Among the artists engaged upon the Haviland faience are M. and Mme. Bracquemond, MM. Lindeneher, Noel, Chaplet, Damousse, Lafond, and Delaplanche. With Messrs. Chaplet, Laurin, and Lafond, the new enamelling process may be said to have accidentally originated at Bourg-la-Reine in 1873, and M. Bracquemond was the first to appreciate its value and to bring it under the notice of the Messrs. Haviland. The latter at once saw its merit, and by farther experiment and the use of the resources at their command, brought it to perfection. The works of their artists have made America as familiar with their faience as it formerly was with their porcelain. The process having been discovered, the second step was the adoption of a style. Here we meet with a peculiarity of the ware. We speak of schools of painting, and our language implies a limitation, a peculiarity of _technique_. All artists who follow nature closely must needs belong to the same school. Their success in the reproduction of natural effects is a bond of union, which brings them together across the boundaries of special methods of treatment. Each of Havilands’ artists may have his specialty, but we find no broad dividing lines. Their subjects are taken from nature or from imagination, which is only a wider field based upon the natural. The sympathy between them lies in the new sense of the capabilities of their art. The brush is wielded with a stronger hand, and the designs appear bolder, at times almost reckless. There is no striving after what might be called “prettiness of style.” Where we have been accustomed to restraint we find largeness and liberty. There are no longer minute divisions of surfaces to be covered in detail with graceful precision, but designs of full artistic completeness and strong simplicity. Color is applied with a commensurate boldness, which carries the conviction that here at last we find a decoration suited to its basis of earthen-ware. [Illustration: Fig. 238.--Memorial Vase. Haviland Faience. (Smithsonian Institute.)]