Economically, therefore, it will be seen that there is a real reason why imitative art, on whatever plane it finds itself, should hold its place. In a broad sense it has had a mission. It is true, as Goethe said, that "There are many echoes but few voices"; but the echoes have their value too until they reverberate into nothingness and new voices arise. As a substitute, therefore, for unattainable works of art any medium that will so successfully simulate the original as to convey the lines and the grace, the colour and the harmony, though in a lesser degree than the original, is to be welcomed for its own sake. There are many occasions when sacrifices have had to be made and when prototypes have been destroyed and substitutes have arisen which have artistically filled the hiatus, if only for the time being. For instance, the extravagance of Louis XIV in regard to sumptuous silver passed all bounds. At a fête at Versailles in 1668 on each side of the royal buffet was elevated on a portico ten feet high a grand silver guéridon bearing a massive silver girandole which lighted the buffet, accompanied by numerous large silver vases. On the table and steps of the buffet, which reached the height of twenty-five feet, were arranged twenty-four massive bowls of fine workmanship--these were separated by as many large vases, cassolettes and girandoles of great beauty. There were on the table twenty-four large silver jardinières full of flowers, in front was a great silver cistern shaped like a shell, at the two extremities were four guéridons, six feet high, surmounted by silver girandoles. Two other tables for the ladies were similarly equipped with masterpieces of the silversmiths' art. In 1688 the _Grande Monarque_ needed money to carry on his wars, and he issued an edict forbidding the manufacture of such massive silver, and sent all his plate to the Mint. So all this fine work, designed, made by Claude Ballin, Pierre Germain, Montars and other celebrated craftsmen after designs by Le Brun, was melted down; happily the pieces were first drawn by the artist goldsmith Delaunay and their forms are preserved. The king made it compulsory that the fine plate of the nobility should be sacrificed too, and in consequence most of the fine old silver was melted down. But here comes the imitative note. The age of sumptuous silversmiths' work was followed by an age of fine pottery. Beautifully decorated earthenware and porcelain became fashionable. Rouen made a special service for Louis XIV, and a great impetus was given to the art of the factories of Moustiers, Marseilles and Nevers, and thus the nobles of France had their banquets from the clay of the potter instead of from the vessels of the silversmith.