But if the certain knowledge which Palissy thought he had acquired as to the early convulsions of the globe had succeeded in satisfying his own mind, the glazier-surveyor (who was now a married man with a family) still remained in straitened circumstances, and was obliged to find some means of avoiding actual want. We must refer to what he himself says more than a quarter of a century later, and when success had completely crowned his efforts, to learn what were his recollections of his early and hazardous experiments in a new channel. “Know,” says he, in his expressive language, “that it is twenty-five years since an earthen vessel was shown to me; it was turned, enamelled, and of such exquisite beauty, that from that very moment I began to argue with myself, while remembering observations made derisively to me by some persons when I was painting figures. And seeing that they were beginning to give up the use of these objects in the country where I lived, and that glazing also was not in great demand, I set myself to think that had I but discovered the art of making enamel, I might make earthen vessels and other articles of beautiful appearance; for God had given me the capacity to understand a little about ceramic painting, and from that instant, without in the least regarding my utter ignorance of siliceous substances, I set myself to discover enamels like a man groping in the dark.” It has been much disputed, but we may as well say at once to no purpose, how to assign with certainty a particular locality whence came this object which inspired Palissy; but whatever may have been its origin, it seems to us to be a question of little moment, because at the time when Palissy must have seen it, the Italian manufactories, and even those which were afterwards established in various localities, had succeeded in disseminating their wares far and wide; and, besides this, the works of Palissy, which we still see, bear testimony to a style that was peculiarly his own, and in some measure original.