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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:01:48 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:01:48 -0700 |
| commit | 844075da1b305ebdd3e6f5d5b88fb38a75cc357c (patch) | |
| tree | f94c7453a544ea12ca703231a26e1f89dc5e73c4 /34508-h | |
Diffstat (limited to '34508-h')
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diff --git a/34508-h/34508-h.htm b/34508-h/34508-h.htm new file mode 100644 index 0000000..36defe4 --- /dev/null +++ b/34508-h/34508-h.htm @@ -0,0 +1,7216 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of The Collector's Handbook to Keramics of the Renaissance and Modern Periods, by William Chaffers. + </title> + <style type="text/css"> + p {margin-top: .75em; text-align: justify; margin-bottom: .75em;} + + body {margin-left: 12%; margin-right: 12%;} + + .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right; font-style: normal;} + + h1,h2,h3,h4,h5,h6 {text-align: center; clear: both;} + + hr {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: auto; margin-right: auto; clear: both;} + + table {margin-left: auto; margin-right: auto;} + + .blockquot {margin-left: 5%; margin-right: 10%;} + .note {margin-left: 20%; margin-right: 20%;} + .index {margin-left: 20%;} + + .right {text-align: right;} + .center {text-align: center;} + + .smcap {font-variant: small-caps;} + .smcaplc {text-transform: lowercase; font-variant: small-caps;} + + .figcenter {margin: auto; text-align: center;} + + p.dropcap:first-letter{float: left; padding-right: 3px; font-size: 250%; line-height: 83%; width:auto;} + .caps {text-transform:uppercase;} + + a:link {color:#0000ff; text-decoration:none} + a:visited {color:#6633cc; text-decoration:none} + + .spacer {padding-left: 1em; padding-right: 1em;} + + ins.correction {text-decoration:none; border-bottom: thin solid gray;} + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Collector's Handbook to Keramics of the +Renaissance and Modern Periods, by William Chaffers + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Collector's Handbook to Keramics of the Renaissance and Modern Periods + +Author: William Chaffers + +Release Date: November 30, 2010 [EBook #34508] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK COLLECTOR'S HANDBOOK TO KERAMICS *** + + + + +Produced by Chris Curnow, Joseph Cooper and the Online +Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + +<p> </p> +<div class="figcenter"><img src="images/cover.jpg" alt="" /></div> +<p> </p><p> </p><p> </p> +<h3><i>The Complete Work from which this Handbook is extracted</i></h3> +<h1>The Keramic Gallery</h1> +<h4>BY</h4> +<h3>WILLIAM CHAFFERS</h3> + +<p class="center">Containing several hundred illustrations, some in colour, of rare,<br /> +curious, and choice examples of Pottery and Porcelain from the<br /> +earliest times to the beginning of the nineteenth century</p> +<p> </p> +<p class="center"><span class="smcaplc">NEW EDITION, REVISED AND EDITED BY</span><br /> +H. M. CUNDALL, I.S.O., F.S.A.</p> +<p> </p> +<p class="center">Royal 8vo, cloth extra, top edge gilt, to range with the same author’s<br /> +“Marks and Monograms on Pottery”</p> + +<div class="note"> +<p><br />This important book, which was long out of print and scarce, is not +reprinted because of its rarity, but because it is an <i>indispensable</i> +companion to the same author’s “Marks and Monograms on Pottery and +Porcelain.”</p> + +<p>As originally published in two volumes at 4 guineas, with the examples +reproduced by the Woodbury process, it was an inconvenient book for +reference, the examples being separated from the text. In this edition +the illustrations are all printed in the letterpress, and are seen in +conjunction with the history and description of the different potteries.</p> + +<p>The book is not a bare reprint, but has been thoroughly edited, in many +cases new or additional specimen pieces given, and the references made +to the latest edition of the “Marks and Monograms,” so that the book is +of the utmost use for the present day.</p> + +<p>This work was undertaken by Mr. H. M. Cundall, I.S.O., F.S.A., and no +pains have been spared to make it worthy to be in the hands of every +collector as well as every library.</p></div> + +<p> </p><p> </p><p> </p> +<h2>HANDBOOK TO KERAMICS</h2> +<p> </p><p><a name="front" id="front"></a> </p> +<div class="figcenter"><img src="images/i004.jpg" alt="" /></div> +<p class="center"><span class="smcap">Chelsea Statuette, “Melpomene”</span></p> + +<p> </p><p> </p><p> </p> +<h3>THE COLLECTOR’S HANDBOOK</h3> +<h4>TO</h4> +<h1>Keramics</h1> +<h3><i>Of the Renaissance and Modern Periods</i></h3> +<p> </p> +<p class="center">SELECTED FROM HIS LARGER WORK, ENTITLED</p> +<h3>“The Keramic Gallery”</h3> +<p> </p> +<p class="center">WITH 350 ILLUSTRATIONS</p> +<p> </p> +<h4>BY</h4> +<h3>WILLIAM CHAFFERS</h3> +<p class="center"><small>AUTHOR OF “MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN”<br /> +“HALL MARKS ON GOLD AND SILVER PLATE,” ETC. ETC.</small></p> +<p> </p><p> </p> +<p class="center">LONDON<br /> +GIBBINGS AND COMPANY, LIMITED<br /> +NEW YORK: CHARLES SCRIBNER’S SONS<br /> +1909</p> +<p> </p><p> </p><p> </p> +<p class="center">Printed by <span class="smcap">Ballantyne, Hanson & Co.</span><br /> +At the Ballantyne Press, Edinburgh</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p> +<h2>PREFACE</h2> + +<p class="dropcap"><span class="caps">As</span> “<span class="smcap">The Keramic Gallery</span>” by the late William Chaffers forms a pictorial +supplement to his book “<span class="smcap">Marks and Monograms on Pottery and Porcelain</span>,” +so likewise this work, “<span class="smcap">Handbook to Keramics</span>,” which is an abridged +edition of “<span class="smcap">The Keramic Gallery</span>,” is intended to form a companion volume +of illustrations to “<span class="smcap">The Collector’s Handbook of Marks and Monograms on +Pottery and Porcelain</span>.”</p> + +<p>Whilst it has been found necessary on account of their size to omit some +of the larger illustrations, which appear in the second edition of “<span class="smcap">The +Keramic Gallery</span>,” care has been taken to give representations, as far as +possible, of each individual kind of pottery and porcelain, which have +been produced in the various foreign and English manufactories from the +Renaissance period down to the middle of the nineteenth century.</p> + +<p>Brief accounts, extracted from the larger volume, of the various +manufactories are also given, with a<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> view to help in establishing the +period to which any specimen may belong.</p> + +<p>It is hoped that this little work may prove to be of assistance to the +Collector in identifying those specimens of Keramics bearing no marks, +which may, from time to time, be brought under his notice.</p> + +<p class="right">H. M. C.</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p> +<h2>CONTENTS</h2> + +<table border="0" cellpadding="0" cellspacing="0" summary="contents"> +<tr><td> </td><td><span class="spacer"> </span></td><td align="right"><span class="smcaplc">PAGE</span></td></tr> +<tr><td>MAIOLICA—</td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Italy</span></span></td><td> </td><td align="right"><a href="#Page_1">1</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Spain</span></span></td><td> </td><td align="right"><a href="#Page_41">41</a></td></tr> +<tr><td> </td></tr> +<tr><td>CONTINENTAL FAYENCE—</td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">France</span></span></td><td> </td><td align="right"><a href="#Page_50">50</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Germany</span></span></td><td> </td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Holland and Luxemburg</span></span></td><td> </td><td align="right"><a href="#Page_100">100</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Russia and Sweden</span></span></td><td> </td><td align="right"><a href="#Page_107">107</a></td></tr> +<tr><td> </td></tr> +<tr><td>CONTINENTAL PORCELAIN—</td><td> </td><td align="right"><a href="#Page_110">110</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Italy</span></span></td><td> </td><td align="right"><a href="#Page_112">112</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Spain</span></span></td><td> </td><td align="right"><a href="#Page_127">127</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Germany</span></span></td><td> </td><td align="right"><a href="#Page_130">130</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Austria</span></span></td><td> </td><td align="right"><a href="#Page_160">160</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Switzerland</span></span></td><td> </td><td align="right"><a href="#Page_168">168</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Holland</span></span></td><td> </td><td align="right"><a href="#Page_170">170</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Belgium and Luxemburg</span></span></td><td> </td><td align="right"><a href="#Page_175">175</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Russia</span></span></td><td> </td><td align="right"><a href="#Page_179">179</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Sweden</span></span></td><td> </td><td align="right"><a href="#Page_184">184</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Denmark</span></span></td><td> </td><td align="right"><a href="#Page_185">185</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">France</span></span></td><td> </td><td align="right"><a href="#Page_187">187</a></td></tr> +<tr><td> </td></tr> +<tr><td>GREAT BRITAIN—</td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Pottery</span></span></td><td> </td><td align="right"><a href="#Page_216">216</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Porcelain</span></span></td><td> </td><td align="right"><a href="#Page_255">255</a></td></tr> +<tr><td> </td></tr> +<tr><td>ORIENTAL POTTERY AND PORCELAIN—</td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">China</span></span></td><td> </td><td align="right"><a href="#Page_285">285</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Japan</span></span></td><td> </td><td align="right"><a href="#Page_295">295</a></td></tr> +<tr><td><span style="margin-left: 1em;"><span class="smcap">Persia, Syria, and Turkey</span></span></td><td> </td><td align="right"><a href="#Page_304">304</a></td></tr> +<tr><td> </td></tr> +<tr><td>INDEX</td><td> </td><td align="right"><a href="#Page_313">313</a></td></tr></table> + +<p><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span></p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p> +<h2>LIST OF ILLUSTRATIONS</h2> + +<table border="0" cellpadding="0" cellspacing="0" summary="illustrations"> +<tr><td colspan="2"><span class="smcap">Chelsea Statuette, “Melpomene”</span></td><td colspan="2" align="right"><a href="#front"><i>Frontispiece</i></a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">MAIOLICA</td></tr> +<tr><td> </td></tr><tr><td> </td><td align="center">ITALY</td></tr> +<tr><td><span class="smcaplc">FIG.</span></td><td> </td><td align="right"><span class="smcaplc">PAGE</span></td></tr> +<tr><td align="right">1.</td> + <td><span class="smcap">Urbino</span>—Plateau. Marriage of Alexander and Roxana</td> + <td align="right"><a href="#Page_3">2</a></td></tr> +<tr><td align="right">2.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Plateau, with Leda and the Swan in the centre</span></td> + <td align="right"><a href="#Page_3">3</a></td></tr> +<tr><td align="right">3.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Plateau. By Alfonso Patanazzi, 1606</span></td> + <td align="right"><a href="#Page_4">4</a></td></tr> +<tr><td align="right">4.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Vase. Apollo and Daphne. <i>Circa</i> 1580</span></td> + <td align="right"><a href="#Page_5">5</a></td></tr> +<tr><td align="right">5.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Cruet. <i>Circa</i> 1570</span></td> + <td align="right"><a href="#Page_5">6</a></td></tr> +<tr><td align="right">6.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Plate. “The Stream of Life;” signed M<sup>o</sup>. Giorgio</span></td> + <td align="right"><a href="#Page_7">7</a></td></tr> +<tr><td align="right">7.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Vase, with Shield of Arms, by M<sup>o</sup>. Giorgio. <i>16th century</i></span></td> + <td align="right"><a href="#Page_7">7</a></td></tr> +<tr><td align="right">8.</td> + <td><span class="smcap">Pesaro</span>—Drug Vase, inscribed “Sir di Cedro.” <i>17th century</i></td> + <td align="right"><a href="#Page_9">9</a></td></tr> +<tr><td align="right">9.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Bowl, Cover, and Dish, <i>18th century</i></span></td> + <td align="right"><a href="#Page_10">10</a></td></tr> +<tr><td align="right">10.</td> + <td><span class="smcap">Castel Durante</span>—Vase. <i>Circa</i> 1560</td> + <td align="right"><a href="#Page_11">11</a></td></tr> +<tr><td align="right">11.</td> + <td><span style="margin-left: 3.5em;">"</span><span style="margin-left: 4.5em;">Plate. <i>Circa</i> 1530</span></td> + <td align="right"><a href="#Page_11">11</a></td></tr> +<tr><td align="right">12.</td> + <td><span class="smcap">Faenza</span>—Plaque; inscribed “Andrea di Bono, 1491”</td> + <td align="right"><a href="#Page_13">12</a></td></tr> +<tr><td align="right">13.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.75em;">Plate, with motto “En Piu.” <i>15th century</i></span></td> + <td align="right"><a href="#Page_13">13</a></td></tr> +<tr><td align="right">14.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.75em;">Plaque. Joseph Sold by His Brethren. <i>16th century</i></span></td> + <td align="right"><a href="#Page_14">14</a></td></tr> +<tr><td align="right">15.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.75em;">Plate, with Arms and Arabesques, <i>16th century</i></span></td> + <td align="right"><a href="#Page_15">15</a></td></tr> +<tr><td align="right">16.</td> + <td><span class="smcap">Diruta</span>—Plate. <i>Circa</i> 1520</td> + <td align="right"><a href="#Page_16">16</a></td></tr> +<tr><td align="right">17.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Plate; inscribed “Sura Fiore.” <i>Circa</i> 1520</span></td> + <td align="right"><a href="#Page_16">16</a></td></tr> +<tr><td align="right">18.</td> + <td><span class="smcap">Forlì</span>—Plate. Christ among the Doctors. <i>16th century</i></td> + <td align="right"><a href="#Page_17">17</a></td></tr> +<tr><td align="right">19.</td> + <td><span class="smcap">Viterbo</span>—Plateau. Diana and Actæon. <i>Dated</i> 1544</td> + <td align="right"><a href="#Page_18">18</a></td></tr> +<tr><td align="right">20.</td> + <td><span class="smcap">Cafaggiolo</span>—Plateau. St. George. <i>Circa</i> 1520</td> + <td align="right"><a href="#Page_19">19</a></td></tr> +<tr><td align="right">21.</td> + <td><span class="smcap">Siena</span>—Plate. By M<sup>o</sup>. Benedetto. <i>Circa</i> 1520</td> + <td align="right"><a href="#Page_21">21</a></td></tr> +<tr><td align="right">22.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2em;">Plate. Woman and Two Peacocks. <i>18th century</i></span></td> + <td align="right"><a href="#Page_22">22</a></td></tr> +<tr><td align="right">23.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2em;">Plate. Vintage; signed “Ferdinando M<sup>a</sup>. Campani, 1747”</span></td> + <td align="right"><a href="#Page_22">22</a></td></tr> +<tr><td align="right">24.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2em;">Plate. Galatea. <i>Early 18th century</i></span></td> + <td align="right"><a href="#Page_23">23</a></td></tr> +<tr><td align="right"><span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span>25.</td> + <td><span class="smcap">Venice</span>—Plate. Architectural Subject. <i>Circa</i> 1700</td> + <td align="right"><a href="#Page_24">24</a></td></tr> +<tr><td align="right">26.</td> + <td><span class="smcap">Nove</span>—Tureen and Cover. <i>18th century</i></td> + <td align="right"><a href="#Page_25">25</a></td></tr> +<tr><td align="right">27.</td> + <td><span class="smcap">Florence</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_26">26</a></td></tr> +<tr><td align="right">28.</td> + <td><span class="smcap">Padua</span>—Plate. Myrrha Fleeing from her Father</td> + <td align="right"><a href="#Page_27">27</a></td></tr> +<tr><td align="right">29.</td> + <td><span class="smcap">Castelli</span>—Bowl and Cover. <i>18th century</i></td> + <td align="right"><a href="#Page_29">28</a></td></tr> +<tr><td align="right">30.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 3em;">Ewer and Basin. <i>18th century</i></span></td> + <td align="right"><a href="#Page_29">29</a></td></tr> +<tr><td align="right">31.</td> + <td><span class="smcap">Monte Lupo</span>—Plate. Three Cavaliers</td> + <td align="right"><a href="#Page_31">31</a></td></tr> +<tr><td align="right">32.</td> + <td><span class="smcap">Milan</span>—Écuelle and Dish. <i>18th century</i></td> + <td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="right">33.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 2.5em;">Ewer and Dish. <i>18th century</i></span></td> + <td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="right">34.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 2.5em;">Cup and Plate. <i>18th century</i></span></td> + <td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="right">35.</td> + <td><span class="smcap">Turin</span>—Dish with pierced Border. <i>Dated</i> 1577</td> + <td align="right"><a href="#Page_33">33</a></td></tr> +<tr><td align="right">36.</td> + <td><span class="smcap">Ferrara</span>—Plateau. Triumph of Bacchus. <i>First half of 18th century</i></td> + <td align="right"><a href="#Page_34">34</a></td></tr> +<tr><td align="right">37.</td> + <td><span class="smcap">Genoa</span>—Bottle. <i>18th century</i></td> + <td align="right"><a href="#Page_36">35</a></td></tr> +<tr><td align="right">38.</td> + <td><span class="smcap">Savona</span>—Basket. <i>18th century</i></td> + <td align="right"><a href="#Page_36">36</a></td></tr> +<tr><td align="right">39.</td> + <td><span class="smcap">Loreto</span>—Two Bowls</td> + <td align="right"><a href="#Page_37">37</a></td></tr> +<tr><td align="right">40.</td> + <td><span class="smcap">Sgraffiato</span> or <span class="smcap">Incised Ware</span>—Bowl. <i>About</i> 1460</td> + <td align="right"><a href="#Page_38">38</a></td></tr> +<tr><td align="right">41.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 5.5em;">"</span><span style="margin-left: 2em;">Plate. <i>About</i> 1540</span></td> + <td align="right"><a href="#Page_38">38</a></td></tr> +<tr><td align="right">42.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 5.5em;">"</span><span style="margin-left: 2em;">Basket. <i>19th century</i></span></td> + <td align="right"><a href="#Page_39">39</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">SPAIN</td></tr> +<tr><td align="right">43.</td> + <td><span class="smcap">Hispano-Moresque</span>—Vase. <i>15th century</i></td> + <td align="right"><a href="#Page_40">40</a></td></tr> +<tr><td align="right">44.</td> + <td><span style="margin-left: 3.5em;">"</span><span style="margin-left: 5.5em;">Azulejo. <i>14th century</i></span></td> + <td align="right"><a href="#Page_41">41</a></td></tr> +<tr><td align="right">45.</td> + <td><span style="margin-left: 3.5em;">"</span><span style="margin-left: 5.5em;">Plateau. <i>15th or 16th century</i></span></td> + <td align="right"><a href="#Page_43">43</a></td></tr> +<tr><td align="right">46.</td> + <td><span style="margin-left: 3.5em;">"</span><span style="margin-left: 5.5em;">Plateau. <i>15th or 16th century</i></span></td> + <td align="right"><a href="#Page_44">44</a></td></tr> +<tr><td align="right">47.</td> + <td><span class="smcap">Valencia</span>—Dish</td> + <td align="right"><a href="#Page_45">45</a></td></tr> +<tr><td align="right">48.</td> + <td><span class="smcap">Manises</span>—Vase</td> + <td align="right"><a href="#Page_46">46</a></td></tr> +<tr><td align="right">49.</td> + <td><span class="smcap">Triana</span>—Bottle in Form of a Lady</td> + <td align="right"><a href="#Page_47">47</a></td></tr> +<tr><td align="right">50.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.5em;">Dish. <i>Dated</i> 1774</span></td> + <td align="right"><a href="#Page_47">47</a></td></tr> +<tr><td align="right">51.</td> + <td><span class="smcap">Alcora</span>—Plaque with Rococo Frame</td> + <td align="right"><a href="#Page_48">48</a></td></tr> +<tr><td align="right">52.</td> + <td><span class="smcap">Talavera</span>—Bowl</td> + <td align="right"><a href="#Page_49">49</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">CONTINENTAL FAYENCE</td></tr> +<tr><td> </td></tr><tr><td> </td><td align="center">FRANCE</td></tr> +<tr><td align="right">53.</td> + <td><span class="smcap">Saint Porchaire</span>—Candlestick</td> + <td align="right"><a href="#Page_51">51</a></td></tr> +<tr><td align="right">54.</td> + <td><span style="margin-left: 3em;">"</span><span style="margin-left: 5em;">Biberon</span></td> + <td align="right"><a href="#Page_52">52</a></td></tr> +<tr><td align="right">55.</td> + <td><span class="smcap">Apt</span>—Vase</td> + <td align="right"><a href="#Page_53">53</a></td></tr> +<tr><td align="right"><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span>56.</td> + <td><span class="smcap">Blois</span>—Candlestick</td> + <td align="right"><a href="#Page_54">54</a></td></tr> +<tr><td align="right">57.</td> + <td><span class="smcap">Avignon</span>—Ewer. <i>About</i> 1600</td> + <td align="right"><a href="#Page_55">55</a></td></tr> +<tr><td align="right">58.</td> + <td><span class="smcap">Palissy Ware</span>—Dish, with Reptiles, Fish, &c. <i>16th century</i></td> + <td align="right"><a href="#Page_56">56</a></td></tr> +<tr><td align="right">59.</td> + <td><span class="smcap">Nevers</span>—Pilgrim’s Bottle. <i>Second half of 17th century</i></td> + <td align="right"><a href="#Page_57">57</a></td></tr> +<tr><td align="right">60.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Ewer. <i>Second half of 17th century</i></span></td> + <td align="right"><a href="#Page_58">58</a></td></tr> +<tr><td align="right">61.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Pilgrim’s Bottle</span></td> + <td align="right"><a href="#Page_59">59</a></td></tr> +<tr><td align="right">62.</td> + <td><span class="smcap">Rouen</span>—Ewer</td> + <td align="right"><a href="#Page_60">60</a></td></tr> +<tr><td align="right">63.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Ewer</span></td> + <td align="right"><a href="#Page_61">61</a></td></tr> +<tr><td align="right">64.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Plate</span></td> + <td align="right"><a href="#Page_61">61</a></td></tr> +<tr><td align="right">65.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Compotier</span></td> + <td align="right"><a href="#Page_62">62</a></td></tr> +<tr><td align="right">66.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Compotier</span></td> + <td align="right"><a href="#Page_62">62</a></td></tr> +<tr><td align="right">67.</td> + <td><span class="smcap">Strassburg</span>—Fountain</td> + <td align="right"><a href="#Page_64">63</a></td></tr> +<tr><td align="right">68.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3.75em;">Clock and Bracket</span></td> + <td align="right"><a href="#Page_64">64</a></td></tr> +<tr><td align="right">69.</td> + <td><span class="smcap">Moustiers</span>—Plateau</td> + <td align="right"><a href="#Page_65">65</a></td></tr> +<tr><td align="right">70.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">Compotier</span></td> + <td align="right"><a href="#Page_66">66</a></td></tr> +<tr><td align="right">71.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">Plate</span></td> + <td align="right"><a href="#Page_67">67</a></td></tr> +<tr><td align="right">72.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">Barber’s Basin</span></td> + <td align="right"><a href="#Page_67">67</a></td></tr> +<tr><td align="right">73.</td> + <td><span class="smcap">Varages</span>—Plate</td> + <td align="right"><a href="#Page_69">68</a></td></tr> +<tr><td align="right">74.</td> + <td><span class="smcap">Marseilles</span>—Tureen</td> + <td align="right"><a href="#Page_70">69</a></td></tr> +<tr><td align="right">75.</td> + <td><span class="smcap">Sinceny</span>—Bowl and Cover</td> + <td align="right"><a href="#Page_71">71</a></td></tr> +<tr><td align="right">76.</td> + <td><span class="smcap">Lunéville</span>—Pair of Rustic Figures</td> + <td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="right">77.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 3em;">Dish</span></td> + <td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="right">78.</td> + <td><span class="smcap">Aprey</span>—Plate</td> + <td align="right"><a href="#Page_74">74</a></td></tr> +<tr><td align="right">79.</td> + <td><span class="smcap">Manerbe</span>—Finial</td> + <td align="right"><a href="#Page_75">75</a></td></tr> +<tr><td align="right">80.</td> + <td><span class="smcap">St. Clément</span>—Écuelle</td> + <td align="right"><a href="#Page_76">76</a></td></tr> +<tr><td align="right">81.</td> + <td><span class="smcap">Niderviller</span>—Plate</td> + <td align="right"><a href="#Page_77">77</a></td></tr> +<tr><td align="right">82.</td> + <td><span class="smcap">St. Armand-les-Eaux</span>—Inkstand</td> + <td align="right"><a href="#Page_79">79</a></td></tr> +<tr><td align="right">83.</td> + <td><span class="smcap">Sceaux Penthièvre</span>—Plate</td> + <td align="right"><a href="#Page_80">80</a></td></tr> +<tr><td align="right">84.</td> + <td><span class="smcap">Creil</span>—Plate</td> + <td align="right"><a href="#Page_81">81</a></td></tr> +<tr><td align="right">85.</td> + <td><span class="smcap">Lille</span>—Dish</td> + <td align="right"><a href="#Page_82">82</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">GERMANY</td></tr> +<tr><td align="right">86.</td> + <td><span class="smcap">Nuremberg</span>—Jug. <i>15th century</i></td> + <td align="right"><a href="#Page_85">85</a></td></tr> +<tr><td align="right">87.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3.5em;">Dish</span></td> + <td align="right"><a href="#Page_86">86</a></td></tr> +<tr><td align="right">88.</td> + <td><span class="smcap">Bayreuth</span>—Coffee-pot</td> + <td align="right"><a href="#Page_88">88</a></td></tr> +<tr><td align="right">89.</td> + <td><span class="smcap">Limburg</span>—Cruche</td> + <td align="right"><a href="#Page_90">90</a></td></tr> +<tr><td align="right">90.