The glaze chemistry of a group of rustiques figulines attributed to the renowned French potter Bernard Palissy (1510-90), or to his followers and imitators, has been determined nondestructively using PIXE and PIGE analyses. The glazes are all lead silicates, the colourants being transition metal oxides-CuO, CoO, MnO and Fe 2 O 3 -with a small addition of SnO 2 to some of the glazes being common. Some distinction can be made between the various fabricated objects based on details of the overall composition and on the concentrations of the various colourants. The presence of B 2 O 3 in any glaze, even in quantities as small as 0.1-0.3%, indicates a post-16th century production. Additionally, B 2 O 3 in larger quantities, a few per cent or greater, very probably indicates an 18th-19th century production. However, at least one object known to be of 19th century production contains no B 2 O 3 .

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Chemical analyses of a group of Pb silicate-glazed decorative objets d'art showing scenes of the French royal family (Louis XIII and Henri IV), and biblical and classical figures, have been analysed and compared with other similar heritage ceramics and with the rustiques figulines of Bernard Palissy (1510-90) and his followers and imitators. In particular, nondestructive ion-beam chemical analyses (PIXE and PIGE) have been performed on 11 ceramic artefacts from the Cleveland Museum of Art (CMA) and a like number from several French museums; results for 13 objects are described in detail in this paper. SEM-EDX has been performed on chips ('microsamples') taken from small unobtrusive defective regions on the CMA ceramics. The results of the ion-beam and SEM-EDX techniques are in good agreement. All the decorative ceramics included uniform non-opacified glazes. None of these objects can be of 16th century production; all must date from the 17th to the 19th centuries.

The archives of the famous Parisian restorer Alfred André (1839-1919) contain a collection of drawings of Limoges painted enamels. Unknown to the scholars until 2013, it sheds light on restoration techniques developed in André's workshop. It also enables us to draw up a list of works that were restored on his premises in the second half of the 19th and early 20th centuries, and which are now in major museums across the world (British Museum,

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