Standing inside a shell, a woman with windblown hair lifts a sail above her head. (Fig. 4.1) While we see her back, she exposes her front to three figures in Chinese robes. The scene is framed by bamboo and a pine tree, a garden scene with scholar's rocks pierced by wind and water, and houses beneath palm trees. The delftware dish with its blue and white decoration dates to 1680/90; it merges technologies and iconographies of Chinese and European origins. The female figure incorporates attributes of the mythological goddesses Venus and Fortuna, she is “European,” while the shell underneath her feet that connects her to the “Chinese” pictorial space is EurAsian, as this chapter will show. Building on the previous parts of this book, chapter 4 argues that early modern European images of women with shells are connected to imaginary visions of foreign (underwater) spaces full of riches, paradise-like realms that promise material affluence and erotic fulfilment. It focuses on “women with shells” in depictions of Venus, allegories of lust, and representations of foreign women during the sixteenth and seventeenth century and goes on to consider how the erotic content of European images of women with Asian shells was appropriated and amplified by artisans in China after its arrival there from the eighteenth century on.