d; just
as the northern factories had sprung from Rouen.

[Illustration: Nevers Potters' marks.]

We have already seen at Nevers the introduction of patterns in the
Chinese style, and the same course was increasingly followed at all the
French factories during the 18th century. At Strassburg a fresh impetus
was given in this direction when, about 1721, Charles Hannong introduced
the practice of painting his white tin-enamelled ware with the on-glaze
colours used by the porcelain painters. This process enabled the French
potter to produce many colours unobtainable by his older process, and
moreover helped him to make his wares look more like the coveted
porcelain, then becoming the rage all over Europe. This new departure
marks the end of the best period of French faience, but so successfully
did it meet the demands of the time that it gradually displaced the old
method of decoration where the colours were painted on the raw glaze and
fired along with it. Factories sprang up for the manufacture of this new
ware in the first half of the 18th century at Niederviller, Luneville
and Sceaux, and it was quickly adopted by the older factories at Rouen,
Sinceny, Marseilles, &c. With its general adoption the old French
faience, developed from the Italian stock, departed, to make way for a
tin-enamelled imitation of _famille-rose_ porcelain. But this last style
was not of long life. The wealthy classes were no longer patrons of
pottery but of porcelain, and when, after 1786, the newly perfected
English earthenware was thrown upon the French market, the French
faience-makers had to give up their works, or adopt the manufacture of
this neater and, for domestic purposes, more suitable form of pottery.
This change, together with the disturbances of revolutionary times,
brought artistic pottery in France to a standstill, and we shall treat
of its revival during the last forty or fifty years in a subsequent
section.

_Collections._--The Victoria and Albert Museum and the British Museum
contain typical examples; but not such collections as are to be seen
in the Cluny Museum, the Louvre, the museum at Sevres, or the French
provincial museums at Rouen, Limoges, Marseilles, Lille, St Omer, &c.

LITERATURE.--Deck, _La Faience_ (Paris, 1887); Gasnault and Garnier,
_French Pottery_ (Victoria and Albert Museum Handbooks, 1884); Le
Breton, _Le Musee ceramique de Rouen_ (Rouen, 1883); Milet, (?)
_Historique de la faience et de