Plate of coarse Nevers pottery with scroll border of green, yellow, and blue. A full-face portrait of Lafayette in bright yellow, with purple hair. In the Huntington Collection. 79. Lafayette. Faïence Patriotique. Nevers. Large plate of Nevers pottery, fourteen inches in diameter, with slightly scalloped edge. In the centre a design of a long-legged bird with man’s head, saying, “La Fayette, Je tends mes filets.” The bird tramples under foot, or under claw, a head marked “le Roi Soliveau,” and is addressing his remarks to a head on a pole with a flag marked “Loi Martiale.” There is also a network or fence inclosing frogs. Above all, the inscription, “Les grenouilles qui demandent un Roi, ou le Roi Soliveau.” 80. Lafayette. Portrait. Sèvres. A Sèvres plate with an exquisitely painted portrait of Lafayette in full uniform. A rich border of red, blue, and gold. In the Huntington Collection. 81. Lafayette. Portrait. Square plate with fluted border, with splashes of purple and yellow, like No. 52. A spray of flowers in each corner. In the centre a fine profile portrait of Lafayette in full uniform. In the Huntington Collection. 82. Lafayette. Portrait. Plate with pierced border like No. 53. In the centre the same portrait as in No. 81. In the Huntington Collection. 83. Lafayette. Bust. Bust four inches in height. One of same set described in No. 31. One can be seen in Huntington Collection. 84. Lafayette. Medallion. White porcelain profile medallion about two inches and a half in diameter. No mark. Lafayette. At the Tomb of Franklin. Were we sure that the figure in this design is Lafayette, it would properly be placed here, but it is very uncertain whether the seated mourner is Lafayette, or merely some sombre-minded, non-historical, though patriotic citizen; so a description and illustration of this design will be found among the Franklin Prints, No. 60. Lafayette. At the Tomb of Washington. See No. 33. The figure in this design may not be that of Lafayette. Lafayette. Portrait. Erie Canal. See No. 166. The presence of Lafayette at the formal opening of the Erie Canal was naturally felt to be a great honor, hence the appearance of his name on many of the plates; but as the other design is more prominent it is classed under that name. There are many modern Parian busts of poor likeness and indifferent artistic merit, and occasional hand-painted plaques of Lafayette, but they hardly come within the intentions and purpose of this list. XVI. PATRIOTIC AND POLITICAL DESIGNS