</td> + <td><span class="smcap">Raeren</span>—Cruche</td> + <td align="right"><a href="#Page_90">90</a></td></tr> +<tr><td align="right">91.</td> + <td><span class="smcap">Seigburg</span>—Canette</td> + <td align="right"><a href="#Page_91">91</a></td></tr> +<tr><td align="right"><span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span>92.</td> + <td><span class="smcap">Grenzhausen</span>—Jug</td> + <td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="right">93.</td> + <td><span style="margin-left: 3em;">"</span><span style="margin-left: 3.5em;">Fountain</span></td> + <td align="right"><a href="#Page_93">93</a></td></tr> +<tr><td align="right">94.</td> + <td><span class="smcap">Kreussen</span>—Tankard</td> + <td align="right"><a href="#Page_94">94</a></td></tr> +<tr><td align="right">95.</td> + <td><span class="smcap">Harburg</span>—Cruche</td> + <td align="right"><a href="#Page_95">95</a></td></tr> +<tr><td align="right">96.</td> + <td><span class="smcap">Dresden</span>—Böttcher Coffee-pot</td> + <td align="right"><a href="#Page_97">97</a></td></tr> +<tr><td align="right">97.</td> + <td><span class="smcap">Teinitz</span>—Plate</td> + <td align="right"><a href="#Page_98">98</a></td></tr> +<tr><td align="right">98.</td> + <td><span class="smcap">Kiel</span>—Bishop Mitre Bowl</td> + <td align="right"><a href="#Page_99">99</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">HOLLAND</td></tr> +<tr><td align="right">99.</td> + <td><span class="smcap">Delft</span>—Cruche</td> + <td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="right">100.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 2.25em;">Teapot</span></td> + <td align="right"><a href="#Page_102">102</a></td></tr> +<tr><td align="right">101.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 2.25em;">Vase</span></td> + <td align="right"><a href="#Page_103">103</a></td></tr> +<tr><td align="right">102.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 2.25em;">Plate</span></td> + <td align="right"><a href="#Page_104">103</a></td></tr> +<tr><td align="right">103.</td> + <td><span class="smcap">Amsterdam</span>—Dish</td> + <td align="right"><a href="#Page_105">105</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">SWEDEN</td></tr> +<tr><td align="right">104.</td> + <td><span class="smcap">Rörstrand</span>—Butterboat</td> + <td align="right"><a href="#Page_108">108</a></td></tr> +<tr><td align="right">105.</td> + <td><span class="smcap">Marieberg</span>—Vase and Cover</td> + <td align="right"><a href="#Page_108">108</a></td></tr> +<tr><td align="right">106.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3.25em;">Plate</span></td> + <td align="right"><a href="#Page_109">109</a></td></tr> +<tr><td> </td></tr><tr><td> </td></tr> +<tr><td> </td><td align="center">CONTINENTAL PORCELAIN</td></tr> +<tr><td> </td></tr><tr><td> </td><td align="center">ITALY</td></tr> +<tr><td align="right">107.</td> + <td><span class="smcap">Florence</span>—Cruet</td> + <td align="right"><a href="#Page_112">112</a></td></tr> +<tr><td align="right">108.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 3em;">Bowl</span></td> + <td align="right"><a href="#Page_113">113</a></td></tr> +<tr><td align="right">109.</td> + <td><span class="smcap">Doccia</span>—Teapot</td> + <td align="right"><a href="#Page_113">113</a></td></tr> +<tr><td align="right">110.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 2.25em;">Basin</span></td> + <td align="right"><a href="#Page_114">114</a></td></tr> +<tr><td align="right">111.</td> + <td><span class="smcap">Naples—Capo di Monte</span>—Vase</td> + <td align="right"><a href="#Page_115">115</a></td></tr> +<tr><td align="right">112.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 5em;">"</span><span style="margin-left: 4.5em;">Saucer</span></td> + <td align="right"><a href="#Page_115">115</a></td></tr> +<tr><td align="right">113.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 5em;">"</span><span style="margin-left: 4.5em;">Cup and Saucer</span></td> + <td align="right"><a href="#Page_116">116</a></td></tr> +<tr><td align="right">114.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 5em;">"</span><span style="margin-left: 4.5em;">Coffee-pot</span></td> + <td align="right"><a href="#Page_116">116</a></td></tr> +<tr><td align="right">115.</td> + <td><span class="smcap">Treviso</span>—Écuelle</td> + <td align="right"><a href="#Page_117">117</a></td></tr> +<tr><td align="right">116.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 2.25em;">Cup and Saucer</span></td> + <td align="right"><a href="#Page_118">118</a></td></tr> +<tr><td align="right">117.</td> + <td><span class="smcap">Turin, Vinovo</span>—Écuelle</td> + <td align="right"><a href="#Page_118">118</a></td></tr> +<tr><td align="right">118.</td> + <td><span class="smcap">Venice</span>—Vase and Cover</td> + <td align="right"><a href="#Page_120">120</a></td></tr> +<tr><td align="right">119.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Vase</span></td> + <td align="right"><a href="#Page_121">121</a></td></tr> +<tr><td align="right">120.</td> + <td><span class="smcap">Nove</span>—Jardinière</td> + <td align="right"><a href="#Page_123">123</a></td></tr> +<tr><td align="right">121.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 1.75em;">Vase</span></td> + <td align="right"><a href="#Page_124">124</a></td></tr> +<tr><td align="right"><span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg xv]</a></span>122.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 1.75em;">Vase</span></td> + <td align="right"><a href="#Page_125">125</a></td></tr> +<tr><td align="right">123.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 1.75em;">Milk-pot</span></td> + <td align="right"><a href="#Page_125">125</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">SPAIN</td></tr> +<tr><td align="right">124.</td> + <td><span class="smcap">Madrid—Buen Retiro</span>—Group</td> + <td align="right"><a href="#Page_127">127</a></td></tr> +<tr><td align="right">125.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 4.75em;">"</span><span style="margin-left: 3.75em;">Vase</span></td> + <td align="right"><a href="#Page_128">128</a></td></tr> +<tr><td align="right">126.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 4.75em;">"</span><span style="margin-left: 3.75em;">Vase</span></td> + <td align="right"><a href="#Page_128">128</a></td></tr> +<tr><td align="right">127.</td> + <td><span class="smcap">Alcora</span>—Plaque</td> + <td align="right"><a href="#Page_129">129</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">GERMANY</td></tr> +<tr><td align="right">128.</td> + <td><span class="smcap">Dresden</span>—Vase</td> + <td align="right"><a href="#Page_131">131</a></td></tr> +<tr><td align="right">129.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 3em;">Sucrier, Cup, and Saucer</span></td> + <td align="right"><a href="#Page_132">132</a></td></tr> +<tr><td align="right">130.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 3em;">Cup and Saucer</span></td> + <td align="right"><a href="#Page_132">132</a></td></tr> +<tr><td align="right">131.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 3em;">Vase and Cover</span></td> + <td align="right"><a href="#Page_133">133</a></td></tr> +<tr><td align="right">132.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 3em;">Bust of a Girl</span></td> + <td align="right"><a href="#Page_134">134</a></td></tr> +<tr><td align="right">133.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 3em;">Teapot and Saucer</span></td> + <td align="right"><a href="#Page_134">134</a></td></tr> +<tr><td align="right">134.</td> + <td><span class="smcap">Berlin</span>—Group</td> + <td align="right"><a href="#Page_135">135</a></td></tr> +<tr><td align="right">135.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">Group</span></td> + <td align="right"><a href="#Page_136">136</a></td></tr> +<tr><td align="right">136.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">Milk-pot, Cup, and Saucer</span></td> + <td align="right"><a href="#Page_137">137</a></td></tr> +<tr><td align="right">137.</td> + <td><span class="smcap">Höchst</span>—Lamp-stand</td> + <td align="right"><a href="#Page_138">138</a></td></tr> +<tr><td align="right">138.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.5em;">Tray and Sucrier</span></td> + <td align="right"><a href="#Page_139">139</a></td></tr> +<tr><td align="right">139.</td> + <td><span class="smcap">Frankenthal</span>—Plate</td> + <td align="right"><a href="#Page_140">140</a></td></tr> +<tr><td align="right">140.</td> + <td><span style="margin-left: 2.5em;">"</span><span style="margin-left: 4em;">Déjeuner Service</span></td> + <td align="right"><a href="#Page_141">141</a></td></tr> +<tr><td align="right">141.</td> + <td><span class="smcap">Nymphenburg</span>—Tankard</td> + <td align="right"><a href="#Page_142">142</a></td></tr> +<tr><td align="right">142.</td> + <td><span style="margin-left: 2.5em;">"</span><span style="margin-left: 4.25em;">Cup and Saucer</span></td> + <td align="right"><a href="#Page_143">143</a></td></tr> +<tr><td align="right">143.</td> + <td><span class="smcap">Anspach</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_143">143</a></td></tr> +<tr><td align="right">144.</td> + <td><span class="smcap">Bayreuth</span>—Cup</td> + <td align="right"><a href="#Page_144">144</a></td></tr> +<tr><td align="right">145.</td> + <td><span class="smcap">Kelsterbach</span>—Harlequin</td> + <td align="right"><a href="#Page_145">145</a></td></tr> +<tr><td align="right">146.</td> + <td><span class="smcap">Thuringia</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_146">146</a></td></tr> +<tr><td align="right">147.</td> + <td><span class="smcap">Closter Veilsdorf</span>—Teapot</td> + <td align="right"><a href="#Page_146">146</a></td></tr> +<tr><td align="right">148.</td> + <td><span style="margin-left: 4em;">"</span><span style="margin-left: 5em;">Tray</span></td> + <td align="right"><a href="#Page_147">147</a></td></tr> +<tr><td align="right">149.</td> + <td><span class="smcap">Rudolstadt</span>—Milk-pot, Cup, and Saucer</td> + <td align="right"><a href="#Page_147">147</a></td></tr> +<tr><td align="right">150.</td> + <td><span class="smcap">Fulda</span>—A Peasant</td> + <td align="right"><a href="#Page_148">148</a></td></tr> +<tr><td align="right">151.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">A Peasant</span></td> + <td align="right"><a href="#Page_148">148</a></td></tr> +<tr><td align="right">152.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Cup and Saucer</span></td> + <td align="right"><a href="#Page_149">149</a></td></tr> +<tr><td align="right">153.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Coffee-pot</span></td> + <td align="right"><a href="#Page_149">149</a></td></tr> +<tr><td align="right">154.</td> + <td><span class="smcap">Fürstenberg</span>—Bust of Augusta, Duchess of Brunswick</td> + <td align="right"><a href="#Page_150">150</a></td></tr> +<tr><td align="right">155.</td> + <td><span style="margin-left: 2.5em;">"</span><span style="margin-left: 3.75em;">Medallions</span></td> + <td align="right"><a href="#Page_150">150</a></td></tr> +<tr><td align="right"><span class="pagenum"><a name="Page_xvi" id="Page_xvi">[Pg xvi]</a></span>156.</td> + <td><span class="smcap">Ludwigsburg</span>—Chocolate-pot</td> + <td align="right"><a href="#Page_151">151</a></td></tr> +<tr><td align="right">157.</td> + <td><span style="margin-left: 2.5em;">"</span><span style="margin-left: 4em;">Coffee-pot</span></td> + <td align="right"><a href="#Page_152">152</a></td></tr> +<tr><td align="right">158.</td> + <td><span class="smcap">Regensburg</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_153">153</a></td></tr> +<tr><td align="right">159.</td> + <td><span class="smcap">Grossbreitenbach</span>—Milk-pot</td> + <td align="right"><a href="#Page_153">153</a></td></tr> +<tr><td align="right">160.</td> + <td><span class="smcap">Limbach</span>—Sucrier, Cover, and Stand</td> + <td align="right"><a href="#Page_154">154</a></td></tr> +<tr><td align="right">161.</td> + <td><span class="smcap">Gera</span>—Sugar Basin</td> + <td align="right"><a href="#Page_155">155</a></td></tr> +<tr><td align="right">162.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 2em;">Cup, Cover, and Saucer</span></td> + <td align="right"><a href="#Page_156">156</a></td></tr> +<tr><td align="right">163.</td> + <td><span class="smcap">Gotha</span>—Figure of Bacchus</td> + <td align="right"><a href="#Page_157">157</a></td></tr> +<tr><td align="right">164.</td> + <td><span class="smcap">Rauenstein</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_158">158</a></td></tr> +<tr><td align="right">165.</td> + <td><span class="smcap">Wallendorf</span>—Vase</td> + <td align="right"><a href="#Page_159">159</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">AUSTRIA</td></tr> +<tr><td align="right">166.</td> + <td><span class="smcap">Vienna</span>—Cabaret</td> + <td align="right"><a href="#Page_161">161</a></td></tr> +<tr><td align="right">167.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Milk-pot</span></td> + <td align="right"><a href="#Page_162">162</a></td></tr> +<tr><td align="right">168.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Plate</span></td> + <td align="right"><a href="#Page_163">163</a></td></tr> +<tr><td align="right">169.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Cup and Saucer</span></td> + <td align="right"><a href="#Page_164">164</a></td></tr> +<tr><td align="right">170.</td> + <td><span class="smcap">Schlaggenwald</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_166">166</a></td></tr> +<tr><td align="right">171.</td> + <td><span class="smcap">Herend</span>—Cabaret, portion of a</td> + <td align="right"><a href="#Page_167">167</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">SWITZERLAND</td></tr> +<tr><td align="right">172.</td> + <td><span class="smcap">Nyon</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_168">168</a></td></tr> +<tr><td align="right">173.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 4.5em;">"</span></td> + <td align="right"><a href="#Page_169">169</a></td></tr> +<tr><td align="right">174.</td> + <td><span class="smcap">Zurich</span>—Group</td> + <td align="right"><a href="#Page_169">169</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">HOLLAND</td></tr> +<tr><td align="right">175.</td> + <td><span class="smcap">Weesp</span>—Ewer</td> + <td align="right"><a href="#Page_170">170</a></td></tr> +<tr><td align="right">176.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2em;">Coffee-pot</span></td> + <td align="right"><a href="#Page_170">170</a></td></tr> +<tr><td align="right">177.</td> + <td><span class="smcap">Oude Loosdrecht</span>—Vase</td> + <td align="right"><a href="#Page_171">171</a></td></tr> +<tr><td align="right">178.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 4em;">Panel</span></td> + <td align="right"><a href="#Page_172">172</a></td></tr> +<tr><td align="right">179.</td> + <td><span class="smcap">Amsterdam</span>—Pair of Bottles</td> + <td align="right"><a href="#Page_172">172</a></td></tr> +<tr><td align="right">180.</td> + <td><span class="smcap">Oude Amstel</span>—Teapot and Sucrier</td> + <td align="right"><a href="#Page_173">173</a></td></tr> +<tr><td align="right">181.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 2em;">Sucrier</span></td> + <td align="right"><a href="#Page_173">173</a></td></tr> +<tr><td align="right">182.</td> + <td><span class="smcap">The Hague</span>—Plate</td> + <td align="right"><a href="#Page_174">174</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">BELGIUM AND LUXEMBURG</td></tr> +<tr><td align="right">183.</td> + <td><span class="smcap">Tournai</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_175">175</a></td></tr> +<tr><td align="right">184.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 3.25em;">Plate</span></td> + <td align="right"><a href="#Page_176">176</a></td></tr> +<tr><td align="right"><span class="pagenum"><a name="Page_xvii" id="Page_xvii">[Pg xvii]</a></span>185.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 3.25em;">Salt-cellar</span></td> + <td align="right"><a href="#Page_176">176</a></td></tr> +<tr><td align="right">186.</td> + <td><span class="smcap">Brussels</span>—Milk Jug</td> + <td align="right"><a href="#Page_177">177</a></td></tr> +<tr><td align="right">187.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 3.25em;">Teapot</span></td> + <td align="right"><a href="#Page_177">177</a></td></tr> +<tr><td align="right">188.</td> + <td><span class="smcap">Luxemburg</span>—Two figures of “The Seasons”</td> + <td align="right"><a href="#Page_178">178</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">RUSSIA</td></tr> +<tr><td align="right">189.</td> + <td><span class="smcap">St. Petersburg</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_179">179</a></td></tr> +<tr><td align="right">190.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;">Verrière</span></td> + <td align="right"><a href="#Page_179">179</a></td></tr> +<tr><td align="right">191.</td> + <td><span class="smcap">Moscow</span>—Statuette</td> + <td align="right"><a href="#Page_180">180</a></td></tr> +<tr><td align="right">192.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 3.25em;">Cup and Saucer</span></td> + <td align="right"><a href="#Page_181">181</a></td></tr> +<tr><td align="right">193.</td> + <td><span class="smcap">Korzec</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_182">182</a></td></tr> +<tr><td align="right">194.</td> + <td><span class="smcap">Baranowka</span>—Milk Jug</td> + <td align="right"><a href="#Page_183">183</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">SWEDEN</td></tr> +<tr><td align="right">195.</td> + <td><span class="smcap">Marieberg</span>—Custard Cup and Cover</td> + <td align="right"><a href="#Page_184">184</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">DENMARK</td></tr> +<tr><td align="right">196.</td> + <td><span class="smcap">Copenhagen</span>—Cabaret</td> + <td align="right"><a href="#Page_185">185</a></td></tr> +<tr><td align="right">197.</td> + <td><span style="margin-left: 2.5em;">"</span><span style="margin-left: 3.5em;">Cabaret</span></td> + <td align="right"><a href="#Page_186">186</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">FRANCE</td></tr> +<tr><td align="right">198.</td> + <td><span class="smcap">St. Cloud</span>—Jug</td> + <td align="right"><a href="#Page_187">187</a></td></tr> +<tr><td align="right">199.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">Statuette</span></td> + <td align="right"><a href="#Page_188">188</a></td></tr> +<tr><td align="right">200.</td> + <td><span class="smcap">Chantilly</span>—Dish</td> + <td align="right"><a href="#Page_189">189</a></td></tr> +<tr><td align="right">201.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3.25em;">Pair of Figures</span></td> + <td align="right"><a href="#Page_190">190</a></td></tr> +<tr><td align="right">202.</td> + <td><span class="smcap">Mennecy-Villeroy</span>—Sugar Basin and Stand</td> + <td align="right"><a href="#Page_191">191</a></td></tr> +<tr><td align="right">203.</td> + <td><span style="margin-left: 3.75em;">"</span><span style="margin-left: 5em;">Group</span></td> + <td align="right"><a href="#Page_192">192</a></td></tr> +<tr><td align="right">204.</td> + <td><span class="smcap">Sceaux Penthièvre</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_193">193</a></td></tr> +<tr><td align="right">205.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 3.75em;">Milk-pot</span></td> + <td align="right"><a href="#Page_193">193</a></td></tr> +<tr><td align="right">206.</td> + <td><span class="smcap">Arras</span>—Sceau</td> + <td align="right"><a href="#Page_193">193</a></td></tr> +<tr><td align="right">207.</td> + <td><span class="smcap">Boulogne-sur-Mer</span>—Plaque</td> + <td align="right"><a href="#Page_194">194</a></td></tr> +<tr><td align="right">208.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 3.75em;">Sucrier</span></td> + <td align="right"><a href="#Page_194">194</a></td></tr> +<tr><td align="right">209.</td> + <td><span class="smcap">Étiolles</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_195">195</a></td></tr> +<tr><td align="right">210.</td> + <td><span class="smcap">Lille</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_196">195</a></td></tr> +<tr><td align="right"><span class="pagenum"><a name="Page_xviii" id="Page_xviii">[Pg xviii]</a></span>211.</td> + <td><span class="smcap">Bourg-la-Reine</span>—Custard Pot</td> + <td align="right"><a href="#Page_196">196</a></td></tr> +<tr><td align="right">212.</td> + <td><span class="smcap">Clignancourt</span>—Milk-pot and Cover</td> + <td align="right"><a href="#Page_197">197</a></td></tr> +<tr><td align="right">213.</td> + <td><span style="margin-left: 3em;">"</span><span style="margin-left: 4em;">Cup and Dish</span></td> + <td align="right"><a href="#Page_197">197</a></td></tr> +<tr><td align="right">214.</td> + <td><span style="margin-left: 3em;">"</span><span style="margin-left: 4em;">Milk Jug</span></td> + <td align="right"><a href="#Page_197">197</a></td></tr> +<tr><td align="right">215.</td> + <td><span class="smcap">Orleans</span>—Bowl, Cover, and Stand</td> + <td align="right"><a href="#Page_199">199</a></td></tr> +<tr><td align="right">216.</td> + <td><span class="smcap">Niderviller</span>—Milk-pot and Cover</td> + <td align="right"><a href="#Page_200">200</a></td></tr> +<tr><td align="right">217.</td> + <td><span class="smcap">Boissette</span>—Teapot</td> + <td align="right"><a href="#Page_201">201</a></td></tr> +<tr><td align="right">218.</td> + <td><span class="smcap">Caen</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_201">201</a></td></tr> +<tr><td align="right">219.</td> + <td><span class="smcap">Valenciennes</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_202">202</a></td></tr> +<tr><td align="right">220.</td> + <td><span class="smcap">Strassburg</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_203">203</a></td></tr> +<tr><td align="right">221.</td> + <td><span class="smcap">Paris: Rue Thiroux</span>—Sucrier</td> + <td align="right"><a href="#Page_204">204</a></td></tr> +<tr><td align="right">222.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.5em;"><span class="smcap">Rue de Bondy</span>—Ewer and Basin</span></td> + <td align="right"><a href="#Page_204">204</a></td></tr> +<tr><td align="right">223.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.5em;"><span class="smcap">Rue Fontaine au Roi</span>—Part of a Tea Service</span></td> + <td align="right"><a href="#Page_205">205</a></td></tr> +<tr><td align="right">224.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.5em;"><span class="smcap">Faubourg St. Honoré</span>—Teapot</span></td> + <td align="right"><a href="#Page_206">206</a></td></tr> +<tr><td align="right">225.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.5em;"><span class="smcap">Pont-aux-Choux</span>—Teapot</span></td> + <td align="right"><a href="#Page_206">206</a></td></tr> +<tr><td align="right">226.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.5em;"><span class="smcap">Rue de Crussol</span>—Cup</span></td> + <td align="right"><a href="#Page_207">207</a></td></tr> +<tr><td align="right">227.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.5em;"><span class="smcap">Belleville</span>—Watch-stand</span></td> + <td align="right"><a href="#Page_207">207</a></td></tr> +<tr><td align="right">228.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.5em;"><span class="smcap">Vincennes</span>—Cup and Saucer</span></td> + <td align="right"><a href="#Page_208">208</a></td></tr> +<tr><td align="right">229.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 3.5em;">"</span><span style="margin-left: 3em;">(Royal Factory)—Vase</span></td> + <td align="right"><a href="#Page_210">210</a></td></tr> +<tr><td align="right">230.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 3.5em;">"</span><span style="margin-left: 5.5em;">"</span><span style="margin-left: 4.25em;">Cup and Saucer</span></td> + <td align="right"><a href="#Page_211">211</a></td></tr> +<tr><td align="right">231.</td> + <td><span class="smcap">Sèvres</span>—Vase</td> + <td align="right"><a href="#Page_212">212</a></td></tr> +<tr><td align="right">232.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Écuelle</span></td> + <td align="right"><a href="#Page_213">213</a></td></tr> +<tr><td align="right">233.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.5em;">Group</span></td> + <td align="right"><a href="#Page_214">214</a></td></tr> +<tr><td> </td></tr><tr><td> </td></tr> +<tr><td> </td><td align="center">GREAT BRITAIN</td></tr> +<tr><td> </td></tr><tr><td> </td><td align="center">POTTERY</td></tr> +<tr><td align="right">234.</td> + <td><span class="smcap">Staffordshire</span>—Tyg</td> + <td align="right"><a href="#Page_218">218</a></td></tr> +<tr><td align="right">235.</td> + <td><span style="margin-left: 3em;">"</span><span style="margin-left: 4em;">Mug</span></td> + <td align="right"><a href="#Page_218">218</a></td></tr> +<tr><td align="right">236.</td> + <td><span style="margin-left: 3em;">"</span><span style="margin-left: 4em;">Plateau</span></td> + <td align="right"><a href="#Page_219">219</a></td></tr> +<tr><td align="right">237.</td> + <td><span class="smcap">Etruria</span>—Wedgwood Vase</td> + <td align="right"><a href="#Page_220">220</a></td></tr> +<tr><td align="right">238.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 5em;">"</span><span style="margin-left: 3em;">"</span></td> + <td align="right"><a href="#Page_222">222</a></td></tr> +<tr><td align="right">239.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 5em;">"</span><span style="margin-left: 2em;">The Portland Vase</span></td> + <td align="right"><a href="#Page_223">223</a></td></tr> +<tr><td align="right">240.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 5em;">"</span><span style="margin-left: 2em;">Teapot, Caddy, and Plate</span></td> + <td align="right"><a href="#Page_224">224</a></td></tr> +<tr><td align="right">241.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 5em;">"</span><span style="margin-left: 2em;">Six Jasper Cameos</span></td> + <td align="right"><a href="#Page_225">225</a></td></tr> +<tr><td align="right">242.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 5em;">"</span><span style="margin-left: 2em;">Vase</span></td> + <td align="right"><a href="#Page_225">225</a></td></tr> +<tr><td align="right">243.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 5em;">"</span><span style="margin-left: 2em;">Ewer</span></td> + <td align="right"><a href="#Page_225">225</a></td></tr> +<tr><td align="right"><span class="pagenum"><a name="Page_xix" id="Page_xix">[Pg xix]</a></span>244.