One of the most artistic and interesting industries in this country is the manufacture of porcelain in the ancient city of Worcester. There is no special local reason for the establishment of such works there, but Worcester has been noted as the home of the famous porcelain for more than a century. It was in 1751 that Dr Wall, a chemist and artist, completed his experiment in the combination of various elements, and produced a porcelain which was more like the true or natural Chinese porcelain than any ever devised. This was the more remarkable because kaolin had not then been discovered in this country. The inventor set up his factory in Worcester, close to the cathedral, and for a long time he produced his egg-shell and Tonquin porcelain in various forms, chiefly, however, those of table services. Transfer-printing was introduced later on, and was executed with much of the artist's spirit by experts who attached themselves to the Worcester works after the closing of the enamel works at Battersea. It was a remarkable century in its devotion to ceramic art; and it was characteristic of the ruling princes of the Continent that they should patronise lavishly various potteries of more or less repute. Towards the end of the century the first sign of this royal favour was vouchsafed to Worcester. George III. visited the factories, and under the impetus given by his patronage, the wares of the city advanced so much in popularity that, in the early part of this century, it is said, there were few noble families which had not in their china closets an elaborate service of Worcester, bearing the family arms and motto in appropriate emblazonment. In 1811, George IV. being then Prince Regent, several splendid services of Worcester porcelain were ordered to equip his table for the new social duties entailed by his regency, and one of these alone cost £4000. In the museums at the Worcester works there are specimens of many beautiful services, designed in accordance with the contemporary ideas of pomp and stateliness. The porcelain artists in those days must have been well versed in heraldry; for their chief duties seem to have been the reproduction of crests and coats-of-arms. Some of the services have interesting stories. There is one of deep royal blue, beautifully decorated, and bearing in the centre an emblematical figure of Hope. The story ran that it was ordered by Nelson for presentation to the Duke of Cumberland, and that the figure of Hope was really a portrait of Lady Hamilton. This, however, was an error: the service was ordered by the Duke himself in the ordinary way, and though Lord Nelson did order a service of Worcester porcelain, he died before it could be completed, and it was afterwards dispersed. Another story attaches to a plate adorned with a picture of a ship in full sail approaching harbour. The Imaum of Muscat sent many presents to the Prince Regent, and hinted that he would like a ship of war in return.