St. Amand holds an important position in the history of French art. It is one of the places, including Lille, Dunkirk, Valenciennes, and the other faience-producing towns of Flanders, which enabled France to domesticate, in a measure, the manufacture of ware resembling that of Delft. The paste of these faiences is identical with that used in the great Dutch establishment, with which they very soon came into competition. The history of St. Amand extends from 1740 down to the Revolution. It was founded by Pierre Joseph Fauquez, was continued by his son, Pierre François Joseph, until 1773, and by his grandson, Jean Baptiste Joseph, until the Revolution. The earlier style of decoration is based upon that of Rouen; the second is after that of Strasburg. One of the distinguishing features of this faience is the use of white enamel in relief upon the glaze, which is faintly tinged with blue. Having already touched upon a few of the leading names of modern Paris, there yet remains to be said something of its previous history. The relics discovered within the city belong to every period, from the Roman downward; and it may therefore be said that the metropolitan potters have been as busy, comparatively speaking, in the past as they are to-day. Faience was made from the beginning of the seventeenth century, and Réverend was, in 1664, making imitations of Delft, “thin, with a white enamel, with clear polychrome colors, often excessively pure.” This is M. Jacquemart’s description. Notwithstanding the privilege accorded to Réverend, many other workshops appear to have made faience throughout the whole of the eighteenth century, and it is generally impossible to tell them from the wares of Rouen and elsewhere, which they imitated. Artistic faience was made at Sceaux for about forty-five years previous to 1795, by Chapelle and Glot successively. Gros-Caillou, St. Denis, Vincennes, St. Cloud, and Sèvres were all more or less engaged in the manufacture of faience. We find Pierre Antoine Hannong, from Strasburg, at Vincennes in 1767, but he met with little success. There are many other places at which faience was made, some, like Nantes, Bordeaux, and Orleans, of importance, and others of which little is known besides their names. A list of them would add nothing to our real knowledge of French art, which has been chiefly influenced by the styles of which we have most fully treated. To the accounts of them has been added all that could be learned regarding Limoges, Creil, Sarreguemines, and a few Parisian and other workshops especially interesting to the collectors of the present day. PORCELAIN. Efforts to Make Porcelain.--First Artificial Porcelain.--St. Cloud.--Lille.--Paris.--Chantilly,--Mennecy.--Vincennes.--Sèvres.--Natural, or Hard, Porcelain.--Discovery of Kaolin.--Various Factories.--Limoges.--Deck.--Regnault.--Solon.--Pate Changeante.--Pate-sur-Pate.