</td> + <td><span class="smcap">Burslem</span>—Obelisk, by Ralph Wood, and Tea Set, by Aaron Wood</td> + <td align="right"><a href="#Page_226">226</a></td></tr> +<tr><td align="right">245.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 3em;">Statuette of Chaucer, by Ralph Wood</span></td> + <td align="right"><a href="#Page_227">227</a></td></tr> +<tr><td align="right">246.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 3em;">Vase, by Moses Steel</span></td> + <td align="right"><a href="#Page_228">228</a></td></tr> +<tr><td align="right">247.</td> + <td><span class="smcap">Shelton</span>—Bowl, by S. Hollins</td> + <td align="right"><a href="#Page_229">229</a></td></tr> +<tr><td align="right">248.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.75em;">Basin, by T. & J. Hollins</span></td> + <td align="right"><a href="#Page_229">229</a></td></tr> +<tr><td align="right">249.</td> + <td><span class="smcap">New Hall China Works</span>—Cup and Saucer</td> + <td align="right"><a href="#Page_230">230</a></td></tr> +<tr><td align="right">250.</td> + <td><span class="smcap">Bradwell</span>—Teapot, by Elers</td> + <td align="right"><a href="#Page_231">231</a></td></tr> +<tr><td align="right">251.</td> + <td><span class="smcap">Hanley</span>—Barrel, by Miles</td> + <td align="right"><a href="#Page_232">231</a></td></tr> +<tr><td align="right">252.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.5em;">Vase, by Elijah Mayer</span></td> + <td align="right"><a href="#Page_232">232</a></td></tr> +<tr><td align="right">253.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.5em;">Jardinière</span></td> + <td align="right"><a href="#Page_233">233</a></td></tr> +<tr><td align="right">254.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.5em;">Vase</span></td> + <td align="right"><a href="#Page_233">233</a></td></tr> +<tr><td align="right">255.</td> + <td><span class="smcap">Tunstall</span>—Jug, by W. Adams</td> + <td align="right"><a href="#Page_234">234</a></td></tr> +<tr><td align="right">256.</td> + <td><span class="smcap">Lane End</span>—Sugar Basin</td> + <td align="right"><a href="#Page_235">235</a></td></tr> +<tr><td align="right">257.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 2.75em;">Teapot</span></td> + <td align="right"><a href="#Page_235">235</a></td></tr> +<tr><td align="right">258.</td> + <td><span class="smcap">Longport</span>—Cup, Cover, and Saucer</td> + <td align="right"><a href="#Page_235">235</a></td></tr> +<tr><td align="right">259.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">Dish</span></td> + <td align="right"><a href="#Page_235">235</a></td></tr> +<tr><td align="right">260.</td> + <td><span class="smcap">Lane Delph</span>—Cup, Cover, and Saucer</td> + <td align="right"><a href="#Page_236">236</a></td></tr> +<tr><td align="right">261.</td> + <td><span class="smcap">Liverpool</span>—Mug</td> + <td align="right"><a href="#Page_237">237</a></td></tr> +<tr><td align="right">262.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">Punch Bowl</span></td> + <td align="right"><a href="#Page_238">238</a></td></tr> +<tr><td align="right">263.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">Tiles, by J. Sadler</span></td> + <td align="right"><a href="#Page_239">239</a></td></tr> +<tr><td align="right">264.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">Teapot</span></td> + <td align="right"><a href="#Page_239">239</a></td></tr> +<tr><td align="right">265.</td> + <td><span class="smcap">Jackfield</span>—Teapot</td> + <td align="right"><a href="#Page_241">241</a></td></tr> +<tr><td align="right">266.</td> + <td><span class="smcap">Fulham</span>—“Lydia Dwight”</td> + <td align="right"><a href="#Page_242">242</a></td></tr> +<tr><td align="right">267.</td> + <td><span class="smcap">Lambeth</span>—Dish</td> + <td align="right"><a href="#Page_243">243</a></td></tr> +<tr><td align="right">268.</td> + <td><span class="smcap">Don Pottery</span>—Tea-caddy</td> + <td align="right"><a href="#Page_245">245</a></td></tr> +<tr><td align="right">269.</td> + <td><span class="smcap">Leeds</span>—Chestnut Bowl and Cover</td> + <td align="right"><a href="#Page_246">246</a></td></tr> +<tr><td align="right">270.</td> + <td><span class="smcap">Castleford</span>—Teapot</td> + <td align="right"><a href="#Page_246">246</a></td></tr> +<tr><td align="right">271.</td> + <td><span class="smcap">Swinton</span>—Teapot</td> + <td align="right"><a href="#Page_247">247</a></td></tr> +<tr><td align="right">272.</td> + <td><span class="smcap">Newcastle-on-Tyne</span>—Dish</td> + <td align="right"><a href="#Page_248">248</a></td></tr> +<tr><td align="right">273.</td> + <td><span style="margin-left: 5em;">"</span><span style="margin-left: 4.5em;">Mug</span></td> + <td align="right"><a href="#Page_248">248</a></td></tr> +<tr><td align="right">274.</td> + <td><span class="smcap">St. Anthony’s</span>—Jug</td> + <td align="right"><a href="#Page_249">249</a></td></tr> +<tr><td align="right">275.</td> + <td><span class="smcap">Nottingham</span>—Mug</td> + <td align="right"><a href="#Page_249">249</a></td></tr> +<tr><td align="right">276.</td> + <td><span style="margin-left: 3em;">"</span><span style="margin-left: 3.25em;">Jug in the form of a Bear</span></td> + <td align="right"><a href="#Page_250">250</a></td></tr> +<tr><td align="right">277.</td> + <td><span class="smcap">Great Yarmouth</span>—Plate</td> + <td align="right"><a href="#Page_250">250</a></td></tr> +<tr><td align="right">278.</td> + <td><span class="smcap">Lowesby</span>—Garden Pot</td> + <td align="right"><a href="#Page_251">251</a></td></tr> +<tr><td align="right">279.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 2.5em;">Vase</span></td> + <td align="right"><a href="#Page_251">251</a></td></tr> +<tr><td align="right">280.</td> + <td><span class="smcap">Bristol</span>—Tiles</td> + <td align="right"><a href="#Page_252">252</a></td></tr> +<tr><td align="right">281.</td> + <td><span class="smcap">Cadborough</span>—Vessel in the form of a Pig</td> + <td align="right"><a href="#Page_253">253</a></td></tr> +<tr><td align="right"><span class="pagenum"><a name="Page_xx" id="Page_xx">[Pg xx]</a></span>282.</td> + <td><span class="smcap">Swansea</span>—Dish</td> + <td align="right"><a href="#Page_254">254</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">PORCELAIN</td></tr> +<tr><td align="right">283.</td> + <td><span class="smcap">Worcester</span>—A Cup and Saucer</td> + <td align="right"><a href="#Page_256">256</a></td></tr> +<tr><td align="right">284.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3.5em;">Portion of a Tea Service (Japan pattern)</span></td> + <td align="right"><a href="#Page_258">258</a></td></tr> +<tr><td align="right">285.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 5em;">"</span><span style="margin-left: 5em;">"</span><span style="margin-left: 2.25em;">(with coloured transfer)</span></td> + <td align="right"><a href="#Page_258">258</a></td></tr> +<tr><td align="right">286.</td> + <td><span class="smcap">Rockingham</span>—Plate</td> + <td align="right"><a href="#Page_259">259</a></td></tr> +<tr><td align="right">287.</td> + <td><span style="margin-left: 2.5em;">"</span><span style="margin-left: 3.5em;">Vase</span></td> + <td align="right"><a href="#Page_259">259</a></td></tr> +<tr><td align="right">288.</td> + <td><span class="smcap">Derby</span>—Group. Chelsea-Derby</td> + <td align="right"><a href="#Page_260">260</a></td></tr> +<tr><td align="right">289.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 2.5em;">Pair of Vases</span><span style="margin-left: 2em;">"</span></td> + <td align="right"><a href="#Page_261">261</a></td></tr> +<tr><td align="right">290.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 2.5em;">Plate, by Billingsley</span></td> + <td align="right"><a href="#Page_261">261</a></td></tr> +<tr><td align="right">291.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 2.5em;">Cup, Cover, and Saucer. Crown-Derby</span></td> + <td align="right"><a href="#Page_262">262</a></td></tr> +<tr><td align="right">292.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 2.5em;">Scent Vase</span><span style="margin-left: 8em;">"</span></td> + <td align="right"><a href="#Page_262">262</a></td></tr> +<tr><td align="right">293.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 2.5em;">Cup, Cover, and Saucer</span><span style="margin-left: 3em;">"</span></td> + <td align="right"><a href="#Page_263">263</a></td></tr> +<tr><td align="right">294.</td> + <td><span class="smcap">Burton-on-Trent</span>—Comport</td> + <td align="right"><a href="#Page_264">264</a></td></tr> +<tr><td align="right">295.</td> + <td><span class="smcap">Wirksworth</span>—Cup and Cover</td> + <td align="right"><a href="#Page_264">264</a></td></tr> +<tr><td align="right">296.</td> + <td><span class="smcap">Pinxton</span>—Jardinière</td> + <td align="right"><a href="#Page_265">265</a></td></tr> +<tr><td align="right">297.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 2.5em;">Sugar Bowl and Cover</span></td> + <td align="right"><a href="#Page_265">265</a></td></tr> +<tr><td align="right">298.</td> + <td><span class="smcap">Plymouth</span>—Coffee-pot</td> + <td align="right"><a href="#Page_266">266</a></td></tr> +<tr><td align="right">299.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 3.5em;">Beaker and Cover</span></td> + <td align="right"><a href="#Page_266">266</a></td></tr> +<tr><td align="right">300.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 3.5em;">Centrepiece</span></td> + <td align="right"><a href="#Page_267">267</a></td></tr> +<tr><td align="right">301.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 3.5em;">A Shepherdess</span></td> + <td align="right"><a href="#Page_268">268</a></td></tr> +<tr><td align="right">302.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 3.5em;">A Shepherd</span></td> + <td align="right"><a href="#Page_268">268</a></td></tr> +<tr><td align="right">303.</td> + <td><span class="smcap">Bristol</span>—Bowl and Cover</td> + <td align="right"><a href="#Page_269">269</a></td></tr> +<tr><td align="right">304.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 2.25em;">Dish</span></td> + <td align="right"><a href="#Page_269">269</a></td></tr> +<tr><td align="right">305.</td> + <td><span class="smcap">Caughley</span>—Mug</td> + <td align="right"><a href="#Page_270">270</a></td></tr> +<tr><td align="right">306.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 3.25em;">Plate</span></td> + <td align="right"><a href="#Page_270">270</a></td></tr> +<tr><td align="right">307.</td> + <td><span class="smcap">Coalport</span>—Dish</td> + <td align="right"><a href="#Page_271">271</a></td></tr> +<tr><td align="right">308.</td> + <td><span class="smcap">Stoke-on-Trent</span>—Spode Cup, Cover, and Saucer</td> + <td align="right"><a href="#Page_272">272</a></td></tr> +<tr><td align="right">309.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 3.75em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 1.5em;">Vase</span></td> + <td align="right"><a href="#Page_273">273</a></td></tr> +<tr><td align="right">310.</td> + <td><span style="margin-left: 1.75em;">"</span><span style="margin-left: 3.75em;">"</span><span style="margin-left: 2em;">Minton Bowl</span></td> + <td align="right"><a href="#Page_274">274</a></td></tr> +<tr><td align="right">311.</td> + <td><span class="smcap">Longton Hall</span>—Vase</td> + <td align="right"><a href="#Page_275">275</a></td></tr> +<tr><td align="right">312.</td> + <td><span class="smcap">Bow</span>—Teapot</td> + <td align="right"><a href="#Page_276">274</a></td></tr> +<tr><td align="right">313.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.75em;">Bowl</span></td> + <td align="right"><a href="#Page_277">276</a></td></tr> +<tr><td align="right">314.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.75em;">Plate</span></td> + <td align="right"><a href="#Page_277">276</a></td></tr> +<tr><td align="right">315.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.75em;">Statuette, “Flora”</span></td> + <td align="right"><a href="#Page_278">277</a></td></tr> +<tr><td align="right">316.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.75em;">Bust of King George II.</span></td> + <td align="right"><a href="#Page_278">278</a></td></tr> +<tr><td align="right">317.</td> + <td><span style="margin-left: 1em;">"</span><span style="margin-left: 1.75em;">Group, “A Tea Party”</span></td> + <td align="right"><a href="#Page_279">279</a></td></tr> +<tr><td align="right">318.</td> + <td><span class="smcap">Chelsea</span>—Statuette, Marshal Conway</td> + <td align="right"><a href="#Page_280">280</a></td></tr> +<tr><td align="right">319.</td> + <td><span style="margin-left: 1.5em;">"</span><span style="margin-left: 4.5em;">"</span><span style="margin-left: 1.75em;">“Shepherd”</span></td> + <td align="right"><a href="#Page_280">280</a></td></tr> +<tr><td align="right"><span class="pagenum"><a name="Page_xxi" id="Page_xxi">[Pg xxi]</a></span>320.</td> + <td><span class="smcap">Chelsea</span>—Vase</td> + <td align="right"><a href="#Page_281">281</a></td></tr> +<tr><td align="right">321.</td> + <td><span class="smcap">Swansea</span>—Plate</td> + <td align="right"><a href="#Page_282">282</a></td></tr> +<tr><td align="right">322.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 2.75em;">Plate</span></td> + <td align="right"><a href="#Page_282">282</a></td></tr> +<tr><td align="right">323.</td> + <td><span class="smcap">Nantgarw</span>—Plate</td> + <td align="right"><a href="#Page_283">283</a></td></tr> +<tr><td align="right">324.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3.5em;">Cup and Saucer</span></td> + <td align="right"><a href="#Page_283">283</a></td></tr> +<tr><td align="right">325.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3.5em;">Vase</span></td> + <td align="right"><a href="#Page_284">284</a></td></tr> +<tr><td> </td></tr> +<tr><td> </td><td align="center">ORIENTAL</td></tr> +<tr><td align="right">326.</td> + <td><span class="smcap">China</span>—Stoneware Vase</td> + <td align="right"><a href="#Page_286">286</a></td></tr> +<tr><td align="right">327.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 4em;">"</span><span style="margin-left: 3em;">"</span></td> + <td align="right"><a href="#Page_287">287</a></td></tr> +<tr><td align="right">328.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Porcelain Vase</span></td> + <td align="right"><a href="#Page_288">288</a></td></tr> +<tr><td align="right">329.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 4em;">"</span><span style="margin-left: 1.75em;">Ewer</span></td> + <td align="right"><a href="#Page_289">289</a></td></tr> +<tr><td align="right">330.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Bottle</span></td> + <td align="right"><a href="#Page_290">290</a></td></tr> +<tr><td align="right">331.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Jar</span></td> + <td align="right"><a href="#Page_291">291</a></td></tr> +<tr><td align="right">332.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Plate. Eggshell porcelain</span></td> + <td align="right"><a href="#Page_292">292</a></td></tr> +<tr><td align="right">333.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 3.5em;">"</span></td> + <td align="right"><a href="#Page_293">293</a></td></tr> +<tr><td align="right">334.</td> + <td><span class="smcap">Japan</span>—Vase. Hizen ware</td> + <td align="right"><a href="#Page_296">296</a></td></tr> +<tr><td align="right">335.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2em;">Figure of Fukurokuji</span></td> + <td align="right"><a href="#Page_297">297</a></td></tr> +<tr><td align="right">336.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2em;">Saké Cup and Stand</span></td> + <td align="right"><a href="#Page_298">298</a></td></tr> +<tr><td align="right">337.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2em;">Jar. Ôto ware</span></td> + <td align="right"><a href="#Page_299">299</a></td></tr> +<tr><td align="right">338.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2em;">Vase. Kishin ware</span></td> + <td align="right"><a href="#Page_300">300</a></td></tr> +<tr><td align="right">339.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2em;">Candlestick. Tozan porcelain</span></td> + <td align="right"><a href="#Page_300">300</a></td></tr> +<tr><td align="right">340.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2em;">Flask. Satsuma ware</span></td> + <td align="right"><a href="#Page_301">301</a></td></tr> +<tr><td align="right">341.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2em;">Incense Burner. Imari porcelain</span></td> + <td align="right"><a href="#Page_302">302</a></td></tr> +<tr><td align="right">342.</td> + <td><span class="smcap">Persia</span>—Wall Tile. <i>13th century</i></td> + <td align="right"><a href="#Page_305">305</a></td></tr> +<tr><td align="right">343.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Water-bottle. With metallic lustre</span></td> + <td align="right"><a href="#Page_306">306</a></td></tr> +<tr><td align="right">344.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Dish for Rice</span></td> + <td align="right"><a href="#Page_307">307</a></td></tr> +<tr><td align="right">345.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 2.25em;">Rose water Sprinkler</span></td> + <td align="right"><a href="#Page_308">308</a></td></tr> +<tr><td align="right">346.</td> + <td><span style="margin-left: 1.25em;">"</span><span style="margin-left: 4em;">"</span><span style="margin-left: 4em;">"</span></td> + <td align="right"><a href="#Page_309">309</a></td></tr> +<tr><td align="right">347.</td> + <td><span class="smcap">Damascus</span>—Plate</td> + <td align="right"><a href="#Page_310">310</a></td></tr> +<tr><td align="right">348.</td> + <td><span style="margin-left: 2em;">"</span><span style="margin-left: 3.25em;">Dish</span></td> + <td align="right"><a href="#Page_311">311</a></td></tr> +<tr><td align="right">349.</td> + <td><span class="smcap">Rhodian</span>—Plate</td> + <td align="right"><a href="#Page_312">312</a></td></tr></table> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> +<h2>HANDBOOK TO KERAMICS</h2> +<p> </p> +<h3>MAIOLICA</h3> + +<p> </p> +<h3>ITALY</h3> + +<p class="dropcap"><span class="caps">The</span> painted pottery of Italy, ever since its introduction into that +country in the 15th century, has been called by the Italians themselves +<i>Maiolica</i>. In England it was in the 18th century called <i>Raphael ware</i>, +on account of an impression which existed that Raphael himself +condescended to paint on some of the ware. The idea probably originated +from the fact that many designs were reproduced on maiolica by the +keramic artists from engravings of Raphael and other great masters. The +best period of this pottery was, however, subsequent to his death, which +took place in 1520.</p> + +<p>The term <i>maiolica</i> appears to be derived or rather corrupted from +Maiorca, one of the Balearic Islands, noted for its pottery from a very +early period. It was in the 16th century called <i>Maiorica</i>, and +subsequently <i>Maiolica</i>.</p> + +<p> </p> +<h3>URBINO</h3> + +<p>Urbino was one of the most celebrated of all the Italian <i>fabriques</i>, +and must have had by far the most <span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span>trade, although no doubt many of the +specimens now attributed to this city were the works of other +manufactories; there are, however, a considerable number of signed and +dated pieces, and the style and touch of the principal artists engaged +there may easily be detected. The best known of all the keramic artists +of Urbino was Francesco Xanto Avelli da Rovigo, whose works are now so +highly appreciated; he usually painted after the designs and engravings +of Raphael and other great masters, but seldom adhered strictly to the +grouping of the originals; he also painted subjects from Virgil, Ovid, +and other poets. The marks which he placed upon his works consisted of +one or more initial letters of his name, F.X.A.R., but usually the X. +only, or sometimes Xanto, with the date. (See Fig. 1.)</p> + +<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> </p> +<div class="figcenter"><img src="images/i024.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 1.—Plateau. Marriage of Alexander and Roxana.</span><br /> +<i>After Raphael. Signed and dated</i> “<span class="smcap">Xanto</span>, 1533.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i025.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 2.—Plateau, with Leda and the Swan in Centre.</span><br /><i>16th Century.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>Another celebrated artist of Urbino, who flourished in the middle of the +16th century, was Orazio Fontana, whose family name was Pellipario; +Fontana being a name taken in consequence of several of the family being +manufacturers of vases as well as artists.</p> + +<p> </p> +<div class="figcenter"><img src="images/i026.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 3.—Plateau. By Alfonso Patanazzi, 1606.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span>The family of Patanazzi worked in the early part of the 17th century. +Alfonso Patanazzi signed his pieces of the years 1606 and 1607 in +full, as well as Alf. P. and A. P. (See Fig. 3.)</p> + +<p> </p> +<div class="figcenter"><img src="images/i027.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 4.—Vase. Apollo and Daphne.</span> <i>Circa</i> 1580.</p> + +<p> </p> +<div class="figcenter"><img src="images/i028.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 5.—Cruet.</span> <i>About</i> 1570.</p> + +<p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> </p> +<h3>GUBBIO</h3> + +<p>Gubbio, in the Duchy of Urbino, is known principally by the works of +Maestro Giorgio Andreoli, who seems to have monopolised the secret of +the ruby and yellow metallic lustre, with which he enriched not only his +own productions but put the finishing touches in lustre on the plates of +Xanto and other artists from Urbino, as well as from Castel Durante. +There is no doubt that the painting of the piece and the application of +the metallic lustre colours were two distinct operations, and that it +was painted and the colours fixed in the muffle kiln some months before +it was touched with the lustre pigments, and again subjected to another +baking. Giorgio was a statuary as well as a painter of maiolica, several +of his sculptures in marble being yet extant.</p> + +<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> </p> +<div class="figcenter"><img src="images/i029a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 6.—Plate. “Stream of Life.”</span> <i>16th Century.<br /> +Signed by</i> <span class="smcap">M<sup>o</sup> Giorgio</span>. Diam. 7¾ in.</p> + +<p> </p> +<div class="figcenter"><img src="images/i029b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 7.—Vase. By M<sup>o</sup> Giorgio</span>.<br />H. 10½ in. <i>16th Century.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>Another painter in lustre, of the school of M<sup>o</sup> Giorgio, has signed his +pieces with the letter N., which is supposed by some to be a monogram of +Vincenzio, the son of M<sup>o</sup> Giorgio; and a painter named Perestino, of +Gubbio, produced some very beautiful pieces, dated 1533 and 1536.</p> + +<p> </p> +<h3>PESARO</h3> + +<p>Guido Ubaldo II. della Rovere, who became Duke of Urbino in 1538, was a +patron of the <i>fabrique</i> of Pesaro. The maiolica with yellow lustre, +blue outlines and imbricated borders, which are assigned to Pesaro, +belong to the first part of the 16th century; many of these have +portraits and scrolls inscribed with the name of the person to whom they +were dedicated. When Passeri visited the town in 1718, there was only +one potter, making ordinary vessels. Some years after, in 1757, he sent +potters from Urbania and recommenced the manufacture.</p> + +<p>According to M. A. Jacquemart, two artists of Lodi—Filippo Antonio +Callegari and Antonio Casali—were also established here about the +middle of the 18th century. The bowl and cover and dish, Fig. 9, painted +and gilt with flowers, are signed by them with their initials. There was +another <i>fabrique</i>, <span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>established by Giuseppe Bertolucci of Urbania in +1757; Pietro Lei, a painter of Sassuolo, was engaged there.</p> + +<p> </p> +<div class="figcenter"><img src="images/i031.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 8.—Drug Vase.</span><br /><i>17th Century.</i></p> + +<p> <span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p> +<div class="figcenter"><img src="images/i032.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 9.—Bowl, Cover, and Dish.</span><br /><i>18th Century.</i></p> + +<p> </p> +<h3>CASTEL DURANTE</h3> + +<p>Castel Durante, a small town near Urbino, had a very extensive +manufactory of maiolica; most of its early productions of the beginning +of the 15th century are often confounded with those of Urbino, but there +is evidence enough to show the beautiful character of the decorations +employed there. Piccolpassi, director of a <i>bottega</i> for maiolica, at +Castel<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> Durante, <i>circa</i> 1550, wrote a treatise on the art of making and +decorating it, whilst under the patronage of Guidobaldo II. The +manuscript is in the Art Library of the Victoria and Albert Museum. This +interesting work is illustrated with pen-and-ink sketches of all the +details of manufacture and patterns of the ware, and the prices at which +they were to be obtained; allusions are also made in it to other towns +celebrated for the same industry; and the principal forms of the vessels +are described by name.</p> + +<p> </p> +<div class="figcenter"><img src="images/i033a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 10.—Vase.</span> <i>About</i> 1560.</p> +<p> </p> +<div class="figcenter"><img src="images/i033b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 11.—Plate.</span> <i>About</i> 1530.</p> +<p> </p> + +<p>In the year 1635 the name of the <i>fabrique</i> was<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> +changed to <span class="smcap">Urbania</span> in compliment to Pope Urban VIII.; and in 1722 it was the only one which +remained in the Duchy of Urbino, where articles of utility alone were made.</p> + +<p>A great trade was carried on in pharmacy vases or Vasi da Spezieria, +covered with grotesque heads, cornucopiæ, &c., designed and shaded with +light blue, touched with yellow, orange, brown and green, the patterns +being mostly in a bold style.