1. Walter M. Whitehill, Wendell D. Garrett, Jane N. Garrett, The Arts in Early American History (Chapel Hill, N.C.: University of North Carolina Press, 1965), p. 22. 2. William B. Honey, Dresden China (London: A & C Black, 1934), p. 101. 3. This colleague was Samuel J. Wagstaff, Jr., who brought modern and avant-garde art to Hartford, Connecticut, in the 1960s through his innovative exhibits at the Wadsworth Atheneum. After a few years subsequently as Curator of Modern Art at the Detroit Institute of Art, from 1968 on (again we arrived to take up new posts the same week), Sam retired to New York where he became conspicuous as a full-time collector of considerable ambition, and as patron and companion of Robert Mapplethorpe. While curator of this porcelain collection, I made the acquaintance of a local ear, nose, and throat surgeon, who was most interested in the two-hundred-year-old German and English figures in my charge, because he had made an extended study of noses. He claimed that noses were an important, though little noted, part of national characteristics. He said he thought he could tell the two groups apart. I invited him to the museum, and gave him a test. There were no labels, and he was not allowed to pick up any of the figures. He got them all right! 4. Jules D. Prown bought this figure at the Nymphenburg factory in the summer of 1965 and gave it to me. For this, for his steady encouragement and wise counsel, as well as several years of mentoring, I owe him an enormous debt of gratitude. 5. John Fleming and Hugh Honour, Dictionary of the Decorative Arts (New York: Harper and Row, 1977), pp. 133–34. 6. Henry P. Maynard, Curator of American Art at the Wadsworth Atheneum in Hartford in the 1960s and 1970s, to whose kind and unassuming tutelage I owe much. 7. I’ve written about this project at length in Bonnin and Morris of Philadelphia; the First American Porcelain Factory, 1770–1772 (Chapel Hill, N.C.: The University of North Carolina Press, 1972). A shorter version, with some valuable additions kindly supplied by Michael K. Brown, is my essay, “The American China,” in The American Craftsman and the European Tradition, 1620– 1820 (Minneapolis, Minn.: The Minneapolis Institute of Arts, 1989), pp. 240–56. 8. Margaret Sterne, The Passionate Eye: The Life of William R. Valentiner (Detroit, Mich.: Wayne State University Press, 1980). 9. My colleague as curator of ceramics for twenty years was John C. Austin, who energetically expanded the already very strong collection. The archaeologist was Ivor Noël Hume. I must also pay my tribute to the editor of this journal for the extraordinary things he teased out of (seemingly) nowhere in his too brief stint as assistant curator of ceramics at Colonial Williamsburg. The collection became even stronger and more interesting because of his efforts. The objects he recommended for acquisition included the Chelsea figure of Trump, which I describe later in this article (figs. 16, 17).