THE CRAFTS 
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1 pewter, "Temperance" by Francois Briot, Louvre Museum, Paris. Diameter, 0.45 centimete 
ART IN PEWTER 
Jules Brateau 
(continued) 
Documents of great exactitude, recently found by 
M. Teuty, in the archives of Montbeliard,* now give authen- 
tic information regarding the life of Francois Briot, which, 
until the time of this discovery, was obscured by indeci- 
sion and probabilities. 
This great craftsman was born at Damblin in Bas- 
signy, on the borders of Lorraine, France, but was forced 
to leave his native place on account of religious troubles, 
He took refuge in Montbeliard at the end of the year 1579. 
and, in this place, assumed the title of "pewter potter"; 
no doubt in order to receive help from the Corporation of 
that craft, which accepted him as a member, and whose 
registers show the names of his two witnesses, as well as 
that of his comrade, Jean Jacquemart, blacksmith, who 
was presented with him and who signed for both. 
Briot was called upon to experiment on the press, just 
then invented for coining money. For such work he was 
fitted by his experience as a medal engraver. All the 
wonderful skill, acquired in the practice of medal engrav- 
ing, he lavished upon the pewter basin and ewer, produc- 
ing effects unknown until his time, making the metal 
yield all its treasure of softness and color, and, by fine 
decorative design, creating a lasting chef d'oeuvre. The 
*Memoires de la Societe d'Emulation de Montbeliard, Charavay, 
1SS7, Paris. 
composition, the execution of the smallest ornaments of 
this piece are in harmony with the use of the basin (the 
washing of the hands), and make this unique example 
of pewter comparable with the most artistic objects in 
the precious metals. It could well stand on the dressers 
of princes, together with the works of the celebrated Ben- 
venuto Cellini. There is in the execution and in the dis- 
tribution of the molds, in the divisions of the body of the 
ewer, a perfect knowledge of the possibilities of pewter. 
Nothing has been overlooked, nothing neglected. 
In examining an authentic pewter cast of this piece, 
one observes that there were slight defects in the copper 
mold of the large basin, and that these blemishes were 
repaired with great ingenuity; the basin being thus pre- 
served from total loss. 
Portrait of the master engraver, Francois Briot, drawn by himself on the reverse 
side of the basin, "Temperance," in the Louvre Museum, Paris. 
