"I guess because you make it all so much like a story book," answered Theo frankly. "How did you happen to know so much about it, Mr. Croyden?" "Why, it chances to be my business, son," Mr. Croyden replied. "In Trenton, New Jersey, where I live, we make quantities of earthenware and porcelain; more of it than anywhere else in the United States. That is the way I earn my money to come on fishing trips." "Oh, I see! Then of course it is no wonder that you know all about it!" cried Theo. "I know some things, but not all," was Mr. Croyden's answer. "However, since you like to hear about it I am ready and glad to tell you what I can. We will have a session on French pottery to-night, if you say so; there are some things I want you to know before we take up the making of the English wares." "Whatever you say!" exclaimed Theo. "Very well. I'll be back after dinner, and unless your father wants you for something else we'll have a nice evening together before your bedtime." Mr. Croyden was as good as his word. Theo had just finished his share of the big trout when into his room came the china merchant. "Your father and Manuel are busy icing some fish to ship home, so here I am," he affirmed. After dragging a steamer chair up to Theo's bedside and stretching himself comfortably in it the elder man began: "Most of the pottery of the seventeenth century was an outgrowth of the Italian Renaissance when all the arts such as painting, wood-carving, sculpture, literature, glass and pottery-making were revived. In France the attempt to imitate Italian Faenza ware gave rise to the word _faience_, a term applied to French porcelains made both from hard and soft paste. French potters at Nevers, spurred on by Dutch and Chinese products, began to turn out a type of pottery not unlike Delft, except that the method of coloring it was reversed, and instead of having blue figures on a white ground it had white figures on a background of blue. This innovation, however, was not an entirely new variety of pottery. It still remained for France to invent its own peculiar kind of ware, and this it soon did. Nevertheless you must not make the mistake of thinking that these first attempts were very far reaching, for on the contrary they were very limited. They are significant only because they are the beginnings of that wonderful art of porcelain-making which later the French carried to an amazing degree of perfection." There was a moment's delay in the story while Mr. Croyden rearranged more comfortably the pillows behind Theo's head. "Is that better?" he asked of the boy. "Lots better, thank you," said Theo gratefully. "All right, son. Then we'll go on. Two of the most important of these beginnings are the Henri Deux ware, as it is called; and the enamel work of Bernard Palissy." "We read about Palissy in school," put in Theo.