These four ceramic items bear the marks of their histories of repair. They were mended using different techniques, some of which have now come to be appreciated as aesthetic features in their own right. A “china burner” mended the Chinese teapot by refiring, documented in an inscription on its underside. The Staffordshire platter was mended with a series of metal staples on its underside, clearly with subtlety in mind: the staples are inconspicuous on the decorative blue-and-white surface. This practice was presumably similar to the work undertaken by the itinerant mender depicted on the Sarreguemines plate. The mender’s act of conservation is in dialogue with another on the same item: the chip on the rim of the plate was mended by its collector using kintsugi, a traditional Japanese practice of restoration using urushi lacquer and fine gold powder. Visible mends, especially those using precious materials, embellish both repair action and restored item, quite explicitly celebrating the transformative value of repair.