</p> + +<p> </p> +<h3>FAENZA</h3> + +<p>If not the most ancient, Faenza was one of the most celebrated of the +manufactories of maiolica in<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> Italy. It was this town that gave to the +French the name by which they have to the present day distinguished +their enamelled pottery, as Spain had previously supplied the name to +Italy. Thus in Italy it was called <i>maiolica</i> from Maiorca, and in +France, <i>faïence</i> from Faenza. The earliest dated piece now extant is +probably a plate in the Musée de Cluny, dated 1475, made by Nicolaus de +Ragnolis. Another specimen, in the Sèvres Museum, is inscribed “Nicolaus +Orsini, 1477”; and in the same collection is a plate, signed “Don +Giorgio, 1485,” probably by Maestro Giorgio.</p> + +<p> </p> +<div class="figcenter"><img src="images/i034.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 12.—Plaque. “Andrea di Bono, 1491.”</span></p> + +<p> </p> +<div class="figcenter"><img src="images/i035.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 13.—Plate. With an Emblem of Two Hearts pierced</span><br /> +<span class="smcap">with Arrows and the Motto “En Piu.”</span><br /><i>15th Century.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>The products of this <i>fabrique</i> retained for a long time a special +character by which they are easily identified; at first the outlines of +the figures were very simple and formal; the yellow lustre does not +appear to have been adopted.</p> + +<p> </p> +<div class="figcenter"><img src="images/i036.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 14.—Plaque. Joseph sold by his Brethren.</span><br /><i>16th Century.</i></p> +<p> </p> + +<p>In the 16th century a favourite decoration was grotesques and arabesques +in blue <i>camaïeu</i> on yellow ground, or alternately on the two colours +(see Fig. 15).<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> The reverses of the Faenza plates are frequently light +blue, with concentric circles or a spiral line in a darker colour; when +white, with imbrications or zones alternately blue and yellow. Another +peculiarity by which the Faenza ware is known, is the presence of red.</p> + +<p> </p> +<div class="figcenter"><img src="images/i037.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 15.—Plate. Arms and Arabesques.</span><br /><i>16th Century.</i></p> + +<p> </p> +<h3>DIRUTA</h3> + +<p>Many of the lustred pieces of maiolica, with light yellow lustre edged +with blue, which were attributed formerly to Pesaro, have been now +classed among the wares made at Diruta, from the circumstance of a plate +in the Pourtalès Collection—subject, one of Ovid’s Metamorphoses, +being similarly decorated with the yellow lustre, and signed by El Frate +of Diruta, 1541. Some specimens have “<i>In Deruta</i>” inscribed at length; +others have simply the letter D with a bar through it; and early pieces +have the signature of the painter, El Frate, but without the yellow +lustre.</p> + +<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> </p> +<div class="figcenter"><img src="images/i038a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 16.—Plate. Blue and White.</span><br /><i>16th Century.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i038b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 17.—Plate. Inscribed “Sura Fiore.”</span><br /><i>About</i> 1520.</p> + + +<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> </p> +<h3>FORLÌ</h3> + +<p>According to Passeri there were <i>fabriques</i> of maiolica at Forlì in the +14th century. Its contiguity to Faenza exercised a great influence on +the decoration of the ware, and the patterns on the obverses and +reverses are similar. Fig. 18 has on the back “In la botega di M<sup>o</sup>. +Jeronimo da Forli.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i039.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 18.—Plate. Christ amongst the Doctors.</span><br />Diam. 14 in. <i>16th Century.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span><span class="smcap">Rimini</span> is only known by a few specimens, which are actually signed, and +by the mention made of its <i>fabriques</i> by Piccolpassi. The pieces are +dated 1535, and as late as 1635.</p> + +<p> </p> +<h3>VITERBO, RAVENNA, AND TREVISO</h3> + +<p>There were manufactories at these three places in the 16th century, but +few specimens of their productions now exist. (See Chaffers’ <i>Marks and +Monograms</i>, p. 112.) The first named is illustrated (Fig. 19) by a +plateau; a man at the bottom holds a scroll inscribed “<span class="smcaplc">VITERBO DIOMED</span>, +1544.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i040.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 19.—Plateau. Diana and Actæon.</span><br /><i>Dated</i> 1544.</p> + +<p><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> </p> +<h3>CAFAGGIOLO</h3> + +<p>This <i>fabrique</i>, established towards the end of the 15th century, +became very important, lasting probably throughout the 16th century. The +name is spelt in different ways, such as Chaffagiuolo, but Cafaggiolo is +the general form.</p> + +<p> </p> +<div class="figcenter"><img src="images/i041.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 20.—Plateau. St. George.</span><br /><i>Circa</i> 1520.</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>Among the ornaments on this ware are frequently tablets with SPQR and +SPQF (Florentinus), and on several the motto “Semper,” adopted by Pietro +de’ Medici in 1470, and continued by Lorenzo il Magnifico. The device of +a triangle and the word “Glovis,” meaning when read backwards “si volge” +(it turns), was used by Giuliano de’ Medici in 1516, alluding to his +change of fortune.</p> + +<p>Another characteristic of this <i>fabrique</i> is the dark blue background of +many of the pieces, and the method in which it was coarsely applied by +the brush.</p> + +<p>Fig. 20 represents the St. George of Donatello, from the bronze statue +in the church of Or San Michele, at Florence.</p> + +<p> </p> +<h3>SIENA</h3> + +<p>The earliest specimens known of this important manufactory are some wall +or floor tiles of the commencement of the 16th century. They are of +maiolica, ornamented with polychrome designs of chimeræ, dragons, +amorini, masks, birds, &c., beautifully painted in brilliant colours, +especially orange and yellow on a black ground. They vary in shape, +being triangular, pentagonal, or square, to suit the geometrical designs +of the wall or floor they covered;<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> the average diameter is 5 inches. +The plate in blue <i>camaïeu</i> on white ground, in the accompanying +illustration (Fig. 21) is signed on the reverse “fata in Siena da M<sup>o</sup>. +Benedetto.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i043.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 21.—Plate. By M<sup>o</sup>. Benedetto</span>.<br /><i>About</i> 1520.</p> +<p> </p> + +<p>After a long interval, the name of the town again appears on maiolica of +a very characteristic description, accompanied by the names of the +artists: Bartolomeo Terenze (or Terchi) Romano in 1727, and Ferdinando +Maria Campani, 1733 to 1747, the subjects being taken from Raphael, +Annibale Caracci, and other masters (see Figs. 22-24).</p> + +<p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> </p> +<div class="figcenter"><img src="images/i044a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 22.—Plateau. Woman and Peacocks.</span><br /><i>18th Century.</i></p> + +<p> </p> +<div class="figcenter"><img src="images/i044b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 23.—Plate. Vintage.</span><br /><i>Signed</i> <span class="smcap">Ferdinando M<sup>a</sup> +Campani, Siena</span>, 1747.</p> + +<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> </p> +<div class="figcenter"><img src="images/i045.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 24.—Plate. Galatea.</span><br /><i>After</i> <span class="smcap">Annibale Caracci</span>.<br /><i>Early 18th Century.</i></p> + +<p> </p> +<h3>PISA</h3> + +<p>This city was, about the middle of the 16th century, the centre of a +considerable trade in the exportation of Italian fayence into Spain, and +especially to Valencia, in exchange for the golden metallic lustre ware +of that country. Antonio Beuter, a traveller, about 1550, praises the +fayence of Pisa as well as those of Pesaro and Castelli. A specimen<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> +bearing the name “<span class="smcaplc">PISA</span>,” a large vase of fine form, covered with +arabesques on white ground, was in the collection of the late Baron +Alphonse de Rothschild.</p> + +<p> </p> +<h3>VENICE</h3> + +<p>Little is known respecting the Venetian maiolica of the 16th and 17th +centuries, but numerous pieces exist bearing marks with Venice recorded +on them. These are specimens of the 17th century with a mark of a +fishhook, and from the long intervals between its use, it evidently +belongs to a <i>fabrique</i> and not a painter. As an example of Venetian +maiolica, <i>circa</i> 1700, see Fig. 25, a plate painted with an +architectural subject.</p> + +<p> </p> +<div class="figcenter"><img src="images/i046.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 25.—Plate.</span> <i>Circa</i> 1700.</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>In 1753, the Senate of Venice conceded to the brothers Bertolini the +establishment at Murano of a kiln for making fayence. But it did not +succeed so well as the promoters anticipated, and it was probably +discontinued about 1760, as the concession was annulled by a decree of +April 1763.</p> + +<p> </p> +<h3>NOVE</h3> + +<p>In 1728, Giovanni Battista Antonibon established in the village of Nove, +near Bassano, a manufactory of earthenware, and in 1732 he opened a shop +in Venice for the sale of his wares. In 1741 the factory was still in a +prosperous state, and carried on by his son, Pasqual Antonibon. In 1766 +Pasqual took his son, Giovanni Battista Antonibon, into partnership, and +in 1781 Sig. Parolini joined the concern, continuing the fabrication +with great success until 1802, when they leased the premises to Giovanni +Baroni, and the business was carried on under the name of <i>Fabbrica +Baroni Nove</i>. It was prosperous for a short time, and some beautiful +examples were produced.</p> + +<p> </p> +<div class="figcenter"><img src="images/i047.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 26.—Tureen and Cover.</span><br /><i>18th Century.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span><i>Maiolica fina</i> or fayence only is still continued to be made, the +manufacture of porcelain, for which at one time the works were so famed, +not having been revived.</p> + +<p> </p> +<h3>FLORENCE</h3> + +<p>Of the early maiolica made here little is known, but fayence of the 18th +century is occasionally met with, marked +with the letter F or Fl.</p> + +<p> </p> +<div class="figcenter"><img src="images/i048.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 27.—Cup and Saucer.</span></p> + +<p> </p> +<h3>PADUA</h3> + +<p>In a street which still retains the name of <i>Boccaleri</i> (makers of +vases) were discovered traces of ancient potters’ kilns, and some +triangular wall tiles, of blue and white maiolica alternately, of the +end of the 15th<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> or beginning of the 16th century. Among these was a +plaque, 20 in. in diameter, of the Virgin and Child between two saints, +surrounded by angels. The subject is taken from a cartoon by Nicolo +Pizzolo, a painter of Padua and a pupil of Squarcione; on the summit of +the throne is written <span class="smcap">Nicoleti</span>, the name he usually adopted. The plaque +is now preserved in the Museum of that city.</p> + +<p> </p> +<div class="figcenter"><img src="images/i049.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 28.—Plate. Myrrha fleeing from her Father.</span></p> +<p> </p> + +<p>Fig. 28, a plate, painted on grey ground, is inscribed on the reverse +with the name of the place and the date 1548.</p> + +<p> </p> +<h3>CASTELLI</h3> + +<p>The manufactory of Castelli, a small town in the Abruzzi, north of the +city of Naples, was still flourishing towards the end of the 17th +century. Francesco<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> Saverio Grue, a man of letters and science, became +about this time director of this Neapolitan maiolica <i>fabrique</i>. The +ware was boldly ornamented with subjects, correctly designed and well +painted; sometimes the landscapes were delicately heightened with gold. +His sons and brothers continued to add lustre to his name for nearly a +century. Francesco Antonio Grue’s works, which have dates, range from +1677 to 1722, the subjects being principally scriptural and +mythological. Luigi Grue, about 1720-1740, painted landscapes and +figures. Ioanes Grue or Grua painted scriptural subjects from about 1730 +to 1750. Saverio Grue was the re-inventor of gilding on fayence; some of +his pieces are dated 1749 and 1753. His earliest paintings are without +gold, consisting of classical subjects and mottoes on plaques. C. A. +Grue was a painter about the same time.</p> + +<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> </p> +<div class="figcenter"><img src="images/i050.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 29.—Bowl and Cover.</span><br /><i>18th Century.</i></p> + +<p> </p> +<div class="figcenter"><img src="images/i051.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 30.—Ewer and Basin.</span><br /><i>18th Century.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span>Fig. 29, a bowl and cover, painted with nude figures after Annibale +Caracci; and filled in with fruit, foliage, and cartouches, is signed +“Liborius Grue P.”</p> + +<p> </p> +<h3>NAPLES</h3> + +<p>Maiolica was made in the city of Naples in the 17th century, but little +is known respecting it. Examples of the fayence of the 18th century are +frequently met with, signed FDV—F. del Vecchio; Giustiniani; the letter +N crowned, and sometimes the letters H.F.</p> + +<p> </p> +<h3>MONTE LUPO</h3> + +<p>The plates and dishes of coarse heavy earthenware, rudely painted with +large caricature figures of soldiers and men in curious Italian costumes +of the 17th and 18th centuries, in menacing and warlike attitudes, +striding across the plates, holding swords, spears, and other weapons, +are usually attributed to Monte Lupo, near Florence. The manufactory is +still in existence.</p> + +<p><span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>Fig. 31, is signed on the back “Raffaello Girolamo fecit Monte Lupo +1639.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i053.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 31.—Plate. Three Cavaliers.</span></p> + +<p> </p> +<h3>MILAN</h3> + +<p>No specimens can be identified of an earlier date than the 18th century. +The fayence is usually painted with grotesque figures, but sometimes +with flowers and scrolls in relief, also with Watteau or Chinese +subjects. (See Fig. 33.)</p> + +<p>Some pieces, apparently of a later date, are from the manufactory of +Pasquale Rubati, and usually signed with his initials.</p> + +<p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> </p> +<div class="figcenter"><img src="images/i054a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 32.—Écuelle and Dish.</span><br /><i>18th Century.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i054b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 33.—Ewer and Dish.</span><br /><i>18th Century.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i054c.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 34.—Cup and Plate.</span><br /><i>18th Century.</i></p> + + +<p> <span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p> +<h3>TURIN</h3> + +<p>That there was a manufactory of maiolica at Turin in the 16th century is +proved by a dish with pierced border, painted on the inside with a boy +carrying two birds on a long pole; it is marked underneath—Fatta in +Torino adi 12 di Setēbre 1577 (see Fig. 35). The manufactory was in +existence in the first half of the 18th century and was under Royal +patronage, as a large dish which was in the collection of the Marquis +D’Azeglio is inscribed on the back of the rim: “Fabrica Reale di Torino +GR 1737.” In the centre of the reverse is a monogram composed of F. R. +T. (Fabbrica Reale Torino).</p> + +<p> </p> +<div class="figcenter"><img src="images/i055.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 35.—Dish.</span><br /><i>Dated</i> 1577.</p> + +<p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> </p> +<h3>FERRARA</h3> + +<p>Alfonso I., Duke of Ferrara, himself occasionally worked in a room +attached to his palace, and is said to have discovered a fine white +colour, which was adopted by the <i>fabriques</i> of Urbino. He died in 1534. +His successor, Duke Alfonso II., summoned Camillo Fontana (son of the +celebrated Orazio Fontana of Urbino) in 1567 to give new life to the +manufactory. All the well-known pieces bearing the <i>impresa</i> of the +Duke, a flame of fire and the motto “<span class="smcaplc">ARDET ETERNUM</span>,” were produced at +this <i>fabrique</i>, about 1579. At a much later period, probably late in +the 17th century, there was still a manufactory here.</p> + +<p> </p> +<div class="figcenter"><img src="images/i056.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 36.—Plateau. The Triumph of Bacchus.</span><br /><i>First Half of the 18th Century.</i></p> + +<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> </p> +<h3>BASSANO, <span class="smcap">near Venice</span></h3> + +<p>A <i>fabrique</i> (according to V. Lazori) was founded here about 1540, by +Simone Marinoni, but it is not known how long it lasted. Later pieces of +the 17th century bear a certain resemblance to the Castelli ware. In +1728, a manufactory of maiolica was set on foot by the sisters Manardi, +which was continued in 1735 by Giovanni Antonio Caffo; and some time +after, but previous to 1753, another was carried on by Giovanni Maria +Salmazzo.</p> + +<p> </p> +<h3>GENOA</h3> + +<p>Piccolpassi speaks of Genoa as a great mart for maiolica about the year +1540. He tells us the patterns painted—arabesques, leaves, landscapes, +&c.—and the prices charged, but no specimens of this early date have +hitherto been identified. The fayence of the 18th century, however, is +of frequent occurrence; its decoration is much the same as that of +Savona, viz. rude and hasty sketches in blue <i>camaïeu</i>, sometimes with +small caricature figures in the style of Callot.<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> In consequence of +Genoa’s maritime position, the mark selected for this ware was a beacon, +by some erroneously called a lighthouse, from which some object is +suspended on a pole.</p> + +<p> </p> +<div class="figcenter"><img src="images/i057.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 37.—Bottle.</span><br /><i>18th Century.</i></p> +<p> </p> + +<p>Fig. 37, a bottle, painted in blue with birds and scroll ornaments, has +this mark.</p> + +<p> </p> +<h3>SAVONA</h3> + +<p>The manufactory of Savona was founded in the 17th century at the village +of Albissola, situated on the coast, near Savona. The ware is generally +ornamented in blue on white ground, the designs are roughly executed, +and the mark, consisting of a shield of arms of the town, is often seen +on the reverse. There are some other marks attributed to Savona: a +double triangle with the letter S, called the “knot of Solomon” +(Salomone), the sun with G.S., the falcon mark, the tower mark, and the +anchor mark, so called from these emblems being depicted on the ware. +Fig. 38, a basket, perforated and with two handles, is rudely painted +with scrolls in yellow, blue, and green; in the centre is a cartouche +with the letters S.A.G.S.</p> + +<p> </p> +<div class="figcenter"><img src="images/i058.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 38.—Basket.</span><br /><i>18th Century.</i></p> + +<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> </p> +<h3>LORETO</h3> + +<p>Although Santa Casa at Loreto is not strictly speaking a <i>fabrique</i> of +maiolica, yet maiolica is actually made within the precincts of the +sanctuary. Bowls are made of clay, mixed with the dust shaken from the +dress of the Virgin and walls of the sanctuary, and in this form are +preserved by the faithful as tokens of their visit to the shrine.</p> + +<p> </p> +<div class="figcenter"><img src="images/i059.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 39.—Two Bowls.</span></p> + +<p> </p> +<h3>SGRAFFIATO OR INCISED WARE</h3> + +<p>The earthenware vessels with stanniferous enamel, called in Italy +<i>sgraffiato</i> ware, have been attributed to <span class="smcap">Città di Castello</span>. They are +engraved in outline and decorated <i>en engobe</i>—that is, the object +before being glazed is covered with a second coating of coloured slip +or <i>engobe</i>, on which is graved the ornament or design after it has been +merely dried by the air, leaving a sort of <i>champ levé</i>, and afterwards +baked in the kiln. These fayence vases are generally enamelled in +yellow, green, and brown. Fig. 40, a bowl, is decorated with foliage, on +the stem are three lions seated, in full relief; round the bowl runs a +wreath of yellow flowers; and within is a man wrestling with a dragon, +surrounded by a wreath. There was a manufactory of this <i>sgraffiato</i> +ware at <span class="smcap">La Fratta</span>, near Perugia, which was continued down to a late +period. Fig. 42, a basket-shaped pot, has ornaments in relief. Similar +ware was also made at <span class="smcap">Pavia</span> in the 17th century.</p> + +<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> </p> +<div class="figcenter"><img src="images/i060a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 40.—Bowl of Incised Ware.</span><br /><i>About</i> 1460.</p> + +<p> </p> +<div class="figcenter"><img src="images/i060b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 41.—Plate.</span><br />Diam., 11½ in. <i>About</i> 1540.</p> + +<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> </p> +<div class="figcenter"><img src="images/i061.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 42.—Red Glazed Earthenware Basket.</span><br /><i>19th Century.</i></p> + +<p> <span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p> +<p class="center"><span class="smcap">Hispano-Moresque</span></p> +<div class="figcenter"><img src="images/i062.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 43.—Vase.</span><br />Height 20¾ in. <i>15th Century.</i></p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p> +<h3>SPAIN</h3> + +<p class="dropcap"><span class="caps">The</span> exact date of the introduction of enamelled pottery with +lustre-pigment into Spain is unknown, but the existence of manufactures +of “golden” pottery at Calatayud, in Aragon, is testified to by the +Mohammedan geographer Edrisi in the 12th century.</p> + +<p> </p> +<div class="figcenter"><img src="images/i063.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 44.—Azulejo.</span></p> +<p> </p> + +<p>The Hispano-Moresque period, which is best known to us from the numerous +specimens preserved to our time, commences with the 14th century,<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> when +the Alhambra of Granada was erected by the Moors.</p> + +<p>The earlier pieces of the 14th and 15th centuries may be distinguished +by a golden yellow metallic lustre, and blue enamel on a white ground. +The designs are Moorish, consisting of diaper patterns, foliage, +fantastic and other animals, shields of arms of Spanish princes, &c., +and sometimes Arabic inscriptions, transformed into ornamental designs.</p> + +<p>Fig. 43, a vase, is decorated with leaves and conventional flowers, in +reddish yellow lustre and blue.</p> + +<p>The <i>azulejos</i> or enamelled tiles of the Alhambra, bearing passages from +the Koran, shields and other devices, are well known; they date from the +beginning of the 14th century (see Fig. 44).</p> + +<p><span class="smcap">Malaga.</span> The principal as well as the earliest centre for the manufacture +of fayence was in this city, and the finest known specimen of Moorish +fayence is the celebrated vase of the Alhambra, which is supposed to be +as early as the palace itself, viz. the 14th century, and was probably +made here. The colours of the decoration are a pure blue enamel, +surrounded or heightened with a yellow lustre on white ground.</p> + +<p>Figs. 45 and 46 are other specimens of the Spanish lustre ware, with +shields of arms, of the 15th or 16th century.</p> + +<p><span class="smcap">Majorca</span> was the next in importance as regards its ancient manufacture, +but it must also have had a very extensive trade in fayence, for it was +exported to almost every part of the globe. Giovanni de’<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> Bernardi da +Uzzano, writing in 1442 about the productions of the Balearic Isles, +says “<i>the fayence of Majorca has a very extensive sale in Italy</i>.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i065.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 45.—Plateau.</span></p> +<p> </p> + +<p>As the keramic art in Spain declined, the Arabic inscriptions, which +were perfect on the early vases like that of the Alhambra, were copied, +but the painter, not knowing their signification, employed them as +ornaments, until at last they became altogether confused and illegible. +The arabesques were no longer in such elegant taste, and large coats of +arms entirely filled the centres of vases and plates.</p> + +<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span><span class="smcap">Valencia</span> was also celebrated for its fayence, which may be traced back +to Roman times, for Saguntum, now Murviedro, is mentioned by Pliny and +others as noted for its jasper red pottery. It is impossible to discover +the origin of the <i>lustred</i> pottery of Valencia, but it probably dates +from the beginning of the 15th century, when it became the most +important in Spain. The pieces attributed to this place have Christian +devices; many of them bear the inscription, “In principio erat Verbum +et Verbum erat apud Deum,” from the first chapter of St. John, and the +eagle displayed (not in an escutcheon as in the arms of Aragon), for St. +John was particularly venerated at Valencia. Of its earlier productions +of the Moorish period nothing is known.