Turning to the porcelain from the royal works at Charlottenburg, M. Garnier finds fault with the exuberance and overloading of the sculptures and reliefs. But certain large architectural pieces and some frames in rococo style, in pure white ware, excite his admiration, for the beauty of the paste, the purity and the limpidity of the glaze, and the marvellous way in which the technical difficulties of the execution have been surmounted; so, too, for the brilliancy of the colouring and the way in which the enamel colours combine with and form one material with the glaze, as if one were looking at a soft-paste ware. Above all, in some pieces of the ‘new porcelain’--for the milder paste is now in use at Berlin to some extent--the colours of the _grand feu_ and the purity of the enamel are remarkable. At Meissen, says M. Garnier, they are still working on the old lines: reproductions of the models made a century and a half ago by Kändler are as much as ever in demand. Certain ambitious attempts in a newer style have resulted in errors that will add nothing to the fame of the works. (Dr. Heintze, the present director, has especially devoted himself to the development of the new colours under the glaze. But the porcelain now produced, apart from the copies of the old wares, follows in the lines either of the Copenhagen porcelain, or again, at times, of the coloured pastes of Sèvres.) Certain districts of Northern Bohemia have become of late centres of ceramic industry. The predominant bad taste and over-decoration of the porcelain made there (I still follow M. Garnier) is above all exemplified in certain coloured statuettes, ‘_articles de bazar_ which corrupt the taste of the public and whose sale ought to be prohibited.’ An exception must be made for the produce of the Pirkenhausen works, near Carlsbad. The marvellous plasticity of the paste, made from the rich deposits of kaolin near Zottlitz, has been taken full advantage of, not only on the wheel and in the mould; it has allowed also of the free modelling of the superadded reliefs by the artist’s hand. The factory at Herend, in Hungary, founded in 1839, no longer turns out the ware of Oriental style, so much admired by Brongniart, by Humboldt, and by Thiers. Herr Fischer, the director and principal artist, has lately made good imitations of the coloured pastes of Sèvres, with leaves and branches in relief. At St. Petersburg the imitation of the over-decorated hard paste of Sèvres has been abandoned in favour of the soft and harmonious colours and the pure and limpid glazes of Copenhagen. The vases with designs of white paste, in relief upon coloured grounds, in a manner now little in favour at Sèvres, are less happy. At the Kousnetzoff factory, at Moscow, a polychrome decoration, in imitation of Byzantine embroideries and enamels, has been applied to tea-services of somewhat geometrical forms, while the French porcelain of the time of Louis Philippe continues to be imitated.