The places mentioned, Nevers, Rouen, Moustiers, Marseilles, and Strasburg, are the centres from which emanated the leading old styles of decoration. An exact classification is impossible, since, as Marseilles faience often bears a striking resemblance to that of Moustiers, the works of Strasburg, on the other hand, are closely related to those from Marseilles. After them comes a centre, more interesting because very recently arriving at eminence, from which has emanated a style different from that of any of its predecessors. Limoges is as yet scarcely known in the history of pottery, although there is a probability, almost amounting to a certainty, that it will hereafter be accepted as one of the leading representatives of the ceramic art of France in our day. We find, in 1737, a decree granted in favor of Sieur Massie, empowering him to establish a workshop of faience at Limoges. The discovery of kaolin at St. Yrieix appears to have directed the attention of potters from faience to porcelain. One piece of the Massie period, dated 1741, is now in Limoges. A border, resembling those of Moustiers, surrounds the figure of Justice enthroned and holding the sword and scales. Religion, Truth, and Law attend her, and Crime is crushed under her foot. Other equally remarkable pieces may be in existence, but Limoges nowhere appears in the records as producing any faience of importance or of a very high order of art. Within the past few years the aspect of affairs has changed, and the Havilands of New York have made for Limoges--in conjunction with Auteuil, near Paris, where much of the moulding and decorating is executed--a place in the history of pottery as lofty as that which it occupies in the history of enamelling. Notwithstanding all that has been said of Saracenic and Italian decoration, we believe that it was reserved for Haviland to show the real decorative capacity of faience, and to demonstrate the possible harmony between decoration and its excipient. For a long time Limoges was known solely as a seat of the porcelain industry. It was in this way that Americans first became familiar with its name. When the time came for Haviland to turn his attention to faience the change above referred to set in. He did more than merely institute a revival of an obscure industry. While Montagnon of Nevers was following closely in the track of his predecessors, and other manufacturers, both French and Italian, were busy with imitations of dead styles, Haviland set a gigantic task before himself, and it is to the credit of Americans that they have been among the readiest to appreciate his works and to encourage his efforts. His faience is remarkable by reason of its combining three very important qualities--novelty of process, originality of decoration, and the strength of drawing and color which are most perfectly in keeping with the material on which they appear.