</p> + +<p> </p> +<div class="figcenter"><img src="images/i066.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 46.—Plateau.</span></p> +<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> </p> +<div class="figcenter"><img src="images/i067.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 47.—Dish.</span></p> +<p> </p> + +<p>Valencia has from time immemorial been celebrated for its <i>azulejos</i> or +enamelled tiles. There are many houses of the 15th and 16th centuries +still existing in the ancient cities of Spain, the walls of whose rooms +are covered with tiles ornamented with borders, scrolls, and geometrical +designs. The celebrity of this manufacture is maintained to the present +day. Fayence of all descriptions was <span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>extensively made at Valencia +throughout the 17th and 18th centuries. Fig. 47, a dish, is blue and +white with a lion in the centre.</p> + +<p><span class="smcap">Manises</span>, near Valencia, was also celebrated from the 16th to the 18th +century. The decorations appear to be of Oriental design, executed for +the most part in a rich copper-coloured lustre. Some dishes with +copper-colour lustre have upon them a mark of an open hand, which may be +the emblem of the place, and are dated 1610 and 1611. Fig. 48, a vase, +is painted in lustre, with foliage, birds and animals, and with a rudely +executed shield of arms, seemingly of Sicily or Portugal.</p> + +<p> </p> +<div class="figcenter"><img src="images/i068.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 48.—Vase.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span><span class="smcap">Triana</span>, near Seville. There were several <i>fabriques</i> here, one for the +manufacture of spires or ornaments of earthenware, with which the gables +of the buildings were crowned; others for the <i>azulejos</i> or tiles so +much used in Spain, and for fayence vessels of all descriptions. Fig. 49 +is a bottle in the form of a lady in the costume of the period of Louis +XIV., <i>en grande tenue</i>; inside the <i>fontange</i> or top-knot of the +headdress, which forms the spout, is written “Victor. I. Viva. Mi. Arno. +Don. Damian. Sant. <big>✠</big>.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i069a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 49.—Bottle.</span><br />Height 14 in.</p> +<p> </p> +<div class="figcenter"><img src="images/i069b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 50.—Dish.</span><br /><i>Dated</i> 1774.</p> +<p> </p> + +<p><span class="smcap">Alcora.</span> There was a very important <i>fabrique</i> of fayence at this place, +carried on by the Count D’Aranda, in the 18th century.</p> + +<p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>The usual mark upon this fayence is the letter A in gold or colour.</p> + +<p> </p> +<div class="figcenter"><img src="images/i070.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 51.—Plaque.</span></p> +<p> </p> + +<p><span class="smcap">Talavera</span>, near Toledo, was one of the most important manufactories in +Spain in the 17th and 18th<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> centuries, and the word <i>talavera</i> was used +to indicate all fayence in the same manner as <i>fayence</i> in France and +<i>delft</i> in England.</p> + +<p> </p> +<div class="figcenter"><img src="images/i071.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 52.—Bowl.</span><br /><i>18th Century.</i></p> +<p> </p> + +<p>Fig. 52, a bowl, is glazed, decorated within and without with a bull +fight, storks, and trees, in green, orange and manganese.</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span></p> +<h2>CONTINENTAL FAYENCE</h2> +<p> </p> +<h3>FRANCE</h3> + +<p class="dropcap"><span class="caps">Maiolica</span> and Fayence are essentially the same, being composed of the +same material and covered with a tin glaze or opaque white enamel, which +serves to hide the dingy colour of the clay, and forms a fine ground for +the reception of colours.</p> + +<p><span class="smcap">Saint Porchaire.</span> All the earliest writers on the subject appear to have +thought that it was made in Touraine, and it was called <span class="smcap">Henri Deux</span> ware.</p> + +<p>The ware next became known as <span class="smcap">Faïence d’Oiron</span>, but in 1888 it was +affirmed that the factory of this pottery was at Saint Porchaire.</p> + +<p>The distinguishing characteristics of this curious ware are, in the +first place, the body, which is of a creamy white pipeclay, very compact +and of fine texture, so that it does not, like the ordinary fayence, +require an opaque white enamel, but merely a transparent glaze; and +secondly, that instead of being painted with enamel colours over the +surface, it is inlaid with coloured plates, in the same manner as the +<i>champ levé</i> enamels or niello work in metal.</p> + +<p>Fig. 53, a candlestick of cream-coloured ware, is inlaid with arabesques +and other patterns, in dark brown and reddish brown, with reliefs of +three boys,<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> tragic masks, shields of arms of France, and the cipher of +Henri II.; above are three terminal figures of satyrs; date about 1540.</p> + +<p> </p> +<div class="figcenter"><img src="images/i073.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 53.—Candlestick.</span></p> +<p> </p> + +<p>Fig. 54, a <i>biberon</i>, is inlaid with interlaced bands and scrolls, +rosettes, guilloches, masks, &c., in a reddish colour; a curved band on +the neck has a<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> row of ciphers, these being the letters A. M., elegantly +arranged as a decorative monogram, probably that of the Constable Anne +de Montmorency.</p> + +<p> </p> +<div class="figcenter"><img src="images/i074.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 54.—Biberon.</span><br />Height 9¼ in.</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span><span class="smcap">Beauvais</span> was celebrated for the manufacture of decorative pottery in the +14th century, and descriptions of cups of the <i>terre de Beauvais</i> +frequently occur in early inventories. Several specimens of it are still +in existence; they are of red, green, or blue glaze, with gothic +inscriptions and arms of various provinces of France in relief.</p> + +<p><span class="smcap">Apt.</span> The fabrication of fayence is said to have commenced here about the +middle of the 18th century, principally in imitation of jasper and +brocatelle marble. The manufactory of M. Bonnet was established about +1780, and marbled ware and vases of a yellow colour were produced.</p> + +<p> </p> +<div class="figcenter"><img src="images/i075.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 55.—Vase.</span></p> +<p> </p> + +<p>Fig. 55 is a yellow vase with masks and vine leaves.</p> + +<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span><span class="smcap">Blois.</span> A manufactory of fayence was in existence here throughout the +17th and 18th centuries. It was similar to that of Nevers and Rouen. +Some specimens are signed Lebarquet.</p> + +<p> </p> +<div class="figcenter"><img src="images/i076.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 56.—Candlestick.</span></p> +<p> </p> + +<p><span class="smcap">Avignon.</span> A manufactory of pottery flourished here from about 1650 to +1780, but there were also potteries early in the 16th century. The +pottery is of a chocolate brown, with a fine metalloid glaze like bronze +or tortoiseshell. The ewers and bottles are of elegant forms, resembling +those of<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> Italy, sometimes perforated and ornamented with masks and +flowers in relief, or painted yellow.</p> + +<p> </p> +<div class="figcenter"><img src="images/i077.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 57.—Ewer.</span><br /><i>About 1600.</i></p> +<p> </p> + +<p><span class="smcap">Bernard Palissy</span>, born 1510, succeeded, after many years of diligent +research, in discovering the enamel which decorates his ware. His +earthenware, as well as his style of decoration and his beautiful +modelling, were quite original. The natural objects represented upon his +ware are true in form and colour, being mostly modelled from nature; the +shells are copied from tertiary fossils found in the<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> Paris basin; the +fish are those of the Seine, and the reptiles and plants such as he +found in the environs of Paris.</p> + +<p> </p> +<div class="figcenter"><img src="images/i078.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 58.—Dish.</span><br /><i>16th Century.</i></p> +<p> </p> + +<p><span class="smcap">Nevers.</span> The earliest evidence of the making of fayence at Nevers is the +foundation of a <i>fabrique</i> by Dominique Conrade, in the latter half of +the 16th century, which was carried on by his son and grandson. In 1652, +Pierre Custode established another <i>fabrique</i>, which was equally +successful, and seven generations of his family were employed in it. +Other manufactories were started in the 18th century.</p> + +<p>The fayences of the first epoch, 1600 to 1660, have frequently been +confounded with Italian <span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>maiolica, but a little attention will show the +points of difference. In the Nevers ware the figures are always yellow +on blue ground; the Italian figures are usually blue on yellow. At +Nevers red or metallic lustre was never employed, and the outlines are +always traced in manganese violet, never in purple or black. During the +second epoch, the ground was a peculiar lapis-lazuli blue, like the +Persian colour called <i>bleu de Perse</i>; it entirely covered the piece, +was spotted or painted with white, or sometimes in yellow and orange, +and decorated with flowers and birds. The Chinese patterns are in light +blue <i>en camaïeu</i>, sometimes intermixed with a sort of brown lilac.</p> + +<p> </p> +<div class="figcenter"><img src="images/i079.png" alt="" /></div> +<p class="center"><span class="smcap">Fig. 59.—Pilgrim’s Bottle.</span> <i>Bleu de Perse.<br />2nd half of 17th Century.</i> Height 11½ in.</p> +<p> <span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span></p> +<div class="figcenter"><img src="images/i080.png" alt="" /></div> +<p class="center"><span class="smcap">Fig. 60.—Ewer.</span> <i>Painted with Japanese figures,<br />2nd half of 17th Century.</i> Height 15⅜ in.</p> +<p> <span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p> +<div class="figcenter"><img src="images/i081.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 61.—Pilgrim’s Bottle. Apollo and Daphne;</span><br /><i>rev.</i> <span class="smcap">A +Bacchanalian Scene.</span><br /><i>In blue and yellow.</i> Height 12¼ in.</p> +<p> </p> + +<p><span class="smcap">Rouen.</span> There was a manufactory of pottery at<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> Rouen early in the 16th +century, and towards the end of the next century there were many +establishments. At the commencement of the 18th century, the Chinese +style pervaded all the Rouen fayence, but it was transformed or +travestied and possessed a special physiognomy; the subjects were +landscapes and buildings with figures, fantastic birds, dragons, &c., in +blue, green, yellow, and red, bordered with the square Chinese +ornaments. At a later date the decoration consists principally of +flowers issuing from cornucopiæ and rococo ornaments; this sort of style +is called in France “<i>à la corne</i>.” The paste of the Rouen fayence is +heavier and thicker than that of Delft, but the designs and ornaments +are full of taste, decorated in blue <i>camaïeu</i> and in polychrome, some +in the style of Nevers, with white on <i>bleu de Perse</i>, but of paler +colour. The pieces were frequently of large size, and included +fountains, consoles, vases, &c.</p> + +<p> </p> +<div class="figcenter"><img src="images/i082.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 62.—Ewer.</span></p> + +<p> <span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span></p> +<div class="figcenter"><img src="images/i083a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 63.—Ewer.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i083b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 64.—Plate.</span></p> +<p> </p> + +<p>Fig. 62 is painted with polychrome decoration of landscapes, &c.; period +of Louis XIV.; height 26⅜ in.</p> + +<p>Fig. 63 is painted in blue with arabesques and flowers; period of Louis +XIV.; height 9¾ in.</p> + +<p><span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span>Fig. 64 is painted in the centre with a rose ornament, with medallions +and scrolls round the rim, in blue and orange; period of Louis XIV.; +diam. 10 in.</p> + +<p> </p> +<div class="figcenter"><img src="images/i084a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 65.—Compotier.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i084b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 66.—Compotier.</span></p> +<p> </p> + +<p>Fig. 65 is painted in polychrome; period of Louis XV.; diam. 9⅝ in.</p> + +<p>Fig. 66 is painted with Chinese figures, &c., in polychrome; period of +Louis XV.; diam. 10 in.</p> + +<p><span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span><span class="smcap">Strassburg</span><small><a name="f1.1" id="f1.1" href="#f1">[1]</a></small> and <span class="smcap">Hagenau</span> were noted for the manufacture of fayence, +established by Charles François Hannong about 1709. It was called in +France “poterie du Rhin,” and is of a peculiar character, and easily +known, being generally decorated with flowers and scrolls in red, rose +colour, and green. Charles F. Hannong was succeeded by his sons Paul +and Balthasar. The former took charge of the Strassburg works, and the +latter the factory which had been started at Hagenau. The Strassburg +fayence works were closed in 1780.</p> + +<p> <span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p> +<div class="figcenter"><img src="images/i085.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 67.—Fountain.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i086.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 68.—Clock and Bracket.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span>Fig. 67, polychrome decoration, bears the initials of Paul Hannong; +about 1750; height 22¼ in.</p> + +<p>Fig. 68, in three pieces, coloured in maroon, yellow, blue and green, +bears the mark of Paul Hannong; about 1750; height 3 ft. 9 in.</p> + +<p><span class="smcap">Moustiers.</span> The products of the Moustiers <i>fabriques</i> may be divided into +three periods:—</p> + +<p>1st Epoch. Towards the end of the 17th century. The subjects are hunting +scenes, &c., painted in blue; champêtre scenes and figures in costumes +of the period of Louis XIV.; and mythological and biblical subjects with +arabesque borders. The outlines are sometimes lightly indicated in +violet of manganese.</p> + +<p> </p> +<div class="figcenter"><img src="images/i087.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 69.—Plateau.</span></p> +<p> </p> + +<p>2nd Epoch. From the commencement of the<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> 18th century to about 1745. The +specimens of this period are in blue <i>camaïeu</i> with highly finished and +graceful interlaced patterns, among which are cupids, satyrs, nymphs, +terminal figures, flowers, masks, &c.; canopies with draperies resting +upon consoles, vases, fountains, &c.</p> + +<p>3rd Epoch. From 1745 to 1789. The fayence is mostly painted in +polychrome; the colours are blue, brown, yellow, green, and violet. The +decorations are flowers, fruit, and foliage, and sometimes mythological +subjects. Other patterns of this period consist of grotesque figures, +and caricatures. The outlines of the designs were transferred to the +surface of the ware by means of paper patterns, pricked with a fine +needle and powdered over with charcoal.</p> + +<p> </p> +<div class="figcenter"><img src="images/i088.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 70.—Compotier.</span></p> +<p> </p> + +<p>Fig. 69, painted in green <i>camaïeu</i> with a rustic subject in the style +of Boucher, with polychrome floral border; 1720 to 1760; diam. 11⅛ +in.</p> + +<p>Fig. 70. Compotier, painted with a central<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> hunting subject, after +Tempesta, surrounded by a floral border, and outer border of garlands, +in polychrome; 1680 to 1720; diam. 10⅜ in.</p> + +<p> </p> +<div class="figcenter"><img src="images/i089a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 71.—Plate.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i089b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 72.—Barber’s Basin.</span></p> +<p> </p> + +<p>Fig. 71. Plate, octagonal, with curved outline, painted with central +medallion of Juno standing in a landscape, surrounded by a garland, and +round<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> the border the busts of divinities within medallions, and +garlands, in polychrome; 1680 to 1720; diam. 10 in.</p> + +<p>Fig. 72. Barber’s basin, painted in polychrome with the subject of Diana +and Actæon; 1680 to 1720; length 15 in.</p> + +<p><span class="smcap">Varages</span> also possessed manufactories in the 18th century for fayence in +the style of Moustiers, from which it is only a few miles in distance. +Some of this ware bears the mark of a cross, and was called “Faïence à +la Croix.” Fig. 73 is painted with rustic figures in landscape, after +Wouverman; crimson and green flower border, and marked with a cross. +18th century. Diam. 11½ in.</p> + +<p> <span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p> +<div class="figcenter"><img src="images/i090.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 73.—Plate.</span></p> +<p> </p> + +<p><span class="smcap">Marseilles.</span> The manufacture of fayence at Marseilles, and elsewhere in +the South of France, was in activity early in the 17th century. A little +after 1750, twelve <i>fabriques</i> of pottery were in existence. In 1790 +there were eleven manufactories existing, but most of them ceased about +1793, on account of the Treaty of Commerce with England. The Revolution<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> +of 1793 gave an additional blow to the keramic industry of Marseilles. +In 1805 there were only three factories at work, employing twenty hands. +In 1809 only one remained.</p> + +<p> </p> +<div class="figcenter"><img src="images/i091.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 74.—Tureen.</span></p> +<p> </p> + +<p>The fayence is much the same in character as that of Moustiers, and +sometimes resembles that of Strassburg. The decorations are frequently +in red or green, sometimes with Chinese designs. There is one +peculiarity about the Marseillaise fayence which at once fixes its +identity, and this is, three green leaves or marks painted on the backs +of plates and dishes to hide the imperfections in the enamel caused by +the <i>pernettes</i> or points of support on which they rested in the kiln. +There is also a great resemblance between the early ware made here and +at Genoa, in consequence of the emigration of many workmen. We learn +from a complaint made on the subject by the potters of Marseilles to the +Intendant of Provence in 1762, from which it seems they took a great +number of apprentices at very low wages, and the wages were paid in +fayence, which mode of payment they said deteriorated the quality, and +caused the workmen to emigrate to Genoa. Also they complained that great +quantities of Genoese fayence were imported into Languedoc and Provence, +and spread over France, which was absolutely ruinous to the trade of the +two provinces, and especially to Marseilles.</p> + +<p>Fig. 74. Soup tureen, cover, and stand, with polychrome flower +decoration and gilding, was made by Savy, about 1750; length of tureen, +15½ in.</p> + +<p><span class="smcap">Sinceny</span> in Picardy. A manufactory was <span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>established here in 1733, by Jean +Baptiste de Fayard, Gouverneur de Chaunay et Seigneur de Sinceny. Dr. +Warmont (<i>Recherches Historiques sur les faïences de Sinceny, &c.</i>, +Paris, 1864) divides the products of this manufactory into three +periods:—</p> + +<p class="blockquot">1. Rouennaise, 1734 to 1775.<br /> +2. Faïence au feu de réverbère, 1775 to 1789.<br /> +3. Décadence de l’Art, 1789 to 1864.</p> + +<p>The earliest pieces were painted in blue; the next in blue touched with +red or green and yellow, decorated with <i>lambrequins</i> (mantlings), <i>à la +corne</i> (cornucopiæ), birds, and butterflies. Chinese figures were +doubtless stencilled by pricked papers and charcoal powder.</p> + +<p> </p> +<div class="figcenter"><img src="images/i093.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 75.—Bowl and Cover.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>About 1775 a great improvement was perceptible in the fayence of +Sinceny; the paste became finer in quality, the colours brighter and +more varied, in more exact imitation of the porcelain of Japan. This was +accomplished by what is called <i>le feu de réverbère</i>, in +contradistinction to the old process <i>au grand feu</i>; the latter included +only one baking, while in the other the ware was placed a second time in +the kiln, and the pigments were not exposed to so great a heat, which +allowed the employment of brighter colours. Table services decorated in +polychrome, with branches of roses, sometimes in green <i>camaïeu</i>; +delicate wicker baskets, watch stands, &c., were produced; they were +painted with Chinese figures, rococo scrolls, and other ornaments. From +1790 the fayence <i>au feu de réverbère</i> was largely discontinued on +account of its expensive character and the introduction of English ware +at a lower price; but still, both descriptions were occasionally made.</p> + +<p>Fig. 75 is a bowl and cover, painted in colours inside with a coronet, +supported by two cupids on clouds with a flaming heart beneath, 18th +century.</p> + +<p><span class="smcap">Lunéville.</span> Founded in 1731 by Jacques Chambrette, it was called <i>La +Manufacture Stanislas</i>; Jacques was succeeded by his son Gabriel and his +son-in-law Charles Loyal. They made fayence of blue decoration like +Nevers, and sometimes with rose and green colours like the old +Strassburg ware. Large figures of lions, dogs, and other animals, of +natural size, are sometimes met with.</p> + +<p><span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> </p> +<div class="figcenter"><img src="images/i095a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 76.—A Pair of Rustic Figures.</span> <i>With polychrome decoration.</i><br /><i>About 1775.</i> Height 8¾ in.</p> +<p> </p> +<div class="figcenter"><img src="images/i095b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 77.—Dish.</span> <i>In polychrome.</i><br /><i>About 1760.</i> Length 13¼ in.</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span><span class="smcap">Aprey</span>, near Langres. Established, about 1750, by Lallemand, Baron +d’Aprey. About 1780 it was conducted by M. Vilhault, who made a superior +kind of fayence. The early style is that of Strassburg with rose colour, +green and yellow predominating.</p> + +<p> </p> +<div class="figcenter"><img src="images/i096.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 78.—Plate.</span> <i>In polychrome.</i><br />Diam. 9⅜ in.</p> +<p> </p> + +<p>At <span class="smcap">Manerbe</span>, near Lisieux in Normandy, and at <span class="smcap">Malicorne</span>, <span class="smcap">Infreville</span>, +<span class="smcap">Château-la-Lune</span> and <span class="smcap">Armentières</span>, those elegant glazed earthenware +pinnacles or finials which adorn the gables of old mansions in various +parts of Normandy were constructed. They are 5 or 6 feet in height, +being a series of small ornaments placed one above another on an iron +rod; they partake of the character of the <i>figulines rustiques</i> of +Palissy, and have frequently been sold as such.</p> + +<p><span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> </p> +<div class="figcenter"><img src="images/i097.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 79.—Finial.</span><br /><i>About 1600.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span><span class="smcap">St. Clément.</span> Established about 1750. Little is known of this <i>fabrique</i>. +There are some specimens of the 18th century in the Sèvres Museum; also +some others of later date, 1819 and 1823.</p> + +<p> </p> +<div class="figcenter"><img src="images/i098.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 80.—Écuelle.</span><br /><i>With gilt scrolls on white ground.</i></p> +<p> </p> + +<p><span class="smcap">Toulouse.</span> Established in the 18th century. The ware is very similar in +style to early Rouen pottery. A large hunting bottle, with loops for +suspension, painted with blue flowers, and bearing round the neck the +inscription “Laurens Basso a Toulousa Le 14 Maÿ 1756,” was formerly in +the possession of the late Mr. C. W. Reynolds.</p> + +<p><span class="smcap">Niderviller.</span><small><a name="f2.1" id="f2.1" href="#f2">[2]</a></small> Established in 1760, by Jean Louis, Baron Beyerlé. The +ware is in the German style, potters from Germany having been employed +in its production, and is remarkable for the richness and delicacy of +its decoration, which most frequently consists of flowers in bouquets +and garlands. His fayence figures and groups are well modelled. About +1780,<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> four years before Beyerlé’s death, the factory was purchased by +General Count Custine, and carried on by him under M. Lanfray, +principally for the manufacture of porcelain, which will be subsequently +referred to.</p> + +<p> </p> +<div class="figcenter"><img src="images/i099.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 81.—Vase.</span></p> +<p> </p> + +<p>Fig. 81. Vase with cover, one of a pair; urn shape, painted to resemble +deal, with medallions containing landscapes in rose <i>camaïeu</i>, and +borders of bay leaves. It bears the mark of Count Custine; date about +1774; height 17⅜ inches.</p> + +<p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span><span class="smcap">Douai.