The MARSEILLES potteries were in full activity at the beginning of the 1700's--a single piece exists which is marked 1697. In the middle of this century the number of fabriques had increased to some twelve, employing about two hundred and fifty workmen. All have gone down. The faience made here followed that of Moustiers for its best work, and that of Strasbourg for the more common. The flower-painting done here is said to be distinct from that of Strasbourg, in that the flowers are perceptibly raised by the paint; while in that of Strasbourg the painting is melted into the glaze. A very pleasing style of classic vases, made here in the time of Louis XV., are painted in camaieu rose-color, the wreaths and ornaments often being in relief. At SARREGUEMINES, in the Moselle country, very beautiful faience was made in the last century--about 1775--some of which was highly finished in the lathe. Work was made there, too, with white figures on blue and colored grounds, much resembling the jasper ware made by Wedgwood. There is an extensive pottery now at work at Sarreguemines, in which great quantities of domestic pottery are made for the market. At SINCENY, NANCY, CREIL, MONTPELLIER, and many other small places, potteries were at work in the last century; few, if any, of which continued beyond the great Revolution. PARIS, too, had many small fabriques of faience, but none of them reached much importance. The name of _Briot_ is yet kept in mind. TO-DAY (1876) France has burst into a great blossoming, not only of porcelain, but of decorative faience. In Paris, _Collinot_ has made a style of relief-enamel, in imitation of _cloisonné_, which is rich and effective in color, and often very beautiful; many have followed him. BARBIZÔT has made and is making the imitations of Palissy better than Palissy himself. BRIANCHON has made and perfected a lustrous ware like mother-of-pearl, which he calls "_Nacre_;" it is pretty and fanciful, and is very like what is made in Ireland, and called _Belleek_. DURAND RUEL had, in his exhibitions in 1875, some of the most superb and richly-colored faience-vases I have ever seen; but the name of their manufacturer was not made known. LAURIN, CHAPELET, and some other artists at Bourg-la-Reine, struck out a style of faience-painting about the same time--1874 to 1875--which, for richness and mystery of color, freedom and force of design, and for _delicious_ treatment--if I may call it so--has rarely been surpassed. It is original, and different from anything the Orientals have done, and quite as good. [Illustration: FIG. 86.--_Limoges Faience._] The HAVILANDS, at Limoges, have gone on with this work, and have not let it falter; their exhibition at Philadelphia in 1876 was excellent. I venture to include my notes made at the Exhibition: