{Glaze, {Faience Henri II., {Plumbiferous{ colorless.{ Wedgwood, Meakin, { glaze { { Creil, Montereau. { { { {Glaze, {Palissy, Nuremberg, {_Earthen body {Transparent{ { colored {Minton’s majolica. { with a { glaze. { { non-vitrified{ {Alkaline {Glaze, {Faience of Persia, { break_ { { glaze { colorless.{ China, and { { { { Japan; Deck. { { { { { { {Limoges faience { { { { of Haviland, { { {Glaze, { Bracquemond, { { { colored { and Chaplet. { { OPAQUE { { {Delia Robbia, EARTHEN { {Opaque {Stanniferous {Colorless { Rovigo, Fontana, BODY. { { enamel { { Rouen, Moustiers, { { { Nevers, Delft, TERRES. { { { Ulysses de Blois, { { { St. Clement. { { { {Colored Colinot, Parville, { Longwy. { {_Earthen body, {Biscuit Boccaro, Bizen. { with a { { vitrified { { break_ {Glaze Grès from Germany. Under the above arrangement, it will be observed that the distinction between hard and soft porcelain and pottery is done away with. The first is divided into natural and artificial, the kaolinic paste being the only one coming under the former head, and the “soft-pastes” of both England and France coming under the latter. The subdivisions are made according to the glaze employed. The division of pottery into two classes, according to the nature of the body as revealed by fracture, is the most lucid and comprehensive. The subdivisions, as in the case of porcelain, are made according to the enamel or glaze applied to the ware. It is presumed that any one can distinguish between transparent and opaque wares, and thus tell porcelain from pottery, and similarly, tell whether the fracture of a broken specimen is vitrified or otherwise, and thus distinguish stone-ware, or _grès_, from ordinary earthen-ware.