. A history and description of the old French faïence, with an account of the revival of faïence painting in France. HOP, AND OFANTOINE DE GtASCQ, PRESIDENT OFTHE PARLIAMENT OF : CARTUS lOin. {Seep. 96.) SAMADET. 101 been picked up by the collector. But the presentation piece,the humble chef doeuvre, in the elaboration of which a skilfulcraftsman has tried to surpass himself, and which is of so muchinterest in connection with the history of ancient faience, isaltogether wanting. Louis dAstorg, Comte de Brabazan, inherited the factoryfrom his uncle Abbe de Roquepine
. A history and description of the old French faïence, with an account of the revival of faïence painting in France. HOP, AND OFANTOINE DE GtASCQ, PRESIDENT OFTHE PARLIAMENT OF : CARTUS lOin. {Seep. 96.) SAMADET. 101 been picked up by the collector. But the presentation piece,the humble chef doeuvre, in the elaboration of which a skilfulcraftsman has tried to surpass himself, and which is of so muchinterest in connection with the history of ancient faience, isaltogether wanting. Louis dAstorg, Comte de Brabazan, inherited the factoryfrom his uncle Abbe de Roquepine in 1774. But the leadingspirit was gone; under the management of the ordinary foremanwho took charge of the works, the making of painted articleswas gradually given up; when they were closed in 1832, nothinghad been manufactured for many years but the lowest de-scription of village crockery. BIBLIOGRAPHY. Tarbouriech,—Documents sur quelques faienceries du Sud-Ouest de la France. Paris, 1864. 12mo. Sorbets (L.).—Faienceries de Samadet. Dax, 1895. (E.).—Les poteries de Giroussens. Albi, 1901. CLERMONT-FERRAND. Fig. 44.—JUG INSCRIBED AND DATED 9 in. VII. STRASBURG. NIDERVILLER—LUNEVILLE AND SAINT-CLEMENT—BELLEVUE nearTOUL—MARSEILLES—LA ROCHELLE—SCEAUX—APREY. STRASBURG. Neither the constitutive material of a faience piece, nor theform that it affects, can be taken, as a rule, as affording a sureindication of its date and origin. But let it be completed witha surface decoration, and we are at once enabled to form acorrect estimate of the place, and even the period, to which thepiece is likely to belong. Thus, a plain pot of Strasburg whitefaience may be similar in all points to many a white potmanufactured in any country; on the other hand, if it isdecorated with reliefs or paintings in the stjde known to haveoriginated in that jolace, the same article can no longer be con-founded with anything that has been produced elsewhere. Forthis w
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