</span> Two brothers of the name of Leech, from England, were engaged, in +1782, by M. George Bris, of Douai, to superintend the manufacture of +English pottery on a large scale, in a factory (now a Normal School) in +the Rue des Carmes. It was one of the first of the kind established in +France. The chief workmen, who came originally from England, instructed +pupils, who carried the new process to Chantilly, Forges, and other +places in France.</p> + +<p><span class="smcap">Vincennes.</span> In 1768 M. Maurin des Abiez undertook a manufacture of +fayence in the manner of Strassburg, it being well known that there did +not exist in France any fayence comparable to it in beauty and solidity; +he had purchased the secret, and brought to Paris a staff of workmen who +had been engaged at Strassburg. He acquired possession of the Château de +Vincennes for twenty years. Pierre Antoine Hannong was engaged as +director, and the works were carried on for four years, until 1771, when +the factory got into difficulties and was closed.</p> + +<p><span class="smcap">Sarreguemines.</span><small><a name="f3.1" id="f3.1" href="#f3">[3]</a></small> Established about 1770 by Paul Utzschneider. The +beautiful fayence produced here is in imitation of porphyry, jasper, +granite, and other variegated hard marbles, and was sometimes cut and +polished by the lathe; it was also made with white raised figures on +blue in the style of Wedgwood, and a third kind was red ware like the +Japanese. The name is impressed on the ware.</p> + +<p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span><span class="smcap">St. Amand-les-Eaux</span>, near Valenciennes. Founded about 1750 by M. Fauquet, +and continued by his son. The latter occupied himself especially with +the gilding of his ware, which gave his neighbours the opportunity of +saying he melted all his louis-d’ors in making his experiments and +ruined himself. In the revolution of 1789 he emigrated, and all his +goods were confiscated. In 1807 he attempted to revive the <i>fabrique</i>, +and advertised that the St. Amand works were in full activity, making +white fayence in the style of Rouen.</p> + +<p> </p> +<div class="figcenter"><img src="images/i101.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 82.—Inkstand.</span></p> +<p> </p> + +<p>Fig. 82, an inkstand, with ink and pounce pots and drawer, painted on a +grey ground with blue and white flowers under the glaze; about 1760-80.</p> + +<p><span class="smcap">Sceaux Penthièvre.</span> In 1753, Jacques de<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> Chapelle established a +manufactory of a particular sort of fayence, of which he alone possessed +the secret. The ware is in the style of Strassburg, its prevailing +colours being pink and green; it is painted with flowers, but more +carefully finished, and with landscapes and other forms of decoration.</p> + +<p> </p> +<div class="figcenter"><img src="images/i102.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 83.—Plate.</span></p> +<p> </p> + +<p><span class="smcap">Bourg-la-Reine.</span> Established in 1773 by Messrs. Jacques and Jullien, who +removed hither from Mennecy. The early ware is very similar to that of +Sceaux. Besides the white fayence for domestic use, more artistic pieces +were produced, painted on the enamel after it had received a slight +baking; this ware is principally in imitation of the Italian.</p> + +<p><span class="smcap">Creil.</span> A manufactory of fine fayence, worked<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> in the 18th century by M. +S<sup>t</sup> Criq, made opaque porcelain and stoneware in the English style, and +transferred prints on to the ware.</p> + +<p> </p> +<div class="figcenter"><img src="images/i103.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 84.—Plate.</span><br /><i>With a yellow border and transfer-printed landscape.</i></p> +<p> </p> + +<p><span class="smcap">Montereau.</span> In 1775, Messrs. Clark, Shaw, & Co., obtained letters patent +to carry on a manufactory of English fayence, called Queen’s ware, from +clay found in the vicinity. This ware had a very extensive sale, and +dealt a severe blow to the manufacture of French fayence. It soon spread +over France, and was extensively made at Toulouse, Creil, Sarreguemines, +and other places.</p> + +<p><span class="smcap">Lille.</span> A manufactory of fayence, was founded<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> in 1696, by Jacques +Feburier, of Tournai, and Jean Bossu, of Ghent, who made a ware <i>à la +façon de Hollande</i>.</p> + +<p> </p> +<div class="figcenter"><img src="images/i104.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 85.—Dish.</span></p> +<p> </p> + +<p>Another important manufactory of fayence was established in 1711, by +Barthélemy Dorez and Pierre Palissier; it continued in active work for +nearly a century. A third fayence manufactory was founded in 1740 by J. +Masquelier, and was continued in<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> the same family until 1827. A fourth +was established in 1744, by M. Chanou, who made a brown earthenware +called <i>terre du St. Esprit</i>, in the English fashion. There were also +two other factories here in the 18th century.</p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p> +<h3>GERMANY</h3> + +<p class="dropcap"><span class="caps">The</span> pottery of Germany consists of two distinct classes: the fayence +with opaque white stanniferous glaze, and that which to a great extent +is called in England stoneware, in Germany <i>Steingut</i>, and in France +<i>grès</i> or sandstone. These epithets exactly describe the quality of the +latter ware. It is very serviceable for domestic utensils, such as +drinking bottles and vessels of everyday use, and is covered with a thin +transparent glaze, effected by throwing common salt into the kiln when +the ware is nearly baked—the salt vaporised by the heat surrounds the +vessels, and acting upon the silica of their surfaces produces a thin +gloss of silicate of soda over the ware, rendering it perfectly +impervious.</p> + +<p><span class="smcap">Nuremberg</span> (<i>Nürnberg</i>). The celebrated Veit Hirschvogel, of +Schlettstadt, was born in 1441, and died in 1525; he was a great potter, +contemporary with Luca della Robbia, of Florence. The early pieces of +pottery are somewhat like maiolica, but the colours are brighter, green +predominating in many specimens; figures in relief in niches are +frequently seen on vases. Several chimney-pieces of this ware of the +15th century are still in existence, one is in the castle of Salzburg, +and many<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> pieces treasured up in museums are supposed to have been made +by Hirschvogel himself. The Nuremberg pottery of the 16th and 17th +centuries is not uncommon. Hirschvogel was succeeded by his sons and a +host of continuators. Fayence of the 18th century is also met with, +painted with scriptural subjects, sometimes in blue <i>camaïeu</i>, sometimes in other colours.</p> + +<p> </p> +<div class="figcenter"><img src="images/i107.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 86.—Jug.</span><br /><i>15th Century.</i></p> +<p> </p> + +<p>Fig. 86. Jug, of enamelled earthenware, in<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> various colours, with +figures in low relief; attributed to Veit Hirschvogel; height 13 in.</p> + +<p> </p> +<div class="figcenter"><img src="images/i108.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 87.—Dish.</span></p> +<p> </p> + +<p>Fig. 87. Dish, painted in the centre with Christ rising from the tomb; +signed with the painter’s name Glüer, 1723.</p> + +<p><span class="smcap">Leipzig.</span> In the convent of St. Paul, which was built in 1207, there was +a frieze of bricks, covered with tin enamel glaze, representing in +relief the heads of Saints and Apostles, 20 in. by 15 in., 2½ in. +thick. On the demolition of the convent a selection of these was +deposited in the Dresden Museum; they are of Byzantine character, in +green enamel<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> shaded with black; the hair, beard, and eyes of the +figures are coloured.</p> + +<p><span class="smcap">Strehla.</span> A manufactory for earthenware was in existence here for many +centuries. A pulpit of enamelled earthenware still exists, supported by +a life-size figure of Moses, ornamented with eight plaques of religious +subjects and figures of the four Evangelists, bearing the name of the +potter and the date 1565.</p> + +<p><span class="smcap">Oberdorf.</span> A factory was carried on by a potter named Hans Seltzman; a +very fine stove made by him, with an inscription and dated 1514, is in +the Palace at Füssen, in Bavaria. Many other places throughout Germany +were equally famous in the 16th and 17th centuries, for the manufacture +of stoves, as <span class="smcap">Augsburg</span>, <span class="smcap">Memmingen</span>, &c.</p> + +<p><span class="smcap">Bayreuth.</span> The manufacture of a brown stoneware with Renaissance +medallions, arabesques, &c., in relief flourished here in the 16th +century. At a later period, fine fayence was produced, painted in blue +<i>camaïeu</i>. The designs are delicately traced with a brush on a fine +paste; the forms are canettes, jardinières, &c. At the end of the 18th +century a <i>fabrique</i> of fayence was carried on by a Herr Schmidt, who +assiduously copied the English ware; there are specimens in the Sèvres +Museum bearing the counterfeit mark of “Wedgwood.”</p> + +<p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> </p> +<div class="figcenter"><img src="images/i110.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 88.—Coffee-pot.</span></p> +<p> </p> + +<p>Fig. 88. Coffee-pot and cover, chocolate coloured ground, decorated with +gilt scrolls; F, the cypher of Frederick the Great, under a crown in +front; about the middle of the 18th century; height 9 in.</p> + +<p><span class="smcap">Cologne</span> (<i>Köln</i>). The stoneware made here in the 16th century is better +known throughout Europe than any other description of pottery; its +durability<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> for domestic uses and the elegant character of its +ornamentation in relief, caused it to be sought for everywhere. The +<i>grès de Cologne</i> has been confounded with the <i>grès de Flandres</i>, which +latter name is given erroneously and indiscriminately to all stoneware +of German manufacture, notwithstanding the German inscriptions the +pieces bear and the arms of German cities and families. The best and +most highly finished decorative <i>grès</i> or stoneware cruches were +undoubtedly made in Germany, if not at Cologne. The clay for making the +Cologne ware came from Langerwehe between Düren and Aix-la-Chapelle. The +manufactory was not actually in Cologne, but in the vicinity, possibly +at <span class="smcap">Frechen</span>, and at <span class="smcap">Lauenstein</span>, where a factory was established in the +18th century.</p> + +<p>There were also factories at <span class="smcap">Siegburg</span> and <span class="smcap">Limburg</span>.</p> + +<p>All the ware was made in moulds, and it must be borne in mind that the +vessels were not always made at the date indicated upon them, for the +moulds were used successively through a series of years, and it is no +uncommon occurrence to find two different dates upon the same piece. +Some of the finest specimens known bear the name of Baldem Mennicken, a +potter dwelling at <span class="smcap">Raeren</span> in the ancient Duchy of Limburg, which town +until the treaty of 1814 was part of Holland, and it is probable that +the stoneware produced here indicates the origin of <i>grès de Flandres</i>.</p> + +<p> <span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></p> +<div class="figcenter"><img src="images/i112a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 89.—Limburg Cruche.</span><br /><i>Grey and blue.</i> Height 8¾ in.</p> +<p> </p> +<div class="figcenter"><img src="images/i112b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 90.—Raeren Cruche.</span><br /><i>Grey and blue.</i> Height 7¼ in.</p> + +<p> <span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span></p> +<div class="figcenter"><img src="images/i113.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 91.—Siegburg Canette.</span><br /><i>Cream colour. Dated 1574.</i><br />Height 17¼ in.</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span><span class="smcap">Grenzhausen</span>, in Nassau. There was a factory here about 1780, where +<i>grès</i> or stoneware was made; it is of a fine quality and easily +mistaken for the more ancient <i>grès</i>. The forms are usually plates, +dishes, and jugs, in which the decoration consists of a fine blue enamel +on grey ground, with incuse ornaments executed by hand.</p> + +<p> </p> +<div class="figcenter"><img src="images/i114.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 92.—Jug.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span>Fig. 92, a jug of reticulated pattern, is engine-turned, and enriched +with brilliant enamel colours, 18th century.</p> + +<p> </p> +<div class="figcenter"><img src="images/i115.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 93.—Fountain.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>Fig. 93, a large fountain, is purple blue and white, 16th century; +height 30 in.</p> + +<p><span class="smcap">Kreussen</span>, a town of Bavaria, has long been noted for its pottery. The +<i>grès</i> of the 17th century, called <i>Kreussener Steingut</i>, is of a dark +brown colour, in the forms of cylindrical mugs, tankards, &c., with +figures in relief round them, painted in bright coloured enamel.</p> + +<p> </p> +<div class="figcenter"><img src="images/i116.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 94.—Tankard.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span>Fig. 94, a tankard, has a chocolate-coloured ground, with coloured +enamel ornaments and figures of the Emperor and the Electors of Germany +on horseback, dated 1696.</p> + +<p><span class="smcap">Bunzlau</span>, in Silesia. <i>Grès</i> was made here in the 16th and 17th +centuries. The products of the 18th century are distinguished by +ornaments in relief, flowers, coats of arms, &c., sometimes gilt. At the +present time an extensive trade is still carried on in the manufacture +of chocolate and coffee pots, usually covered with a brown glaze, and +lined with white. There is preserved a monster coffee-pot, 15 feet high, +made at this place in the 18th century.</p> + +<p><span class="smcap">Harburg</span>, on the Elbe, opposite Hamburg, is noted as the residence of +Johann Schaper, who was born towards the end of the 16th century. His +exquisite paintings of landscapes and figures are usually in Indian ink +or sepia <i>en grisaille</i>, the colours being fixed by heat.</p> + +<p> </p> +<div class="figcenter"><img src="images/i117.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 95.—Cruche.</span></p> +<p> </p> + +<p>Fig. 95, a cruche of fine fayence, painted with<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> a landscape in grey +<i>camaïeu</i>, is signed “<i>Joh. Schaper</i>”; it has a white ground with +flowers and fruit in natural colours; date about 1640; height 8½ in.</p> + +<p><span class="smcap">Scherzheim</span>, in Würtemberg. The Wintergursts, father and son, were +celebrated potters here, and made fayence from the beginning of the 17th +century; it is from their manufactory that the table services, of which +each piece represents an animal or a vegetable, were made.</p> + +<p><span class="smcap">Lauenstein</span>, near Coblenz. A manufactory was established in 1760; the +<i>grès</i> or stoneware made here was of grey and blue, ornamented with +incuse patterns; it was made in large quantities, and carried by the +Rhine boats to the markets in Holland, where it met with a ready sale.</p> + +<p><span class="smcap">Höchst</span>, near Mainz. Enamelled fayence was made here in the beginning of +the 18th century, at a factory founded by Gelz of Frankfort. The +manufactory ceased in 1794, but a potter named Dahl established one in +the vicinity. He made statuettes and other ornaments.</p> + +<p><span class="smcap">Dresden.</span> A manufactory was established at Meissen, on the Elbe, about 12 +miles from Dresden, by Augustus II., King of Poland and Elector of +Saxony, for the manufacture of hard paste, or true<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span> porcelain. The +experiments of Tschirnhaus and Böttcher commenced about 1706; to the +latter is attributed the invention of hard paste. His first attempt +produced a red ware, like jasper, which was cut and polished by the +lapidary and gilt by the goldsmith. It was made from a kind of brown +clay found at Meissen. This red ware, made by Böttcher, was a fine +stoneware, having opacity, grain, and toughness.</p> + +<p> </p> +<div class="figcenter"><img src="images/i119.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 96.—Böttcher Coffee-Pot.</span></p> +<p> </p> + +<p>Another kind of pottery was made at the beginning of the 18th century, +in imitation of the Japanese; it was called the red pottery of Dresden.</p> + +<p><span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span><span class="smcap">Teinitz</span> (Bohemia). A manufactory was carried on in this small town in +the 18th century by a potter named Welby.</p> + +<p> </p> +<div class="figcenter"><img src="images/i120.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig 97.—Plate.</span></p> +<p> </p> + +<p>Fig. 97. A plate painted in bistre <i>camaïeu</i> with the Discovery of +Calisto by Diana. It has an elegant border in grey, with richly gilt +designs, resembling the gilding of Vienna. Date about 1800.</p> + +<p><span class="smcap">Frankenthal.</span> Paul Hannong, driven from Strassburg in 1753, in +consequence of the Vincennes monopoly, founded a manufactory here in the +following year for hard paste porcelain; he also made great quantities +of fayence, usually decorated with flowers, as at Strassburg. It was +called “Poterie du Rhin.”</p> + +<p><span class="smcap">Arnstadt</span> (Gotha). A factory was established here about the middle of the +18th century. A fayence jug, painted in blue <i>camaïeu</i>, with St. George<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> +and the Dragon, coloured flowers on the sides, and a purple and green +check border, is in the British Museum.</p> + +<p><span class="smcap">Kiel</span> was noted for its fayence about 1770; the factory was under the +direction of J. Buchwald, who had been master potter at Marieberg, 1761 +to 1765; a few years after, probably in 1767 or 1768, he became director +of the Kiel manufactory. The paintings of landscapes and flowers in +colours are well finished.</p> + +<p> </p> +<div class="figcenter"><img src="images/i121.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 98.—Bishop’s Mitre Bowl.</span></p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span></p> +<h3>HOLLAND AND LUXEMBURG</h3> +<p> </p> +<h3>HOLLAND</h3> + +<p class="dropcap"><span class="caps">Delft,</span> a town between the Hague and Rotterdam, was celebrated for its +earthenware at a very early period. The exact date of its commencement +is not known, but there is a record of a certain Herman Pietersz, a +fayence maker, being married in 1584, consequently pottery was being +made in the town towards the end of the 16th century. At this period the +decorated Dutch pottery showed Italian influence in its design, and it +is recorded that a painter on pottery named Vroom studied his art in +Italy.</p> + +<p>After the middle of the 17th century the industry increased rapidly, and +reached its greatest prosperity about 1680, when there were about thirty +different factories, and the ware was decorated by highly skilled +artists. No one was allowed to establish a factory unless he had +obtained a licence from the Guild of S<sup>t</sup>. Luc.</p> + +<p>To this period belong famous potters, such as P. J. Van Kessel of “The +Metal Pot”; Abram de Kooge of “The Old Moor’s Head,” who decorated +landscapes in blue <i>camaïeu</i>; and Albrecht de Keizer, with his two +sons-in-law, Jacob and Adrian Pynaker,<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> of “The Three Porcelain +Bottles,” who were the first to imitate oriental porcelain. Other +potters of note at this time were the Eenhorns, father and two sons, the +Kleftyns, and the five Kams.</p> + +<p> </p> +<div class="figcenter"><img src="images/i123.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 99.—Cruche.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>By the middle of the 18th century, owing to the competition of English +pottery, the Delft industry was already on the wane. In 1780 the +factories were reduced to one half their former number, and by 1808 only +seven existed. All these gradually succumbed, and now only one factory, +“The Old Porcelain Bottle,” remains.</p> + +<p> </p> +<div class="figcenter"><img src="images/i124.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 100.—Teapot.</span></p> +<p> </p> + +<p>The forms of the Delft ware are very varied; among other curious efforts +the potters produced musical instruments. There are four fayence violins +extant, all painted in blue <i>camaïeu</i>, with figures in Dutch costume of +the 17th century, dancing and singing, musicians and kermess scenes, in +the manner of Gerard Lairesse, with cupids and Renaissance ornaments as borders.</p> + +<p><span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span>The decorated pieces of Ter Himpelen, although rarely signed, are much +prized; he painted fairs and marine subjects on square plaques, about +the year 1650. So also are those of Piet Viseer, a celebrated colourist, +who flourished about 1750; and of Van Domelaar, who painted Chinese +landscapes, &c., about 1580.</p> + +<p> </p> +<div class="figcenter"><img src="images/i125.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 101.—Vase.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span>Fig. 99, a cruche, is painted in blue <i>camaïeu</i>, with a musical party, +in the costume of about 1670.</p> + +<p> </p> +<div class="figcenter"><img src="images/i126.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 102.—Plate.</span></p> +<p> </p> + +<p>Fig. 100, a teapot, is painted in polychrome with Chinese landscapes and +flowers on a black ground. It has the mark of Louwys Fictoor. Late 17th +or early 18th century.</p> + +<p>Fig. 101, a vase, is painted in blue with flowers, in<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span> imitation of a +Chinese type. The mark of Ghisbrecht Lambrechtse Kruyk. Later half of +17th century.</p> + +<p>Fig. 102, a plate painted with figures in blue, is one of a set of +twelve representing the tobacco industry.</p> + +<p><span class="smcap">Utrecht.</span> There was a manufactory of tiles here, founded in 1760; they +were decorated in blue or violet, <i>en camaïeu</i>, in imitation of Delft; +the manufactory was closed in 1855.</p> + +<p><span class="smcap">Amsterdam.</span> A German Jew of Breslau, named Hartog, known as Hartog Van +Laun, and another, named Brandeis, established a manufactory of fayence +near the gate of Weesp, at Amsterdam. The ware is heavy, not very +artistic, and usually in blue <i>camaïeu</i>. Fig. 103, a fruit dish, is +painted in blue, with a man and woman seated.</p> + +<p> </p> +<div class="figcenter"><img src="images/i127.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 103.—Dish.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span><span class="smcap">Overtoom.</span> A manufactory of fine fayence was established in 1754, in the +parish of Amstelveen, near Amsterdam; it lasted ten years. The Barons +Van Haeren and Van Palland were the proprietors, and Ariel Blankers was +the director. The fayence, though heavy, was of a fine white enamel and +of good forms; besides table and tea services, groups of birds, modelled +from nature, statuettes, &c., were made.</p> + +<p> </p> +<h3>LUXEMBURG</h3> + +<p>An important <i>fabrique</i> was established at Luxemburg by the brothers +Boch, in 1767, who had removed from Audun le Riche in France. They made +various descriptions of earthenware, as well as fine fayence, and +largely imitated the English Queen’s ware.</p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span></p> +<h3>RUSSIA AND SWEDEN</h3> +<p> </p> +<h3>RUSSIA</h3> + +<p class="dropcap"><span class="caps">St. Petersburg.</span> About the year 1700, Peter the Great, during his stay at +Saardam, induced some potters of Delft to emigrate to St. Petersburg, +where he established a manufactory. We have no information on the +subject, except a notice of it in the “<i>Connaissances Politiques</i>,” of +Beausobre, published at Riga in 1773: “There is also among the porcelain +manufactories at St. Petersburg a <i>fabrique</i> of fayence, on the other +side of the Neva, where they make every description of vessels of +correct design and in good taste. A private gentleman of Revel has also +established at his own cost, near this city, a <i>fabrique</i> of fayence, +and has obtained painters and potters from Germany.”</p> + +<p> </p> +<h3>SWEDEN</h3> + +<p><span class="smcap">Rörstrand</span>, a suburb of Stockholm, where a factory for earthenware was +established in 1726. The works were at first under the direction of Jean +Wolf. He was succeeded by C. C. Hünger. In 1772 they were managed by +Nordenstople, and later by Geyer.</p> + +<p><span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> </p> +<div class="figcenter"><img src="images/i130a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 104.—Butterboat.</span></p> +<p> </p> + +<p class="center"><span class="smcap">Marieberg</span></p> +<div class="figcenter"><img src="images/i130b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 105.—Vase and Cover.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span>Fig. 104, a butterboat, leaf-shaped, is painted with flowers; dated +1771.</p> + +<p><span class="smcap">Stockholm</span> is the same manufactory as Rörstrand, but the mark was altered +when the latter town was united to the capital.</p> + +<p><span class="smcap">Marieberg</span>, near Stockholm. The second Swedish pottery was established in +1750, on the expiration of the monopoly of Rörstrand, by M. Ehrenreich, +under the patronage of Count Scheffer, Councillor of State. The fayence +was something like Delft ware, and it was also ornamented with transfer +printing.</p> + +<p> </p> +<div class="figcenter"><img src="images/i131.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 106.—Plate.</span></p> +<p> </p> + +<p>Fig. 105, a vase and cover, is coloured in relief; date about 1770.</p> + +<p>Fig. 106, a plate with pierced border, has a shield of arms and flowers; +dated 1768.