sadler of Liverpool about the year 1750, and which had been in use at perhaps as early a date on the enamels of Battersea, where Hancock was working at this time, was employed a few years later at Bow.[229] A preliminary outline was sometimes printed under the glaze, and this subsequently enlivened by enamel colours laid on by hand, as we see on some barbarously painted dishes with Chinese subjects in the British Museum. This transfer-printing is an essentially English process: it has since been carried round the world in the wake of our Staffordshire pottery, and the process has even been applied to porcelain in Japan. To the general adoption of this mechanical process, more than to any other cause, we may attribute the dying out of the school of artist-craftsmen who painted on china, and the extinction of all feeling for the decorative value of the designs applied to the ware. I would call attention to some small figures in the collection formerly in the Geological Museum. These little statuettes are in a white glazed ware of a slightly greenish tint, and they are attributed to Bow. The ‘Draped Warrior’ and the ‘Seated Nuns’ appear to be taken from models of a considerably earlier period, and their artistic merit is undeniable. John Bacon, the fashionable sculptor of George III.’s time, is said to have found employment, when young, both as a modeller and painter of porcelain. He was certainly apprenticed in 1755 to a Mr. Crispe of Bow Churchyard, the proprietor of some pottery-works at Lambeth, and he may very likely have worked for Crowther, at Bow, after the expiration of his apprenticeship. A dagger or sword with one or more dots near the hilt, associated with an anchor, is the mark especially characteristic of the ware made at Bow (PL. E. 71), but much porcelain attributed to this factory carries no mark. A monogram formed of the letters T and F found on some early ware is perhaps to be referred to Thomas Frye, but the Worcester factory also used this mark (PL. E. 72).