COALPORT OR COALBROOKDALE.--Here, on the left bank of the Severn, nearly opposite the last-named factory, John Rose began making porcelain soon after 1780. In 1799 he purchased from Turner (whose apprentice he had been) the Caughley works, and in 1814 he removed the whole plant to Coalbrookdale. Here, too, came Billingsley after the closing of the Nantgarw works, and here he worked till his death in 1828. During the first half of the nineteenth century the firm of John Rose and Company was a successful rival to the Davenports, Mintons, and Copelands. Rose excelled in the production of gorgeous vases decorated with picture panels, and Billingsley kept up the supply of his English roses. The older wares of Sèvres and Chelsea were copied not unsuccessfully, and the appropriate mark was not omitted. The firm seems to have above all prided itself upon the beauty of its _rose Pompadour_ grounds, and at a later time, after 1850, both this ground and the turquoise blue were largely applied to the pseudo-Sèvres porcelain that found its way to the London china-shops. In 1820 Rose was granted a medal by the Society of Arts for a leadless glaze, compounded of felspar and borax. The factory at Coalport continues to produce much china on the same lines. Near at hand, at Madeley, some very close imitations of the old Sèvres were made by Randall between 1830 and 1840. For the origin of this English Sèvres we must go back to the year 1813, when we hear of the agents of London dealers buying up white and slightly decorated Sèvres soft paste. Any enamel colour on them was removed by hydrofluoric acid, and the surface was richly decorated in the Pompadour style. Randall soon after this time was engaged with similar work in London: his turquoise blues are especially praised. [Illustration: Plate XLVII _Water-colour Drawing. Enamel Painters at work._] SWANSEA AND NANTGARW.--At the beginning of the nineteenth century some works at Swansea, where a so-called ‘opaque porcelain’ had been lately manufactured, were purchased by Mr. Lewis W. Dillwyn. Mr. Dillwyn was a keen naturalist: he induced Mr. Young, a draughtsman who had been employed by him in illustrating works on natural history, to learn the art of enamel-painting on porcelain. Young devoted himself to painting birds, shells, and above all butterflies. In spite of the aim at scientific accuracy, the artistic effect of these delicately painted butterflies, scattered here and there over the dead white paste, is not unpleasant. There were some good specimens of this form of decoration in the old Jermyn Street collection, but most of them, I think, are not painted on a true porcelain. Meantime, at Nantgarw (_Anglicè_ Nantgarrow), some ten miles north of Cardiff, a small porcelain factory had been established by one William Beely and his son-in-law, Samuel Walker.