In the British Museum may be seen a garniture of vases, of a type very characteristic of the early Chelsea-Derby time. A pale turquoise ground is overlaid with white flowers in low relief. This is but a modification of the German _schnee-ball_ decoration. Somewhat later the _pâte tendre_ of Sèvres is evidently taken as a model, as in the _cabaret_ which was given by Queen Charlotte to one of her maids of honour. This ‘equipage,’ to give it its English name, has also found its way into our national collection. It has the rare jonquil ground with a border of blue and gold. For smaller objects, for cups, saucers, and plates, a simpler style of decoration is in favour. The wreaths of little blue flowers, forget-me-nots, and corn-flowers (the French _barbeau_), relieved with touches of green and gold, remind one of the similar ware made at Sèvres, and more especially at some of the smaller Parisian factories during the early years of Louis XVI. The elaborately decorated ‘old Japan’ was much copied at Derby, but so unintelligently that the patterns degenerated into meaningless forms, known as ‘rock Japan,’ ‘witches Japan,’ and even ‘Grecian Japan’! This was the beginning of a barbarous style of decoration, in vogue in the Staffordshire potteries at a later time both for porcelain and earthenware, in which scattered members of the original scheme are jumbled together at the whim of the ignorant painter.[235] The subsequent vicissitudes of the Derby factory may be traced in the marks in use at successive dates. The combined anchor and D was apparently employed at Chelsea as long as the factory existed, but at Derby a crown with jewelled bows was introduced in 1773 (PL. E. 75), perhaps on the occasion of some _velléité_ of royal patronage, although we have no definite evidence of anything of the kind.[236] Somewhat later we find two batons crossed, with three dots in each angle (similar to the ‘billiard’ mark on some Dutch porcelain) inserted on Derby porcelain between the crown and the letter D (PL. E. 74).