Subsequently to the sixteenth century, the tapestries fabricated at the manufactories of the Savonnerie, the Gobelins, and at Beauvais, &c., although more perfect as regards the weaving, and therefore presenting greater regularity of design and a better comprehension of colour and perspective, unfortunately lost the original simplicity which characterized them in olden times. Approaching the reign of Louis XIV., under the influence of the school of Le Brun,[3] they affected an imitation of Greek and Roman forms, which seem out of place in France. Handsome countenances are the result, out accompanied by meaningless figures; the frankness of truth gives place to staid coldness, the ideal usurps the place of nature, conventionality that of spontaneity. We find them ingenious, pretty, and even beautiful productions, but wanting character, the real soul of works of art. CERAMIC ART. Pottery Workshops in the Gallo-Romano Period.--Ceramic Art disappears for several Centuries in Gaul: is again found in the Tenth and Eleventh Centuries.--Probable Influence of Arabian Art in Spain.--Origin of Majolica.--Luca della Robbia and his Successors.--Enamelled Tiles in France, dating from the Twelfth Century.--The Italian Manufactories of Faenza, Rimini, Pesaro, &c.--Beauvais Pottery.--Invention and Works of Bernard Palissy; his History; his _Chefs-d’œuvre_.--The _Faïence_ of Thouars, called “Henri II.” We can assuredly say, with M. Jacquemart, that “the history of the ceramic art of the Middle Ages is shrouded by a veil which probably will always remain impenetrable. Notwithstanding the constant investigations of local societies, and the numerous documents that have been brought to light, nothing has transpired to remove the doubts of the archæologist regarding the places where the manufacture of pottery had its birth among us.” Nevertheless, it is certain that at the Gallo-Romano period--that is to say, when the Romans, having made themselves masters of that country, had introduced their customs and their industry--Gaul possessed numerous and considerable pottery workshops, which produced vessels and vases of all kinds. Maintaining the ancient forms and processes of manufacture, these factories continued to furnish, till about the sixth century, amphoræ, basins, cups on stems, dishes, plates, and bottles. They were made, with the aid of the potter’s wheel, of grey, yellow, or brown clay. Some of the finest quality were covered with a brilliant varnish, resembling red sealing-wax both in colour and appearance; and these articles were often ornamented with much care and delicacy. We find vases surrounded with garlands of leaves, cups embellished with figures of men and animals; these are so many proofs that this was a manufacture to which the influence of art was by no means unknown.