When the Chelsea factory and its contents were sold in 1769, it was Duesbury, and not the Derby China Company, who was the purchaser. After the year 1775, when the Bow works were also purchased, he had, with the exception of the Worcester manufactory, practically no rival in the field. We may take the year 1770 as the turning-point in the history of English porcelain. In France, by this time, the rococo of Louis XV.’s reign was already giving way to the simpler, and in part more classical, forms that distinguish the next reign, for it is common knowledge that the style known as Louis XVI. came into vogue several years before the accession of that king. In England the change can be best traced in the work of the silversmith, seeing that in such work there can be no uncertainty as to the date. Already, before the end of the sixties, we find in the silver plate then made outlines formed of simple curves and even straight lines replacing the troubled rococo scrolls, and by the year 1770 the new classical forms have carried the whole field. And in like manner the china made by Duesbury, both at Chelsea and Derby, follows the new fashion. But the vases bearing the Chelsea-Derby mark of an anchor crossing the down-stroke of the letter D (PL. E. 73) differ from those made by Sprimont not only in outline. A new scheme of decoration has come in, one that continued with no radical change for the next fifty years and more. Let us take the Chelsea-Derby vase in the Jones collection--it stands in company with several others of the Sprimont rococo type. Notice the oblique fluted mouldings of the upper part (a _motif_ taken directly from the silversmith), which are accentuated by deep blue and gold lines on a white ground (this is a scheme of decoration above all characteristic of Derby china). The reserved panels on the body of the vase are painted with pastoral subjects. Here there is little change, but around these panels the ground is completely covered with flowers of various kinds--each species can be made out, but full-blown double roses predominate. These full-blown roses are a note that distinguishes English porcelain from this time onwards. As they become larger, and occupy a more prominent place, the painting loses all trace of decorative feeling. Billingsley carried them in his wanderings to all the porcelain factories of England, and we are finally landed in the monstrosities of Rockingham and the insipidities of Nantgarw.