The techniques used in the decoration of porcelains to meet the tastes of their commissioning purchasers: from Chinese porcelains decorated in Canton to others purchased in the white and decorated in ateliers, such as that of James Giles in London, locally in Europe. The growth of European analogues and the distinction between the Chinese hard paste and the European soft paste porcelains. The problems encountered in the firing processes, kiln wastage and the means of obviating small blemishes in the decorating workshops. The rise of specialist decorators, painters, enamellers, and gilders, such as William Billingsley at the Derby China Works in the late 18th Century. The instruction of apprentices in decorating workshops to copy works of the masters … exactly analogous to the workshops in RenaissanceRenaissance used by the masters to instruct their garzones, and the ongoing question as to whether or not the whole art work was completed by the master or just a part of it, which has resulted in much controversy through the ages amongst connoisseurs of paintings and porcelains alike can be addressed using computational methods.