RERAMIC STUDIO 
ornamentation, are characteristic of Francois Briot, and 
in the backgrounds we find the marks of the small punches 
which were used by him in the chasing of the basin "Tem- 
perance." 
It seems then logical to believe that Gaspard Ender- 
lein secured the assistance of the poor engraver, and if, 
in addition to other proofs, we add that Enderlein repro- 
duced the basin "Temperance" (engraving on the reverse 
his own protrait in medallion, with the same inscription 
found on the Briot medallion), we must conclude either 
that Briot authorized Enderlein to reproduce his piece, 
or that Enderlein unscrupulously effaced the artist's image 
and substituted his own; a thing which is sometimes par- 
alleled even in our own times. It may be said also that 
the reproductions of the "Temperance" ewer and basin 
XVI. century. 
3 Museum — Paris 
No. 30. Stein in Pewter. German work. XVI. 
ngs to J. Brateau. 
made in Enderlein's large factory, appear hopelessly 
inferior, when they are compared to specimens signed by 
Francois Briot and bearing his portrait. 
This is a long digression, but we could not pass over 
in silence the work of a craftsman who has contributed 
so much to the beauty of pewter objects, and to the glory 
of our industrial arts. 
No. 32. Pewter Plates. German w»rk._XVI.— XVII._centuries. Belong to J. Brateau. 
