This chapter opens with a detailed resume of the life of William Billingsley and his journey from one manufactory to another, interspersed with operating his own ateliers, in the pursuit of perfection of porcelain quality to display effectively his esteemed decorative artwork. He was valued by many in the eighteenth century for being an excellent rose painter, starting with his work at Derby on the prestigious Prince of Wales, Earl Camden and Duke of Northumberland serviceDuke of Northumberland service commissions, which gained him the respect of many advocates of his artistic skill. Fortunately, there is an account in the Derby China Works record books which assigns him to the decorating of these special services, and this affords us several exemplars for the starting point for a computer training skill set for our artificial intelligence programme in the recognition of his artworks on porcelain. Billingsley moved around in an attempt to improve the porcelain quality at several manufactories to demonstrate his art: with time spent in between at ateliers decorating porcelain bought in the white from Staffordshire and de la Courtille in Paris, he eventually created the world’s finest and most translucent porcelain at Nantgarw, which unfortunately was not economically viable and he could not satisfy the demands of his public because of excessive kiln wastage. A survey of the porcelains that were painted by Billingsley is undertaken: his work is now much esteemed and when identified as such commands very high prices at auction sales …. However, in several cases, it seems that his work has been misidentified and incorrectly attributed by art experts; a more scientific approach, which aids the correct attribution by art experts, is required.