We turn to the tile-piece in which, upon nearly a thousand tiles, M. Bracquemond presents his allegory of Human Progress, with a mingled feeling of dislike and attraction. It also stands in the Smithsonian Institute. The repellent influence is first experienced, and arises, probably, from an apparent absurdity of design and the peculiar coloring. A figure of gigantic size occupies the centre, trampling fire underfoot, and having a greenish bronze statuette in the right hand and a vase in the other. On the left are the chimneys and smoke of a factory, and on the opposite side is a railway train. A flash of lightning strikes in from the right, and above the central figure is the recumbent form of a woman partially enveloped in cloud. The picture, as we have said, is allegorical, and represents the genius of man utilizing the waters of the rebellious stream and storm, the fires of the volcano and lightning, and making them subservient to progress. As it is more closely studied, its true place in art is better understood, and we ultimately accept the piece as an indication of the possibilities of M. Bracquemond’s art. We feel that another stage has been passed on the way toward the perfect union of the potter’s and painter’s skill, and toward the picture “permanent as the Pyramids” of which Ruskin writes. Many of the other tile-pieces, panels, and plaques (Fig. 239) from Limoges and Auteuil are more absolutely excellent. On a circular plaque appears a draped female head, in which the flesh tint, clear and ruddy, is simply wonderful. The delicacy which it lacks is found on two panels, perfect rural pictures, with single female figures. These pieces illustrate the fineness of landscape effect and the nicety of touch to which the artist in possession of Haviland’s palette can attain. The trees stand out well against the sky, its blue slightly shaded with cloudy gray; and if we turn from these to the figure-drawing, the arrangement of the drapery, even the finish of the embroidery, we feel that we are in presence of an art of the decorative and artistic capacity of which we are only catching the first glimpses. [Illustration: Fig. 239--Haviland Faience. (H. Havemeyer Coll.)]