[176] The porcelain of Saint-Cloud and Chantilly is well represented in the Fitzhenry collection. [177] Some twenty miles south of Paris, not far from Corbeil. [178] The name is written ‘Sèves’ in English catalogues of the eighteenth century, and the same form is found sometimes in contemporary French writings. We may compare the favourite signature ‘Fédéric’ of the Prussian king. [179] _Mémoire Historique pour la Manufacture, rédigé en 1781 par Bachelier_, re-edited, with preface and notes, by G. Gouellain, Paris, 1878. [180] See the note on p. 286. It would seem that the first successes at Vincennes were, in a measure, dependent upon the temporary breaking up of the factory at Chantilly on the death of the Duc de Bourbon in 1740. [181] At a later time this man had a contract for the delivery of the paste, the secret of which he preserved, at a fixed rate per pound. In one year he is said to have received for this 800,000 livres! [182] Such is my general impression, but M. Garnier, I see, speaks highly of his artistic capabilities. Bachelier founded in 1763 a free school of design, one of the few institutions of the old régime that have survived the many changes of government. It still exists as the _École Nationale des Beaux-Arts_. [183] By this we get a hint as to the kind of ware made at Vincennes at the commencement, when under the influence of Chantilly. [184] The account-books of these sales are still preserved. M. Davillier, in his little book on _Les porcelaines de Sèvres et Madame du Barry_, quotes the record of purchases made (at a later date, for the most part) by the royal family, by Madame du Deffand, and by M. de Voltaire. The latter bought, for 120 livres, ‘_Deux bustes de mondit Sieur, en biscuit_.’ Besides this, large sales were made yearly to the trade. [185] The above description is that given by the Prince de Ligne in his memoirs. In the Johanneum at Dresden there is now to be seen a ‘bouquet’ which in every way corresponds to the prince’s account. The Meissen works for long had the credit of this trophy, but it is now acknowledged that it is identical with the present sent by the dauphine, in 1748, to her father, the Elector of Saxony. M. Davillier quotes a curious account from a contemporary memoir describing the difficulties and expenses incurred in transporting this ‘bouquet’ from Paris to Dresden. Are we, then, to regard it as the actual present given by M. de Fulvi to the queen, or as a duplicate? [186] See for this and other references to porcelain in the _chronique scandaleuse_ of the day, the little book of M. Davillier quoted above.