STRASSBURG[1] and HAGENAU were noted for the manufacture of fayence, established by Charles François Hannong about 1709. It was called in France "poterie du Rhin," and is of a peculiar character, and easily known, being generally decorated with flowers and scrolls in red, rose colour, and green. Charles F. Hannong was succeeded by his sons Paul and Balthasar. The former took charge of the Strassburg works, and the latter the factory which had been started at Hagenau. The Strassburg fayence works were closed in 1780. [Illustration: FIG. 67.--FOUNTAIN.] [Illustration: FIG. 68.--CLOCK AND BRACKET.] Fig. 67, polychrome decoration, bears the initials of Paul Hannong; about 1750; height 22-1/4 in. Fig. 68, in three pieces, coloured in maroon, yellow, blue and green, bears the mark of Paul Hannong; about 1750; height 3 ft. 9 in. MOUSTIERS. The products of the Moustiers _fabriques_ may be divided into three periods:-- 1st Epoch. Towards the end of the 17th century. The subjects are hunting scenes, &c., painted in blue; champêtre scenes and figures in costumes of the period of Louis XIV.; and mythological and biblical subjects with arabesque borders. The outlines are sometimes lightly indicated in violet of manganese. [Illustration: FIG. 69.--PLATEAU.] 2nd Epoch. From the commencement of the 18th century to about 1745. The specimens of this period are in blue _camaïeu_ with highly finished and graceful interlaced patterns, among which are cupids, satyrs, nymphs, terminal figures, flowers, masks, &c.; canopies with draperies resting upon consoles, vases, fountains, &c. 3rd Epoch. From 1745 to 1789. The fayence is mostly painted in polychrome; the colours are blue, brown, yellow, green, and violet. The decorations are flowers, fruit, and foliage, and sometimes mythological subjects. Other patterns of this period consist of grotesque figures, and caricatures. The outlines of the designs were transferred to the surface of the ware by means of paper patterns, pricked with a fine needle and powdered over with charcoal. [Illustration: FIG. 70.--COMPOTIER.] Fig. 69, painted in green _camaïeu_ with a rustic subject in the style of Boucher, with polychrome floral border; 1720 to 1760; diam. 11-1/8 in. Fig. 70. Compotier, painted with a central hunting subject, after Tempesta, surrounded by a floral border, and outer border of garlands, in polychrome; 1680 to 1720; diam. 10-3/8 in. [Illustration: FIG. 71.--PLATE.] [Illustration: FIG. 72.--BARBER'S BASIN.] Fig. 71. Plate, octagonal, with curved outline, painted with central medallion of Juno standing in a landscape, surrounded by a garland, and round the border the busts of divinities within medallions, and garlands, in polychrome; 1680 to 1720; diam. 10 in. Fig. 72. Barber's basin, painted in polychrome with the subject of Diana and Actæon; 1680 to 1720; length 15 in.