Until a recent date the origin of this was only guessed at, but the late M. Benjamin Fillon by his researches has cleared up the mystery. It appears now that the invention of this scarce and unique ware was due to Hélène de Hangest, Dame de Boissy, the widow lady of Gouffier, who was formerly governor to Francis I. This lady established the pottery in 1564 in the Château of Oiron, near Thouars; and, being gifted with strong artistic tastes, conducted the work with great success, assisted by two skilful collaborateurs, François Charpentier and Jehan Bernart. The former was the modeller, and the latter—Bernart—was her librarian, and the artist who designed and adapted the stamped ornament which is so characteristic of this ware. This ornament is copied from the bookbindings of the period, and seems to have been stamped in colour on the Oiron ware with tools similar to those used in the bookbinding craft. The vase or tazza (Fig. 46) is a fine example of this ware of the earlier period, showing the stamped decoration. The ornament is identical with the peculiar Italo-Saracenic style of the Grolier and contemporary bookbindings. [Illustration: Fig. 46.—Tazza, Henri-Deux Ware. (S.K.M.)] The decoration is of a dark brown colour, sometimes heightened with pink, on an ivory-coloured ground. Another and later class of this ware has modelled decorations in high relief. The colouring and technical skill generally was also improved, as may be seen in the profusion of small figures, masks, and festoons that were added to the candlesticks and vases after the earlier period, but these additions were not always improvements in the general design. The colouring is also of a greater variety: ochre, green and blue, and sometimes gold, was added in small quantities. [Illustration: Fig. 47.—Candlestick, Henri-Deux Ware. (S.K.M.)] The celebrated candlestick (Fig. 47) is one of the best examples in which modelled ornament is a feature. It is now in the Kensington Museum, where there are various fine specimens of Oiron ware. This candlestick shows the Italian Renaissance influence very strongly, and probably owes much to the art of Cellini, as seen in his metal-work designs. The ewer and tazza betray also his influence (Fig. 48). [Illustration: Fig. 48.—Oiron Ewer and Tazza. (S.K.M.)] The saltcellar (Fig. 49) is a restrained piece of architectural design and is altogether a very fine piece of work. [Illustration: Fig. 49.—Oiron or Henri-Deux Saltcellar. (S.K.M.)] It is said by some that there are eighty pieces of this ware in existence, and others that there are only fifty-three genuine pieces. The early examples bear the emblems of Francis I., and the later ones those of Henry II. and Diana of Poitiers. The paste used in this ware is a white pipeclay, and is covered with a thin glaze. PALISSY WARE.