Again, in 1773, one Locré started in the Rue Fontaine au Roi the ‘_manufacture de porcelaine Allemande de la Courtille_.’ His marks of arrows (PL. D. 59), torches, or later, ears of wheat, crossed in imitation of the Saxon swords, are found on ware of some artistic merit. But perhaps the most remarkable of the Parisian factories was that started at Clignancourt, in 1775, by Pierre Deruelle, under the powerful protection of Monsieur (the king’s brother, afterwards Louis XVIII.). The royal edicts (as indeed was often the case elsewhere) against the use of gold were ignored in this case, and the Sèvres ware--the simpler forms then in fashion--was cleverly imitated. The earlier mark, a windmill (PL. D. 61), pointed to the famous _moulin_ on the neighbouring Montmartre. At a later time the letter M, under a crown, referred to the royal patron. The queen herself took under her patronage the factory started in 1778 by Lebœuf in the Rue Thiroux. This is the ‘_Porcelaine de la Reine_,’ marked with the letter A under a crown (PL. D. 62), often decorated with leaves and little sprigs of the _barbeau_, the cornflower, then so much in fashion. These flowers, indeed, may be found on many other wares, English and French, about this time. The Duc d’Angoulême was the patron of the works started in 1780, in the Rue de Bondy. It is noteworthy that this factory survived, still under the original founders, Guerhard and Dihl, to the days of Louis XVIII. Dihl was, as it were, a forerunner of Brongniart, being the first potter in France to employ the newly discovered colours derived from rarer metallic bases. The Rue de Bondy factory had also the credit of producing elaborate copies of pictures on plaques of porcelain before such things were attempted at Sèvres. The factory established in 1784 at the Pont aux Choux is chiefly remarkable for the patronage of the Duc d’Orléans, Philippe Égalité. Starting with the brother of Louis XIV., whose arms are found on gigantic vases of ‘old Japan,’ this was the fifth member of the Orleans family who had interested himself with porcelain, in one way or another. I have only mentioned a few of the more important Parisian factories. Franks, in his _Catalogue of Continental Porcelain_, gives a list of seventeen works. Examples of most of these may be found either in the Franks collection or in that of Mr. Fitzhenry. After the Restoration the work done in Paris became more and more confined to the decoration of porcelain made elsewhere. A special industry--for such it may well be called--was the imitation of older wares, both Oriental and European. For this somewhat ambiguous work the Samson family has acquired a European reputation.