drawing. Then it was painted over and the piece was placed in the large oven. Presented for the first time at the Universal Exhibition of 1867, this service was a great success. It was in the third group "furniture and other objects for the home", Class 17 "porcelain, earthenware, and luxury pottery" no. 58, installed on Louis XIII shelves in old oak with velvet stands. Above the counter, the name Rousseau is enameled with fire on a plaque. The jury awarded him a bronze medal (because Rousseau was merchant and not manufacturer). The gold medal was awarded to the manufacturers Lebeuf and Milliet. The service also boasted two novelties: the first was that everyone was free to compose his service according to his tastes and personal use. Rousseau suggested "the barnyard for meat, Crustaceans for fish and flowers for dessert." The second was that the service was adapted to wider circles: "for its sumptuousness to the bourgeoisie, and for its aspect serving as a hunt for the nobility." The service was then completed (tea cups, coffee, etc.) and the manufacture left to the Creil and Montereau factory. Barluet, Lebeuf's successor, re-edited it in the early 1880s. In 1885, Eugène Rousseau sold his business to Ernest-Baptiste Leveillé, who continued to publish the service under his own brand. Many reissues or variants followed. Among them, that of the Manufacture Jules Vieillard in Bordeaux (late 19th century), that of the Crystal Stairs (early 20th century), or even of the faience of Gien The large birds still in reissue. It can also be noted that many pieces of this service are now preserved in various French national museums (Musée d'Orsay, Musée national Adrien Dubouché, etc.). Each element of the service, inspired by Japanese prints, was decorated with a different motif. The decoration treats and associates a multitude of birds, fishes, and crustaceans, always leaving room for plants and insects. The decor is often presented as a trilogy. The butterfly meets a cock at the turn of a branch, a dragonfly meets a carp at the bend of a water lily. Many artists of the time celebrated the poetry of this service and praised its exceptional decor. Mallarmé notably, noted a "visible decadence" since the Restoration in the French furniture, testifies to his appeal for this service. He lingered on ceramics for a special praise of Rousseau, whom he defended against his English imitators: "I