</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p> +<h2>CONTINENTAL PORCELAIN</h2> + +<p class="dropcap"><span class="caps">Porcelain</span> has this distinguishing characteristic, that when held up to a +strong light it appears translucent, unlike fayence, which is perfectly +opaque. Its fracture is hard and white internally, like a broken piece +of alabaster.</p> + +<p>Porcelain of soft paste has the appearance of an unctuous white enamel +like cream; it is also to the touch of a soft, warm, and soapy nature, +something like the surface of fine fayence. The <i>pâte tendre</i> is also +soft in another sense, being unable to bear so great a degree of heat in +the furnace as hard porcelain. The soft paste may, therefore, be easily +cut or scratched with a steel point or a file, which would have no +effect upon the hard paste; it is consequently liable to become much +scratched by frequent use. The hard paste or true porcelain is of the +whiteness of milk; it feels to the touch of a hard and cold nature, and +is somewhat heavier than the soft; underneath the plates and other +pieces the rim or edge is left unpolished, or without glaze.</p> + +<p>The painting upon porcelain is executed after the ware has been baked. +Whilst in a biscuit state, the piece to be painted is dipped into a +diluted glaze; it readily absorbs the water, leaving on the surface a +thin coating of components which quickly dries<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span> into a solid shell, +uniformly thick over all its parts, and sufficiently firm to bear +handling without being rubbed off during removal into the seggar or case +which protects it in the kiln.</p> + +<p>The amateur must be upon his guard in collecting porcelain, and not +place too much reliance on the marks which he may find upon the ware. +When the mark is not indented on the paste, or baked with the porcelain +when at its greatest heat (<i>au grand feu</i>), it gives no guarantee of its +genuineness. The mark was nearly always affixed before glazing. It is +necessary in forming a correct judgment of the authenticity of a piece +of valuable china, such as Sèvres, that many things be taken into +consideration: First, above all it is most important to be satisfied +whether the porcelain be of hard or soft paste, and whether such +description of paste was made at the particular epoch represented by the +mark; then, if the decoration be in keeping with the style adopted at +the time indicated, the colours, the finish, and various other <i>indicia</i> +must also be taken into consideration.</p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span></p> +<h3>ITALY</h3> + +<p class="dropcap"><span class="caps">Florence.</span> The first successful attempt in Europe to imitate porcelain +was made at Florence as early as 1580, under the auspices of Francesco +I. de’ Medici, but it was not so hard as that of China; that is to say, +it was not composed of <i>kaolin</i> and <i>petuntse</i>, but was a soft paste and +<i>translucent</i>, which is one of the principal tests of porcelain. For +some reason, the manufacture of this porcelain was abandoned after the +death of the inventor.</p> + +<p> </p> +<div class="figcenter"><img src="images/i134.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 107.—Cruet.</span></p> +<p> </p> + +<p>Fig. 107, a cruet for oil and vinegar, has scroll ornament in blue; on +either spout A and O (Aceto and Olio). About 1600.</p> + +<p><span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span>Fig. 108, a bowl, is painted inside and out with blue flowers. About +1600.</p> + +<p> </p> +<p> </p> +<div class="figcenter"><img src="images/i135a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 108.—Bowl.</span></p> +<p> </p> + +<p><span class="smcap">Doccia.</span> The manufactory was founded in 1735 by the Marquis Carlo Ginori, +contemporaneously with the manufactory at Sèvres. About 1760 it rose to +great importance, and large groups were executed from the models of the +most celebrated sculptors. In 1821 the moulds of the Capo di Monte +porcelain were transferred to Doccia.</p> + +<p> </p> +<div class="figcenter"><img src="images/i135b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 109.—Teapot.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span>About 1860 the fabrication of the imitative Capo di Monte ware of the +18th century, in coloured <i>mezzo-rilievo</i>, was brought to great +perfection, as well as the successful imitation of the maiolica of Xanto +and Maestro Giorgio of the 16th century, by the invention and +introduction of metallic lustres in the colouring.</p> + +<p> </p> +<div class="figcenter"><img src="images/i136.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 110.—Basin.</span></p> +<p> </p> + +<p>Fig. 109, a teapot, is painted with flowers and purple border.</p> + +<p>Fig. 110, a basin, has a band of flowers in relief. Diameter 5½ in.</p> + +<p><span class="smcap">Naples—Capo di Monte.</span> This manufactory was founded by Charles III. in +1736. It is considered of native origin, as the art, which was kept so +profound a secret in Dresden, could, at that early period, have scarcely +had time to be introduced here, and the char<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span>acter of its productions +are also essentially different. The king himself took great interest in +it, and is said to have worked occasionally in the manufactory. The +beautiful Capo di Monte services and groups in coloured relief are of +the second period, <i>circa</i> 1760.</p> + +<p> </p> +<div class="figcenter"><img src="images/i137a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 111.—Vase.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i137b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 112.—Saucer.</span></p> + +<p> <span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span></p> +<div class="figcenter"><img src="images/i138a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 113.—Cup and Saucer.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i138b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 114.—Coffee-pot.</span></p> +<p> </p> + +<p>Fig. 111, a vase, has green ornaments, on gold ground, and medallions of +figures.</p> + +<p>Fig. 112, a saucer, bears a portrait of Ferdinand IV. and legend.</p> + +<p><span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span>Fig. 113, a cup and saucer, is painted with landscape and figures.</p> + +<p>Fig. 114, a coffee-pot, has classical subjects.</p> + +<p><span class="smcap">Treviso.</span> There was a manufactory of soft porcelain probably established +towards the end of the 18th century, carried on by the brothers Giuseppe +and Andrea Fontebasso.</p> + +<p> </p> +<div class="figcenter"><img src="images/i139.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 115.—Écuelle.</span></p> +<p> </p> + +<p>Fig. 115, an écuelle, with blue ground, has gold fret<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span> borders and oval +medallions of Italian buildings, landscapes, and figures.</p> + +<p> </p> +<div class="figcenter"><img src="images/i140a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 116.—Cup and Saucer.</span></p> +<p> </p> + +<p>Fig. 116, the cup is painted with a garden scene, with a man and woman +holding flowers, the former also holding a bird, the latter a cage.</p> + +<p><span class="smcap">Turin—Vinovo.</span> Vittorio Amedeo Gioanetti established a manufactory of +porcelain at Vinovo or Vineuf in 1770. Attempts in this direction had +been previously made, but they were unsuccessful, and it was not until +Gioanetti applied himself to the manufacture that it succeeded. The ware +was noted for its fine grain and the whiteness of its glaze, as well as +for the colours employed in its decoration.</p> + +<p> </p> +<div class="figcenter"><img src="images/i140b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 117.—Écuelle.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>Fig. 117, an écuelle, is ornamented in gold, with initials and the Royal Arms.</p> + +<p><span class="smcap">Venice.</span> Porcelain of soft paste was made here probably about 1720.</p> + +<p>The “Casa eccellentissima Vezzi” was founded by Francesco Vezzi, a +goldsmith of Venice. He invested the sum of 30,000 ducats in a porcelain +company, amongst whose shareholders were Luca Mantovani and others. The +site of the Vezzi manufactory of porcelain was at S. Nicolo in Venice. +How long after Vezzi’s death it was carried on does not appear, but +judging from the statements made to the Senate in 1765, it did not long +survive him, and the secret of his process for making porcelain had +evidently not been disclosed.</p> + +<p>Materials for making porcelain were to be obtained in the Venetian +dominions, but not such as to produce the <i>hard</i> or Oriental porcelain; +they were therefore procured from Saxony, as were probably also some of +the workmen, which will account for the fact that the “Casa +eccellentissima Vezzi” produced both <i>hard</i> and <i>soft</i> paste.</p> + +<p>The pieces made at the Vezzi manufactory are painted with masquerades, +grotesque Chinese figures and decorations in relief, flowers, birds, +arabesques, and geometrical patterns and colours, statuettes, &c., +especially in the Venetian red which pervades all the decorations, the +handles, borders, and mouldings being sometimes covered with silver or +platinum, producing the effect of oxidised metal mountings. Another +striking peculiarity in the decoration of porcelain of this period is a +border of black or coloured diaper work formed by crossed lines, having +in the interstices small gilt points or crosses bordered by scrolls. +These specimens are mostly of hard paste in the form of bowls, plates, +tureens, &c.</p> + +<p> <span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span></p> +<div class="figcenter"><img src="images/i142.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 118.—Vase and Cover.</span></p> + +<p> <span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span></p> +<div class="figcenter"><img src="images/i143.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 119.—Vase.</span> <i>Cozzi period.</i><br />Height 17 in.</p> +<p> </p> + +<p>A beautiful example of this porcelain is represented in Fig. 118, a vase +and cover of hard paste painted in lake <i>camaïeu</i>, heightened by gold, +with a continuous landscape; the peculiar border, noticed above, with +marks and interlaced bands, is shown on the cover; the edges, knob, and +flutings are raised and plated with silver or platinum.</p> + +<p>After the Vezzi manufactory had ceased to exist we have no documents to +prove that any efforts were made to introduce the manufacture of +porcelain into Venice until December 1757, when a petition was presented +to the Venetian College by Frederick Hewelcke & Co., who stated that the +sale introduced and directed by them in Dresden<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span> of Saxon porcelain had +been carried on in a very flourishing manner, but that in consequence of +the then existing war (the Seven Years’ War, which commenced in 1756), +they had been obliged to abandon Saxony and to seek refuge in a foreign +country.</p> + +<p>On the 18th of March 1758, a decree granted to the Hewelckes the +privileges they had requested. It seems that the undertaking proved +eventually to be unfortunate, and at the termination of that war, which +had brought them to Venice, they returned to their native country.</p> + +<p>In 1765, the Senate granted to Giminiano Cozzi, in the Contrada di San +Giobbe, Venice, protection and pecuniary assistance in carrying out a +manufacture of porcelain. Cozzi’s first efforts were directed towards +the imitation of the Oriental ware; and a very large trade was carried +on by him for nearly fifty years. He produced statuettes in biscuit, in +glazed white porcelain, and coloured groups, vases, &c. The gilding on +Cozzi’s porcelain is especially fine, the pure gold of the sequin having +been used in its decoration.</p> + +<p>The manufactory ceased to exist in 1812.</p> + +<p><span class="smcap">Nove.</span> The manufacture of porcelain at Nove may be traced back as far as +the 12th January 1752, when Pasqual Antonibon brought from Dresden a +certain Sigismund Fischer to construct a furnace for making porcelain in +the Saxon style.</p> + +<p>From this time forward he continued his experiments, and must have made +great progress in the art, for in February 1761 he had three furnaces, +of which one was for Saxon (<i>ad uso di Sassonia</i>),<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span> the other two for +French porcelain (<i>ad uso di Francia</i>).</p> + +<p>In 1762, Antonibon submitted specimens of his porcelain to the Board of +Trade, and petitioned that the patent rights which had been conceded to +Hewelcke should be extended to him. At that time, the report states, +Antonibon had at Nove a manufactory, rich in buildings, machinery, and +tools. The capital embarked in it was estimated at 80,000 ducats, and so +great was the sale of his products that he gave employment to 150 men +and their families, in addition to 100 people employed in his retail +business, carried on at his three shops in Venice. This extensive +manufactory was, however, principally for maiolica.</p> + +<p> </p> +<div class="figcenter"><img src="images/i145.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 120.—Jardinière.</span><br /><i>By</i> <span class="smcap">Antonibon</span>.</p> +<p> </p> + +<p>On the 7th April 1763, a decree was made in his favour; and he appears +to have set earnestly to work in his manufacture of porcelain. His +competitor,<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span> Hewelcke, shortly after deserted Venice; but he had a more +formidable rival in Giminiano Cozzi, who obtained a decree for making +porcelain in 1765, in which Pasqual Antonibon’s manufacture is noticed, +the Senate declaring it to be the duty of the magistrate to make such +arrangements as would lead to an amicable understanding between the +rival manufacturers and their workmen.</p> + +<p> </p> +<div class="figcenter"><img src="images/i146.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 121.—Vase.</span></p> +<p> </p> + +<p>Pasqual Antonibon and his son Giovanni Battista<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span> continued the +fabrication of porcelain until the 6th February 1781, when they entered +into partnership with Signor Parolini. The same manufacture, <i>con sommo +onore dell’arte</i>, was continued by them until the 6th February 1802, +when it was leased to Giovanni Baroni, who produced some very charming +pieces both in form and decoration; but in a few years, from being badly +conducted, it began to fall off, and by degrees it went to decay and was +abandoned. The “Fabbrica Baroni,” however, lingered on for more than +twenty years.</p> + +<p> </p> +<div class="figcenter"><img src="images/i147a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 122.—Vase.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i147b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 123.—Milk-pot.</span></p> +<p> </p> + +<p>An example of the Baroni <i>fabrique</i>, in porcelain, with female figure +handles, and painted with classical subjects, is given. (See Fig. 121.)</p> + +<p>On 21st May 1825, the old firm of “Pasqual Antonibon and Sons” resumed +the works, the actual proprietors being Gio. Batt. Antonibon and his son +Francesco; they continued the manufacture of<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span> porcelain until 1835, but +all their efforts to sustain it were ineffectual; they could not compete +with the porcelain manufactories of France and Germany, so they were +compelled to abandon the factory.</p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span></p> +<h3>SPAIN</h3> + +<p class="dropcap"><span class="caps">Madrid</span>—<span class="smcap">Buen Retiro.</span> This manufactory (<i>Soft Paste</i>), called “<i>La +China</i>,” was founded by Charles III. in 1759, in the gardens attached to +his palace, <span class="smcap">El Buen Retiro</span>, at Madrid. It was organised by workmen whom +he brought with him from Naples. The early ware produced here +consequently resembles that of Capo di Monte.</p> + +<p> </p> +<div class="figcenter"><img src="images/i149.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 124.—Group.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span>The royal manufactory was taken possession of by the French, and the +place converted into a fortification, which surrendered in 1812 to the +Duke of Wellington. It was subsequently blown up by Lord Hill when the +misconduct or perfidy of Ballasteros compelled him to evacuate Madrid.</p> + +<p> </p> +<div class="figcenter"><img src="images/i150a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 125.—Vase.</span><br />Height 22 in.</p> +<p> </p> +<div class="figcenter"><img src="images/i150b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 126.—Vase.</span><br /><i>With scenes from</i> “Don Quixote.”<br />Height 17 in.</p> +<p> </p> + +<p>Ferdinand VII., on his restoration, recreated <i>La China</i>, at La Mancha, +once a villa of the Alva family<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span> on the Manzanares; but this factory +also has ceased to exist, at least as regards artistic merit.</p> + +<p><span class="smcap">Alcora.</span> The Comte de Laborde, in his <i>View of Spain</i>, in 1808, says, “On +ne fait de Porcelaine (en Espagne) qu’à Alcora et à Madrid: celle +d’Alcora est très commune, on en fait très peu.” In confirmation of this +assertion M. Chas. Davillier, on a visit to Spain, saw an engraving of a +furnace for baking porcelain with this inscription: “Modele de four pour +la porselene naturele, fait par Haly pour M. le Comte d’Aranda Alcora, +29 Juin 1756.” The works are also noticed by Don Antonio Ponz, <i>Viaje de +España</i>, in 1793.</p> + +<p> </p> +<div class="figcenter"><img src="images/i151.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 127.—Plaque.</span></p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span></p> +<h3>GERMANY</h3> + +<p class="dropcap"><span class="caps">Dresden.</span> The celebrated porcelain manufactory at Dresden, or rather at +Meissen (in its vicinity), was established by Augustus II., Elector of +Saxony, for the manufacture of true porcelain, that is, hard paste. The +experiments of Tschirnhaus and Böttcher commenced about 1706, and to the +latter is attributed the invention of hard paste. His first attempt was +a red ware, like jasper, which was cut and polished by the lapidary, and +ornamented by gilding; it was a fine stoneware, having the opacity, +grain, and toughness of pottery. Later, Böttcher succeeded in +discovering the mode of making true porcelain by the accidental +detection of the kaolin necessary for the purpose. In consequence of +this important discovery, Augustus II. established the great manufactory +at Meissen, of which Böttcher was appointed Director in 1710, and about +1715 he succeeded in making a fine white porcelain. The first +decorations upon this ware were very imperfect, consisting of a blue +colour under the glaze, in imitation of Nankin blue porcelain. It was +under Horoldt’s direction, in 1720, that paintings of a superior +character, accompanied by gilding, and medallions of Chinese figures +were introduced, and magnificent services completed.<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> In 1731, Kändler, +a sculptor, superintended the modelling of animals, groups, vases, &c., +while other artists painted birds, insects, and copies of paintings +principally of the Flemish school. The best <ins class="correction" title="original: propuctions">productions</ins> emanated from +the Dresden manufactory from 1731 to 1756.</p> + +<p> </p> +<div class="figcenter"><img src="images/i153.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 128.—Vase.</span></p> + +<p> <span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span></p> +<div class="figcenter"><img src="images/i154a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 129.—Sucrier, Cup and Saucer.</span><br /><i>Etched by</i> <span class="smcap">Busch</span>.</p> +<p> </p> +<div class="figcenter"><img src="images/i154b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 130.—Cup and Saucer.</span><br /><i>Of the Marcolini period, with gros bleu ground.</i></p> +<p> </p> + +<p>Kändler modelled men and animals of the natural size, as well as +peacocks, herons, pelicans, and other birds. Among the pieces produced +about this time by, or under the direction of, Kändler, at Meissen was +Count Bruhl’s tailor mounted upon a goat, with all the implements of his +trade about him. This vain man had a great desire that his likeness +should be executed in porcelain at the royal manufactory, and his +request was complied with, but probably not in such a way as to gratify<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span> +his vanity, for not only the tailor but his wife were thus immortalised, +<i>aere perennius</i>, in porcelain. In 1754 Dietrich became Director, and he +was succeeded in 1796 by Marcolini, whose beautiful productions are well +known. Porcelain of his period is always distinguished by a star +underneath crossed swords. In spite of the precautions taken at Meissen +to prevent the secret becoming known—the penalty being death, or +perpetual imprisonment in the Castle of Königstein—some workmen escaped to reveal it elsewhere.</p> + +<p> </p> +<div class="figcenter"><img src="images/i155.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 131.—Vase and Cover.</span><br /><i>Painted with views of public buildings in Dresden.</i></p> +<p> </p> + +<p>The white Meissen porcelain was sometimes ornamented by private persons, +especially by a Baron Busch, Canon of Hildesheim, who was the only +person possessed of the secret of engraving with a diamond on china.</p> + +<p> <span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span></p> +<div class="figcenter"><img src="images/i156a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 132.—Bust of a Girl.</span><br /><i>White porcelain.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i156.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 133.—Teapot and Saucer.</span><br /><i>Pink ground, painted with landscapes and figures.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span><span class="smcap">Berlin.</span> This manufactory for <i>Hard Paste</i> was established by Wilhelm +Caspar Wegeli in 1751, in the Neue Friedrichsstrasse. It was carried on +for about ten years, but it never remunerated the originator, and he +abandoned it in 1761, when Gottskowski, a celebrated banker, became the +purchaser, and removed the works to Leipziger Strasse; assisted by his +capital, they were brought to great perfection.</p> + +<p> </p> +<div class="figcenter"><img src="images/i157.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 134.—Group.</span><br /><i>In plain white. Wegeli period.</i><br />Height 9 in.</p> +<p> </p> + +<p>Johann Ernst Gottskowski obtained the secret of porcelain from Ernst +Heinrich Richard, who had been employed by Wegeli. Gottskowski did not +personally manage the manufactory, but placed it under the management of +the Commissioner Grunenger, which led to his employment from the year +1763 to 1786 as the head of the royal porcelain manufactory at Berlin.</p> + +<p>In 1763, Gottskowski gave up to the king the whole of his factory of +porcelain, receiving 225,000<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span> dollars, and entering into a contract for +the sale of his secrets.</p> + +<p> </p> +<div class="figcenter"><img src="images/i158.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 135.—Group.</span><br /><i>Wegeli period.</i><br />Height 6¾ in.</p> +<p> </p> + +<p>With a view to encouraging the manufacture in his kingdom, the king made +presents of superb services of Berlin china to several German princes in +the year 1766. When Frederick the Great occupied Dresden, in the seven +years’ war, he expatriated many of the best modellers and painters to +form his royal manufactory; among these were Meyer, Klipsel, and<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span> Böhme. +The king also transported great quantities of the clay and a portion of +the collection. Independently of this, and the better to insure +employment for the five hundred persons engaged in the processes, he +restricted the Jews resident in any part of his dominions from entering +into the marriage state, until each man had obtained a certificate from +himself, which was only granted on the production of a voucher from the +Director of the manufactory that porcelain to a given amount had been +purchased, and that there was reasonable cause for granting the +indulgence. Of course the Jews more readily disposed of their purchases +than the general dealers, and the device was attended with favourable +results. To insure the success of the establishment and extend its +operations, Frederick embraced every opportunity that was presented; and +it was so well supported that in 1776 seven hundred men were constantly +employed, and it is said that three thousand pieces of porcelain were +made daily.</p> + +<p> </p> +<div class="figcenter"><img src="images/i159.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 136.—Milk-pot, Cup and Saucer.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span>In 1769 an order was published permitting a lottery company to purchase +annually to the amount of 90,000 dollars.</p> + +<p>About 1872, the Berlin Royal Porcelain Manufactory was working seven +kilns, and employing three hundred workmen; the annual produce amounted +on an average to half a million finished articles, value 150,000 +Prussian dollars. The superintendence was entrusted to Herr Kolbe (who +succeeded Herr Frick in the direction), under whom were Dr. Eisner as +chemist, Herr Mantel as master modeller, and Herr Looschen as head +painter.</p> + +<p> </p> +<div class="figcenter"><img src="images/i160.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 137.—Lamp-stand.