at Aldgate to the east of the city. There were already other Flemish potters in London, two of them in Southwark recorded in 1571 as "painters of pottes". The earliest known piece with an English inscription is a dish dated 1600 in the Museum of London. It is painted in blue, purple, green, orange and yellow and depicts the Tower of London and Old London Bridge, surrounded by the words, "THE ROSE IS RED THE LEAVES ARE GRENE GOD SAVE ELIZABETH OUR QUEENE" and an Italianate border of masks and leaves. The rim is decorated with dashes of blue and can be considered the first in series of large decorated dishes so painted and called blue-dash chargers. Blue-dash chargers Blue-dash chargers, usually between about 25 and 35 cm in diameter with abstract, floral, religious, patriotic or topographical motifs, were produced in quantity by London and Bristol potters until the early 18th century. As they were kept for decoration on walls, dressers and side-tables, many have survived and they are well represented in museum collections. Their name comes from the slanting blue dashes round the rim, seen in both examples at the left. One of the most popular decorations on the blue-dash charger was a representation of Adam and Eve with the serpent in the Garden of Eden, produced from the 1630s to the 1730s. "The challenge of rendering the anatomy of Adam and Eve was inescapable, and as the subject became more and more freely repeated by painters of less and less competence, most of the anatomy gave trouble, particularly Adam's abdominal muscles, which eventually became grotesque and could not be wholly covered by his fig-leaf." In later examples, "the images had declined to the level of coloured graffiti; Adam and Eve were cave dwellers, the Tree had become a mere cipher and only the serpent and the fruit proved simple enough to survive debasement." Later wares Towards the end of the 17th changing taste led to the replacement of apothecary pots, tiles and large dishes by polite tablewares, delicate ornaments, punch bowls, teapots, cocoa pots and coffee-pots. The decoration became lighter and more informal. Changing taste was also reflected in chinoiserie decoration and greater use of a polychrome palette. In Bristol and Lambeth from the mid-18th century there was much use of a technique imported from Italy, bianco sopra bianco (white-on-white). The object was covered in a tin-glaze tinted