At Moustiers in Provence faience began to be made shortly before I70o by members of the Clerissy family. Among their early productions are dishes of exceptionally large diameter with hunt ing-subjects after engravings by Tempesta and wares, especially oblong trays, with airy baroque designs in the manner of Berain ; these were at first in blue, afterwards polychrome. In 1738 Joseph Olerys, a Moustiers potter who had spent some years at Alcora in Spain, introduced a new floral style in colours with sprays re sembling potato-blossoms, and grotesque figures borrowed from the engravings of Callot. About 1677 one of the Clerissys of Moustiers moved to Marseilles and there made faience, similar to that of his native town, in the suburb of St. Jean-du-Desert. Sev eral factories were at work at Marseilles during the i8th century; chief among them were those of Veuve Perrin, Joseph Robert and Honre Savy.
In Lorraine flourishing faience-factories were carried on at Strasbourg and Niderviller, both conspicuous for the fine quality of their overglaze enamel painting. The Strasbourg pottery, in the hands of the Hannong family, came to an end in 1774 after some half century of existence. Its earliest wares were blue-and white in the manner of Rouen. Its later table wares in good rococo shapes based on silversmith's work show quasi-naturalistic flower-painting skilfully rendered in fresh colours dominated by a strong crimson, which exercised a great influence on the work of other French faience factories. That founded by Baron Beyerle in 1754 at Niderviller and transferred in 1774 to the Comte de Custine made similar enamel-painted faience, including admirable figures, mostly of children or peasants, from models by the sculp tors Cyffle and Lemire.
Faience of artistic quality was made at many other French towns in the i8th century. Sceaux near Paris produced both por celain and enamel-painted faience hardly inferior to porcelain. Aprey is known for gaily-coloured wares of a more homely kind. In Paris, at Lille and Rennes the formal style of Rouen was fol lowed. St. Omer and St. Amand-les-Eaux in French Flanders, and Montpellier in Languedoc also had faience-factories.
Faience of Northern Europe, Spain and Portugal.—Early in the 16th century an Italian potter from Castel Durante, Guido di Savino, was settled at Antwerp, and from this time may be dated the beginning of maiolica-production in the Netherlands. The Antwerp wares, which included pavement-tiles, show the in fluence of the Faenza potteries in simple floral and linear motives, but soon took on the distinctive characteristics of Netherlandish renaissance design. About 1560-70 maiolica-potters from Antwerp
carried their art as Protestant refugees to Holland and England. Rotterdam and Haarlem became centres of production of earthen ware and wall-tiles with animal, flower and fruit motives in strong colouring, and large tilework pictures with figure-subjects. To wards 165o Delft came to the fore and for more than a century continued with its numerous pot teries, known by their signs (the Peacock, the Star, etc.), as a thriving centre of industry export ing its wares all over the civilized world. Aelbrecht de Keizer is the earliest Delft potter whose productions are known, if the initials AK on certain blue-and white pieces are rightly identified as his ; the designs on these are borrowed from the contemporary Chinese porcelain then being im ported in quantities by the Dutch East India Company. About i600 we find plates and panels charm ingly painted in blue with Dutch or Italian landscapes, by Fred erick van Fritjtom. Samuel van Eenhoorn developed the Chinese fashion in a broad highly decorative manner of his own. To Adrianus Koek are owing the imposing blue-and-white hyacinth vases made to the order of Queen Mary for the adornment of Hampton Court Palace; their ornament is borrowed from the French baroque designer, Daniel Marot. Other potters adopted Biblical subjects or scenes from Dutch life of the time (often in series continued through a set of plates or dishes) for the decoration of their wares. About 170o close imitations of Chinese porcelain of the reign of K'ang Hsi, both blue-and-white and five-colour, were made, especially by Lambertus van Eenhoorn and Louwijs Fictoor, whose monograms are indistinguishable ; notable amongst them are chimney-piece sets of large covered jars and vases, often reeded (so-called cachemire ornament). The wares produced became ever more varied, including statuettes and even model violins. Before 170o muffle pigments and gilding were introduced by Rochus Hoppesteyn, in vases with classical figure-subjects, and by Adriaen Pijnacker, in imitations of Japa nese polychrome porcelain dominated by a vivid red. Coloured enamel grounds were also occasionally used, notably a fine black in imitation of lacquer. As the i8th century advanced the wares became more commercial in character; the Delft potteries de clined, only ten surviving till 1794. Somewhat rustic wares in the Delft style continued to be made till recent times at Mak kum and elsewhere in Friesland.