Apart from the imitative marks of the early period which we have already mentioned, we find at an early date the letter W, either for Wall or Worcester (so the D of the rival works may stand either for Derby or Duesbury). Another early mark, borrowed probably from Frye and the Bow works, is the T. F. monogram which occurs on some underglaze blue and white pieces. The crescent (PL. E. 77), used up to 1793, is chiefly found on ware decorated with transfer printing: when this printing is in blue under the glaze, a solid or ruled crescent is found. The later firms, as ‘Flight and Barr’ and ‘Chamberlain,’ print their names in full. A number of small marks found on Worcester china--more than seventy have been noted--were added in most cases to identify the painters and gilders. SMALLER WEST OF ENGLAND SOFT-PASTE FACTORIES. This will be the most convenient place to say something of a small group of factories where china was made towards the end of the eighteenth century. It is a distinctly West of England family, owing its origin in a measure to Worcester, but also forming a link between that factory and the Staffordshire works. We include in it the Shropshire porcelains of Caughley and Coalbrookdale, together with Swansea and Nantgarw. CAUGHLEY.--The ‘Salopian Porcelain Works’ were started in 1772 at Caughley, near Broseley, in Shropshire, a neighbourhood long famous for its earthenware. It was here that Thomas Turner, a man of some social standing who came from Worcester, devoted himself more especially to printing in blue under the glaze. It was at Caughley, it would seem, about 1780, that the famous ‘willow pattern’ was first used. There is in the British Museum a curious little oblong dish that shows this design in an undeveloped form. Turner, it is said, first printed complete dinner-services, in dark blue, with this pattern. Not long after this he went to France, and brought back a batch of French painters, whose influence may perhaps be seen in the ware made at a later time at Coalport. Some of the printed work is delicately executed, and when the decoration is judiciously heightened with a little gilding, the effect is not unpleasing. We hear also of dinner-services painted with ‘Chantille sprigs,’ and Turner also supplied Chamberlain with plain white ware to be subsequently decorated at Worcester. At a later time much gilding was applied to a richly decorated porcelain. Some of this ware is stamped with the word ‘Salopian,’ other pieces have the letters S or C printed or painted under the glaze; but both Dresden and even Worcester marks were also used. Two men, at a later time representatives of the industrial phase of porcelain, John Rose and Thomas Minton, were trained in these short-lived works.