Patterns received from Lady Cavendish; a Japan octogon cup and saucer, lady pattern; a rib’d and scollop’d cup and saucer; a basket bordered dysart plate; a Japan bread and butter plate. To be returned in a month, May 28th, 1756.’ “On analyzing these memoranda, although they are but imperfect and necessarily curt, being written only for the writer’s guidance, we are made acquainted with many facts not before disclosed; for example--it has never been suggested that _printed_ china was produced at Bow, yet it is evident that china was decorated with transfer engravings as early as the year 1756, as appears from the following entries:-- “‘One pint _printed_ mug, One half-pint, do., A sett compleat of the second _printed_ teas.’ “The patent which Messrs. Sadler and Green, of Liverpool, proposed taking out as inventors of the process is dated 1756, but they had brought the art to perfection several years before, and had kept it a profound secret. Transfer printing on enamel was in vogue at Battersea before 1755, and the process would be the same on china as enamel. Horace Walpole, writing to Richard Bentley in Sept. 1755, says, ‘I send you a trifling snuff-box, only as a sample of the new manufacture at Battersea, which is done with copper-plates.’ Mr. Binns, of Worcester, has a Battersea enamel watch-case with the tea-party from the same plate as the impressions on china. The _Liverpool Guide_ of 1799 says ‘copper-plate printing upon china and earthenware originated here in 1752, and remained some time a secret with the inventors, Messrs. Sadler and Green. The manner in which this continues to be done here, remains still unrivalled in perfection. As late as 1783, Wedgwood constantly sent his ware to Liverpool to be printed.’ “The proprietors of the Bow works availed themselves of assistance by occasionally sending their china to Liverpool to be printed.[70] All the pieces decorated with transfer engravings, have, without discrimination, been erroneously assigned to Worcester, owing to the want of a thorough investigation of the quality of the body. “Lady Charlotte Schreiber has a teapot with a transfer portrait of the ‘Prussian Hero,’ the handle and spout ornamented in relief with the enamelled flowers peculiar to Bow; a bowl with prints of the well-known tea-party, and garden-scenes; and two plates, part of ‘a sett of the second _printed_ teas,’ before alluded to, with poultry and leaves. All these are undoubtedly of Bow body, probably decorated at Liverpool.