Allied to Moustiers, as representing the art of Southern France, is Marseilles, a city in every way favorably situated for the prosecution of the faience industry. Of its earlier works, dating as far back as the fifteenth century, nothing is known; but toward the end of the seventeenth century a workshop was founded, in which was made an authenticated faience. The distinguishing feature of the decoration is the combination of violet from manganese with cobalt blue. The style bears a general resemblance to that of Moustiers, and it is probable that the works of the two factories are frequently confounded. About 1750 the Marseilles faience was exported in immense quantities; and from that date, when the name of Honoré Savy appears in the list of potters, polychrome decoration became more prevalent. Savy was, in 1777, on the visit of the future Louis XVIII., authorized to call his workshop “Manufacture de Monsieur, Frère du Roi,” and is said to have then adopted the _fleur-de-lis_ as his mark. The mark alone cannot, however, be accepted as indicating with absolute certainty a work of Savy. The same potter is said to have invented a particular green; but it appears to have been common to the other potters of Marseilles, as it is found upon pieces by Joseph Gaspard Robert and Mme. Perrin. Robert ranks next to Savy in faience, and was making porcelain at the time of the royal visit. In Strasburg we find the origin of a style of faience painting which, although displaying unquestionable excellence of workmanship, was carried to such an extent that the suitableness of the decoration to the earthen-ware body was completely lost sight of. Reference is made to the porcelain style, by which decoration more properly reserved for porcelain was applied to faience. The Strasburg paste is of comparative fineness, the glaze is excellent, and the colors brilliant. The first factory was established by Charles François Hannong in 1709. In 1721 Hannong associated himself with a German potter from Anspach, named Wackenfield, and in 1724 started a second workshop at Haguenau. The latter ultimately fell to Balthasar Hannong, a son of Charles; and the Strasburg establishment was carried on by another son, Paul Antoine. The latter worked industriously, and brought the establishment up to a very high position. On his death, in 1760, it was carried on by his son Pierre Antoine, who transferred it to Joseph Adam, his brother, and in 1780 the production ceased. The best period was that between 1740 and 1760, when Paul Antoine was proprietor.