Raphaelesque porcelain; jewelled porcelain, of a totally different and far higher character than that of Sèvres; and Japanese decoration on porcelain and pottery. Besides these, to his taste, skill, and judgment are due the great varieties of styles and improvements in form and decoration which now characterize these works. In parian, the Worcester works produce a large variety of figures, busts, groups, and ornamental articles of every kind, and of a remarkably clean and pure body. The ivory porcelain--an improvement upon parian, and capable of greater development--is one of the specialities of these works. Besides being used for busts, figures, and ornamental pieces, in its simple state, when it has all the softness, beauty, and natural tint of ivory itself, it forms the basis of many of the ornamental decorations, especially the Raphaelesque ware, which is the colouring of the surface in relief in the style of the old Capo di Monte ware and the Buen Retiro porcelain. This style was first introduced by Mr. Binns for the Exhibition of 1862, and has retained its popularity to the present hour. [Illustration: Fig. 549.] [Illustration: Figs. 550 to 552.--Enamel; the subject taken from the Raphael Tazza.] [Illustration: Fig. 553.--Group of Worcester Porcelain Enamel.] [Illustration: Figs. 554 and 555.] The jewelled porcelain, for which Worcester now is famous, is totally different from that made at Sèvres or Tournay, whether ancient or modern. The French jewels are all made by enamellers, and each colour is fused on a small plate of metal which forms the setting, and may be stuck on the vase or plate with gum if it is not required to pass it through the fire. These jewels may be bought by the dozen or hundred in any variety: but the work decorated with them is essentially French, and tinselly. The English jewelling, though perhaps not so brilliant, is of far higher and purer character, and is far more legitimate as a decoration for pottery. Each of these jewels is formed of colour melted on to the china, and occasionally raised higher and higher by repeated firings, and thus it becomes, and is, a part of the material itself. The most elaborate piece of work produced at Worcester in this style is a déjeûner set made for presentation to the Countess of Dudley on her marriage, from the city of Worcester. It is powdered all over with turquoise, but so arranged in geometric lines that only the different sizes of the jewels are noticed. In Japanese porcelain the Worcester works produce a vast variety of articles; amongst these are vases, spill-cases, jardinières, toilet ornaments, trays, and an infinite number of other elegancies. These Japanese productions are not servile imitations of native art; they are Japanese art and art-characteristics adapted and rendered subservient to the highest aims of pure design of our own country. Mr. Binns, to whom this introduction is owing, has caught the very spirit of Japanese art,