instance, no
elaborate vases in imitation of Sevres, and no important groups of
figures which might challenge rivalry with Meissen. We find, as is
common with all the early porcelain factories of Europe, first the
production of white pieces with modelled reliefs, or of pieces painted
with under-glaze blue in imitation of Chinese porcelain. Then followed
the well-known "Quail," or "Partridge," and "Wheat-sheaf" patterns in
red and green and gold in imitation of the Japanese patterns; and the
manufacture of table ware decorated with these simple yet bright and
pleasant devices seems to have formed the greater part of the work at
the factory. Many figures and statuettes were also produced at Bow, but
they are fewer in number and less cleverly made and decorated than the
contemporary productions of the Chelsea factory. We may surmise that
there was considerable rivalry between these two works situated on the
outskirts of the metropolis, for we find the "anchor" mark, which is the
best recognized mark of Chelsea porcelain, often occurring on specimens
that from internal evidence or from the piece itself we should rather
attribute to Bow. The Bow marks are not very certain, but some of the
likeliest are here given.

[Illustration: Bow Potters' marks.]

_Worcester._--The third of the early English factories, and ultimately
the most important of all, was that founded at Worcester in 1751 by Dr
Wall, a man of unusual attainments, and a number of his friends. How Dr
Wall came to learn the secret of porcelain making is absolutely unknown,
but even assuming that he acquired some information from wandering
workmen it is certain that the Worcester porcelain was soon developed on
original lines. The nature of the paste and the glaze of the early
Worcester productions, as well as the sobriety of their decorations,
stamp this factory as the first where Englishmen really developed a
native porcelain. Between 1751 and 1770, the first period of Worcester
porcelain, the prevalent influence was that of Chinese blue-and-white,
and the pieces of that period are rightly esteemed by collectors for
their artistic quality. Probably nowhere in Europe, certainly nowhere in
England, was oriental blue-and-white more carefully studied, and a
collection of this blue-and-white Worcester is most satisfactory from
the aesthetic point of view. The productions at this time were tea and
coffee services, bowls, dishes, mugs and plates. The cups were usually