In France the hard-glazed work of Palissy was naturally an incentive to the imitator’s versatile aptitude, and later on to the faker’s. Being as esteemed for his work, as ill-treated for his religious convictions, Palissy had many imitators in his own time, mostly among his pupils or enthusiastic followers. However, Palissy died in the Bastille without revealing the secret of his glaze or the composition of his clay, so even his followers could only grope in the dark, to use the expression by which Palissy defined his long and arduous research, before he discovered the secret of his marvellous pottery. Perhaps because plagiarists are, after all, always plagiarists, the fact remains that none of the sixteenth and seventeenth-century imitators reached the level of the master. However, false Palissys are legion now. They are of all kinds and the originals being now practically off the market, museums, as usual, abounding in pseudo-Palissys, so a comparison with an original is not always possible. Apart from his immediate followers, Palissy was copied and imitated at Avon near Fontainebleau in the seventeenth century during Louis XIII reign. Demmin, a real authority on Palissy ceramics, mentions many false Palissys now in museums, some of them regular _pastiches_, suggested from well-known prints of a later date than Palissy. According to Demmin, some of these pieces are in the Victoria and Albert Museum, the motives of the composition, old-fashioned gardens, being taken from engravings in the style of Lenotre, possibly dating between 1603 and 1638. In modern times there are to be noted imitations by Alfred Corplet, a restorer of pottery who filled the market after the year 1852 with passable imitations, sold as such, of Palissy work. For a long time he had been a restorer of broken and damaged Palissy work and thus he had had opportunity to study the work of the master closely, and at one time his imitations fetched high prices. A. M. Pull also imitated Palissy work about the year 1878, as well as Barbizet Brothers, of whom a _plat à reptiles_ is kept in the Sèvres Museum. Some firms even reproduce sea-fish which are never found on genuine Palissys, as the master only moulded such animals and fish as he found in the environs of Paris. There are many fakers who still love to imitate the work of Palissy, and if we may give advice to the inexperienced collector we would say: “Don’t go after Palissys nowadays, as a find in this line is almost an impossibility; good originals are either kept in well-known collections or jealously guarded in museums.”