</span></p> +<p> </p> + +<p><span class="smcap">Höchst</span>, a town situated on the Main, and now in Nassau, belonged to the +Electors of Mainz. A manufactory was founded in 1746 by J. C. Göltz and +J. F. Clarus, two merchants of Frankfort, assisted by A. von Löwenfinck, +but they were unsuccessful, and called in Ringler, of Vienna, who had +escaped from the manufactory. During the Electorate of Johann Friedrich +Karl, Archbishop of Mainz, their porcelain ranked among the first in +Europe. About 1760 the celebrated modeller Melchior was engaged, and +some very elegant statuettes and designs for vases, &c., were produced. +Melchior left the manufactory about 1785, and his successor, Ries, was +not so skilful, and all his figures having disproportionate heads, the +so-called “thick-head” period commenced. Christian<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span> Gottlieb Kuntze was +another celebrated worker in this <i>fabrique</i>. On the invasion of the +French under General Custine in 1794, all the materials were sold by +auction.</p> + +<p> </p> +<div class="figcenter"><img src="images/i161.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 138.—Tray and Sucrier.</span></p> +<p> </p> + +<p><span class="smcap">Frankenthal</span>, in Bavaria. Established in 1754, by Paul Hannong, who, +having discovered the secret of hard porcelain, offered it to the royal +manufactory at Sèvres, but the authorities not agreeing as to the price, +the offer was declined, and they commenced persecuting him—for in that +year a decree forbade the making of translucent ware in France except at +Sèvres—and Hannong was compelled to go to Frankenthal, leaving his +fayence manufactory at Strassburg in charge of his sons. In 1761 the +factory was purchased by the Elector Carl Theodore, and it<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span> attained +great celebrity, which it maintained until he became Elector of Bavaria, +in 1777. It then declined, and all the stock and utensils were sold in +1800 and removed to Greinstadt. The following chronogram denotes the +year 1775:—</p> + +<p class="center"><span class="smcap">VarIantIbVs · fLosCVLIs · DIVersI · CoLores ·<br /> +fabrICæ · sVb · reVIVIsCentIs · soLIs · hVIVs ·<br /> +raDIIs · eXVLtantIs ·<br /> +In·frankenthaL·</span> ✴</p> + +<p>It occurs on a porcelain plate, Fig. 139, having in the centre the +initials of Carl Theodore, interlaced and crowned, within a gold star of +flaming rays; radiating from this are thirty divisions, and on the +border thirty more, all numbered and painted with small bouquets, <i>en +camaïeu</i>, of all the various shades of colour employed in the +manufactory.</p> + +<p> </p> +<div class="figcenter"><img src="images/i162.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 139.—Plate.</span></p> + +<p> <span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span></p> +<div class="figcenter"><img src="images/i163.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 140.—A Déjeuner Service.</span></p> +<p> </p> + +<p><span class="smcap">Neudeck</span>, on the Au, and <span class="smcap">Nymphenburg</span>. This factory was established in +1747, by a potter named Niedermayer. Graf von Hainshausen became its +patron in 1754, and in 1756 he sent for Ringler, who organised the +establishment, and it was then placed under the protection of the +Elector Maximilian Joseph. On the death of his successor, Carl Theodore, +in 1799, the Frankenthal manufactory was abandoned,<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span> and transferred to +Nymphenburg, which is still a royal establishment, and well supported. +The pieces are manufactured in white at Nymphenburg, but chiefly +decorated at Munich and elsewhere; that is the reason why on the same +piece the Nymphenburg mark is frequently found impressed, with the mark +of some other factory painted in colour.</p> + +<p> </p> +<div class="figcenter"><img src="images/i164.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 141.—Tankard.</span></p> +<p> </p> + +<p>Fig. 141, moulded in relief and painted with flowers; marks, the coat of +Bavaria, 1765 in gold, two leaves and I. A. H. in green; height 7¼ +in.</p> + +<p><span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span>Fig. 142, painted in colours; marks, the coat of arms of Bavaria, and A +incised; diameter 3¼ in. and 5¼ in.</p> + +<p> </p> +<div class="figcenter"><img src="images/i165a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 142.—Cup and Saucer.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i165b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 143.—Cup and Saucer.</span></p> +<p> </p> + +<p><span class="smcap">Anspach</span>, a town which belonged to the Margraves<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span> of Anspach and is now +in Bavaria. There was a factory here about 1760.</p> + +<p>Fig. 143 is painted with figures in colour; signed “Schelk, pinx.”; mark +A in blue; diameter 3 ins. and 5¼ in.</p> + +<p><span class="smcap">Bayreuth</span> was under the same rulers as Anspach, and is now also in +Bavaria. There was a manufactory here in the 18th century, but little +appears to be known respecting it.</p> + +<p> </p> +<div class="figcenter"><img src="images/i166.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 144.—Cup.</span></p> +<p> </p> + +<p>Fig. 144 is painted in colours, and gilt inside; mark, “Metzsch 1748 +Bayr”; diameter 2¾ in.</p> + +<p><span class="smcap">Kelsterbach</span>, in Hesse. A manufactory for pottery was founded here about +1758, where later<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span> porcelain was also made. The works only lasted about +sixteen years.</p> + +<p> </p> +<div class="figcenter"><img src="images/i167.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 145.—Harlequin.</span></p> +<p> </p> + +<p>Fig. 145 is painted in colours; mark, H. D. under a crown, in blue; +height 6¾ in.</p> + +<p><span class="smcap">Thuringia.</span> In the middle of the 18th century a number of small porcelain +factories sprang up in this district. It is said that they owe their +origin to a chemist named Macheleid, who discovered by accident a +deposit of kaolin, and obtained permission from the Prince of +Schwarzburg to establish a factory at<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span> <span class="smcap">Sitzenroda</span>, which in 1762 was +removed to Volkstedt.</p> + +<p> </p> +<div class="figcenter"><img src="images/i168a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 146.—Cup and Saucer.</span><br />Diam. 2¾ in. and 5¾ in.</p> +<p> </p> + +<p><span class="smcap">Closter</span>, or <span class="smcap">Kloster</span>, <span class="smcap">Veilsdorf</span>, or <span class="smcap">Volkstedt</span>. The porcelain manufactory +of Sitzenroda was transferred to Volkstedt, in Thuringia, in 1762, where +it was farmed by a merchant named Nonne, of Erfurt, who greatly enlarged +and improved the works. About the year 1770 it was carried on by +Greiner. In 1795 more than 120 workmen were employed.</p> + +<p> </p> +<div class="figcenter"><img src="images/i168b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 147.—Teapot.</span></p> + +<p> <span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span></p> +<div class="figcenter"><img src="images/i169a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 148.—Tray.</span></p> +<p> </p> + +<p>Fig. 148 is moulded in rococo style, and painted with flowers; mark, +shield of Saxe-Meiningen between C. V.; length 12½ in.</p> + +<p><span class="smcap">Rudolstadt.</span> The factory at Volkstedt was afterwards removed to +Rudolstadt, near Jena. Gotthelf Greiner had the direction of several of +the other Thuringian manufactories; he died in 1797.</p> + +<p> </p> +<div class="figcenter"><img src="images/i169b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 149.—Milk-pot and Cup and Saucer.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span><span class="smcap">Fulda</span>, in Hesse. A factory was established here about 1763 by Arnandus, +Prince-Bishop of Fulda, for the manufacture of porcelain. The best +artists were employed, and many grand vases, figures, and services of a +fine white paste and handsomely decorated were produced.</p> + +<p> </p> +<div class="figcenter"><img src="images/i170a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 150.—A Peasant.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i170b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 151.—A Peasant.</span></p> +<p> </p> + +<p> <span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span></p> +<div class="figcenter"><img src="images/i171a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 152.—Cup and Saucer.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i171b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 153.—Coffee-pot.</span></p> +<p> </p> + +<p><span class="smcap">Fürstenberg.</span> In Brunswick, established in 1750, by the help of Bengraf, +who came from Höchst; he died the same year, and Baron von Lang, a +distinguished chemist, undertook the direction of the works, under the +patronage of Carl, Duke of Brunswick. The manufactory was carried on by +the Government up to the middle of last century.</p> + +<p>Fig. 154, a bust of Augusta, Duchess of Brunswick, grand-daughter of +King George II., is in white biscuit; mark, F in blue, a running +horse, and W; height 20½ in.</p> + +<p> <span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span></p> +<div class="figcenter"><img src="images/i172a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 154.—Bust.</span></p> + +<p> </p> +<div class="figcenter"><img src="images/i172b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 155—Medallions.</span><br /><i>In white biscuit.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span>Fig. 155. Portraits of O. D. Beckmann and A. L. Schlötzer; marked with a +running horse and F; length 2⅞ in.</p> + +<p><span class="smcap">Ludwigsburg</span>, in Würtemberg. Established by J. J. Ringler in 1758, under +the patronage of Carl Eugene, the reigning duke. It was celebrated for +the excellence of its productions and the fine paintings on its vases +and services, as well as for its excellent groups. This factory ceased +in 1824.</p> + +<p> </p> +<div class="figcenter"><img src="images/i173.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 156.—Chocolate-pot.</span></p> +<p> </p> + +<p>Fig. 156 is painted with figures of Hope and Music<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> in panels; mark, +double C under a crown, in blue; height 5¼ in.</p> + +<p> </p> +<div class="figcenter"><img src="images/i174.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 157.—Coffee-pot.</span></p> +<p> </p> + +<p>Fig. 157 is painted in lake <i>camaïeu</i>, with a landscape and buildings +after Claude, and has a gilt, arabesque and scroll border.</p> + +<p><span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span><span class="smcap">Regensburg</span>, or <span class="smcap">Ratisbon</span>. This factory was established about 1760.</p> + +<p> </p> +<div class="figcenter"><img src="images/i175a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 158.—Cup and Saucer.</span></p> +<p> </p> + +<p><span class="smcap">Grossbreitenbach.</span> A factory was established here about 1770 by Greiner. +The demand for his porcelain was so great, that not being able to +enlarge his works at Limbach, he started this as well as Veilsdorf and +Volkstedt.</p> + +<p> </p> +<div class="figcenter"><img src="images/i175b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 159.—Milk-pot.</span></p> +<p> </p> + +<p>Fig. 159 is grey blue ware in imitation of Wedgwood,<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span> with classical +group in white relief, bearing a wreath with the cypher F. G. C. under a +crown; marks, “Breitenbach et Limbach,” and “Gruber”; height 4 in.</p> + +<p> </p> +<p class="center">LIMBACH</p> +<div class="figcenter"><img src="images/i176.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 160.—Sucrier, Cover, and Stand.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span><span class="smcap">Limbach</span>, Saxe-Meiningen. This manufactory was also under the direction +of Gotthelf Greiner. It was established about 1762.</p> + +<p>Fig. 160 is painted with flowers; mark, two letters L crossed; diameters +4⅞ and 8¼ in.</p> + +<p><span class="smcap">Gera.</span> A manufactory was founded here about 1780.</p> + +<p> </p> +<div class="figcenter"><img src="images/i177.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 161.—Sugar Basin.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span>Fig. 161 is painted with festoons of pink flowers; mark, G in blue; +height 6¼ in.</p> + +<p> </p> +<div class="figcenter"><img src="images/i178.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 162.—Cup, Cover, and Saucer.</span></p> +<p> </p> + +<p>Fig. 162 is grained in imitation of oak, with medallions painted with +views, “Schloss aus dem Kohlenhofe” on cup, and “Lauchstaedt vor dem +Brunnen” on saucer; signed, “Rühlig Fec”; mark, G in blue; diameters 3 +and 5¼ in.</p> + +<p><span class="smcap">Baden-Baden.</span> A porcelain manufactory was established in 1753 by the +widow Sperl and workmen from Höchst, with the patronage of the reigning +Margrave, under Pfälzer. It ceased in 1778.</p> + +<p> <span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span></p> +<p class="center">GOTHA</p> +<div class="figcenter"><img src="images/i179.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 163.—Figure of Bacchus.</span><br /><i>In white biscuit.</i><br />Height 11 in.</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span><span class="smcap">Gotha.</span> Founded in 1780 by Rothenberg, and afterwards (1802) conducted by +Henneberg.</p> + +<p><span class="smcap">Rauenstein</span>, in Saxe-Meiningen. A factory for hard paste was established +here in 1760.</p> + +<p> </p> +<div class="figcenter"><img src="images/i180.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 164.—Cup and Saucer.</span></p> +<p> </p> + +<p>Fig. 164 is painted with flowers; mark, R—n; diameters 3 and 5 in.</p> + + +<p><span class="smcap">Wallendorf</span>, in Saxe-Coburg. There was also a factory for hard paste +established by Greiner and Haman here in 1762.</p> + +<p><span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span>Fig. 165 is painted in dark blue, and with leaves in relief; mark, W, in +blue; height 10 in.</p> + +<p> </p> +<div class="figcenter"><img src="images/i181.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 165.—Vase.</span></p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span></p> +<h3>AUSTRIA</h3> +<p> </p> +<h3>VIENNA</h3> + +<p class="dropcap"><span class="caps">This</span> manufactory for <i>hard paste</i> was founded about 1717. There are +several traditions as to its origin: one is that a musician named La +France, and a billiard-marker, named Dupuis, brought with them to +Vienna, in October 1717, a certain Cristofle Conrad Hünger, who had been +employed at Meissen as an enamel painter and gilder, and that in the +following year they were joined by a man named Stölzel of Meissen, who +was possessed of the secret, and became director. Another that it was a +private enterprise set on foot by Claude du Pasquier, who obtained from +the Emperor Charles VII. a privilege for twenty-five years. Major Byng +Hall (<i>Adventures of a Bric-à-Brac Hunter</i>), however, says that it was +established in 1718 by Claude Innocenz de Blaquier, who engaged one +Stenzel or Stölzel to co-operate with him. With this object in view De +Blaquier proceeded secretly to Meissen, where he contrived to scrape +acquaintance with the arcanist in a coffee-house. He engaged with +Stenzel in a game of billiards, taking care to lose, and thus he secured +his object. Stenzel after some slight hesitation, accepted an offer of a +thousand dollars to be paid yearly.</p> + +<p> <span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span></p> +<div class="figcenter"><img src="images/i183.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 166.—Cabaret.</span></p> +<p> </p> + +<p>De Blaquier had to contend with many difficulties owing to his not being +possessed of the secret, and at the end of the second year Stenzel not +having been paid regularly according to his contract, returned to +Meissen, after having maliciously destroyed many of<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span> the models. The +works had consequently to be suspended. But De Blaquier, being a man of +energy and determination, endeavoured by numerous experiments to +discover the porcelain mixture, and his efforts were finally crowned +with success.</p> + +<p> </p> +<div class="figcenter"><img src="images/i184.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 167.—Milk-pot.</span></p> +<p> </p> + +<p>After twenty-five years’ labour De Blaquier decided in 1744 to offer the +works to the Government.</p> + +<p>The young Empress Maria Theresa resolved to support the factory, which +promised to give occupation and profit to her subjects, honour and gain +to<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span> the State. She therefore commanded that it should be taken by State +contract from its owner, and that De Blaquier should receive the +direction with a salary of 1500 florins a year.</p> + +<p> </p> +<div class="figcenter"><img src="images/i185.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 168.—Plate.</span></p> +<p> </p> + +<p>From 1747 to 1790 was the best period for figures and groups, while from +1780 to 1820 painting on china became celebrated, the subjects being +taken from paintings by Watteau, Lancret, Boucher, Angelica Kauffmann, +and others.</p> + +<p><span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span>In 1785 the most important improvements were made under the Baron de +Lorgenthal or Sorgenthal; artists of the highest talents were employed, +a first-rate chemist named Leithner was engaged to prepare the colours +and gilding, the <i>chefs d’œuvre</i> of the early masters were copied, +while the gilding was brought to a perfection which has never been +surpassed.</p> + +<p> </p> +<div class="figcenter"><img src="images/i186.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 169.—Cup and “Trembleuse” Saucer.</span><br /><i>18th Century.</i></p> +<p> </p> + +<p>After the death of the Baron in 1805, Neidermayer became Director. The +manufacture continued<span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span> in its flourishing condition until about 1815. +From the year 1784 to the date of its extinction, it was the custom to +mark every piece with the number of the year, which circumstance may be +of great service to the connoisseur who seeks early specimens of Vienna +porcelain. It is stamped without colour underneath the piece—or rather +indented, the first numeral being omitted; thus the number 792 stands +for 1792; 802 for 1802; and so on.</p> + +<p>From 1827, under the direction of Scholtz, who followed Niedermayer, the +manufactory began to decline, and what with economy, indifferent +workmen, and bad artists copying from French models its doom was sealed. +It gradually dwindled down to a second-rate factory, and in consequence +of the great annual expense it was discontinued in 1864. The books on +art belonging to the factory, and all the drawings of its most +successful period, together with many of the models, the library, and +the keramic collection, were given to the Imperial Museum in Vienna, to +be retained as a lasting memorial of its celebrity.</p> + +<p>Fig. 166 is painted in <i>camaïeu</i> on purple ground, and gilt; mark, +shield crowned; length of tray 12 in.</p> + +<p>Fig. 167 is painted in colours and gilt, with busts of ladies, entitled +“L’Hérisson” and “Fantaisie Moderne”; mark, the shield in blue; height 6 +in.</p> + +<p>Fig. 168 is painted in colours, with two nymphs in a landscape playing +with the infant Bacchus; mark, the Austrian shield of arms, in blue; the +painting attributed to Fürstler.</p> + +<p><span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span><span class="smcap">Schlaggenwald</span>, in Bohemia. This manufactory was established in the year +1810. George Lippert was the owner in 1842, and much improved the +industry. Some pieces are marked “Lippert & Haas.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i188.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 170.—Cup and Saucer.</span></p> +<p> </p> + +<p>Fig. 170 is painted in colours, with medallions containing figures of +Justice; mark, S; diam. 2½ and 5 in.</p> + +<p><span class="smcap">Herend</span>, in Hungary. There was a manufactory of porcelain here towards +the end of the 18th century, but particulars concerning its origin are +not known.</p> + +<p>Fig. 171 is painted in oriental style, with flowers, &c.; late 18th +century.<span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span></p> + +<p> </p> +<div class="figcenter"><img src="images/i189.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 171.—Portion of a Cabaret or Breakfast Service.</span></p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span></p> +<h3>SWITZERLAND</h3> + +<p class="dropcap"><span class="caps">Nyon</span>, on the lake of Geneva. A manufactory was in full work here towards +the end of the 18th century. It is said to have been established by a +French flower painter named Maubrée, and several Genevese artists +painted on the porcelain, occasionally marking it with a “G” or “Geneva” +in full; but there never was a manufactory of china at Geneva itself.</p> + +<p> </p> +<div class="figcenter"><img src="images/i190.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 172.—Cup and Saucer.</span></p> +<p> </p> + +<p><span class="smcap">Zürich.</span> Established here in 1763 by a few Zürich gentlemen, with the aid +of a workman, named Spengler, from Höchst. Another German, Sonnenschein, +a sculptor, was employed to model figures and groups. The factory was +not a financial success. In 1793 the works were sold to a potter named +Nehracher, and on his death in 1800 the works ceased.<span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span></p> + +<p> </p> +<p class="center">NYON</p> +<div class="figcenter"><img src="images/i191a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 173.—Cup and Saucer.</span><br /><i>With mark, fish in blue.</i></p> +<p> </p> + +<p>Fig. 174 represents a soldier trampling on a Turk and unveiling a lady, +martial and love trophies on the ground.</p> + +<p> </p> +<div class="figcenter"><img src="images/i191b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 174.—A Group.</span></p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span></p> +<h3>HOLLAND</h3> + +<p class="dropcap"><span class="caps">Weesp.</span> The first manufactory for porcelain in Holland was at Weesp, near +Amsterdam. It was established in 1764 by the Count +Cronsfeldt-Diepenbroick, who had by some means obtained the secret of +the composition of hard paste. After existing seven years, the factory +was closed in 1771. Notwithstanding the unsuccessful result from a +commercial point of view, it was reopened by a Protestant minister, the +Rev. De Moll, of Oude Loosdrecht, associated with some capitalists of +Amsterdam, but the next year it was removed to Loosdrecht. The +decorations are very much of the Saxon character.</p> + +<p> </p> +<div class="figcenter"><img src="images/i192a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 175.—Ewer.</span><br /><i>With mark, W.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i192b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 176.—Coffee-pot.</span><br /><i>Mark, a cross and dots.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span><span class="smcap">Oude Loosdrecht</span>, situated between Utrecht and Amsterdam, was the next +town where porcelain was successfully made. It sprang from the ashes of +Weesp, and in 1772 became a company, with the Rev. De Moll at its head; +after his death, in 1782, the concern passed into the hands of his +partners, J. Rendorp, A. Dedel, C. Van der Hoop, Gysbz, and J. Hope, and +was by them removed, in 1784, to Oude Amstel. The ware is of fine +quality, decorated in the Saxon style; specimens are frequently met +with, having gilt borders and a light blue flower between green leaves.</p> + +<p> </p> +<div class="figcenter"><img src="images/i193.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 177.—Vase.</span></p> + +<p> <span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span></p> +<div class="figcenter"><img src="images/i194a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 178.—Panel.</span><br /><i>Mark, M : o L. in blue.</i><br />Width 12¾ in.</p> +<p> </p> + +<p><span class="smcap">Amsterdam.</span> Fig. 179. Painted in lake <i>camaïeu</i> with birds and trees; the +mark, lion, in blue.</p> + +<p> </p> +<div class="figcenter"><img src="images/i194b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 179.—A Pair of Bottles.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span><span class="smcap">Oude Amstel.</span> On the death of the Rev. De Moll in the year 1782, the +manufactory of Loosdrecht was removed to Oude Amstel (Old Amstel), near +Amsterdam, and carried on with redoubled zeal by the same company, +directed by a German named Däuber, about 1784. It flourished under his +direction for a few years, and produced a fine description of porcelain, +but it gradually declined, in consequence of the large importations from +England which inundated the country. In 1789 it came into the hands of +J. Rendorp, C. Van der Hoop, and Gysbz, still remaining under Däuber’s +direction, but it was entirely demolished at the close of the 18th +century.</p> + +<p> </p> +<div class="figcenter"><img src="images/i195a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 180.—Teapot and Sucrier.</span></p> + +<p> </p> +<div class="figcenter"><img src="images/i195b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 181.—Sucrier.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span><span class="smcap">The Hague.</span> About the year 1775, a porcelain manufactory for both hard +and soft paste was opened at The Hague, under the direction of a German +named Leichner or Lynker. The works ceased in 1785 or 1786.</p> + +<p> </p> +<div class="figcenter"><img src="images/i196.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 182.—Plate.</span><br /><i>Of soft paste.</i></p> +<p> </p> + +<p>Fig. 182 bears the mark of a stork in blue; diam. 9½ in.</p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span></p> +<h3>BELGIUM AND LUXEMBURG</h3> +<p> </p> +<h3>BELGIUM</h3> + +<p class="dropcap"><span class="caps">Tournai.</span> Established in 1750 by Peterinck. For some time previous to +1815 the works were carried on by M. Maximilien de Bettignies, who, in +consequence of the annexation of Tournai to Belgium, ceded it in that +year to his brother Henri, and established another factory at St. +Amand-les-Eaux. Soft paste, which has been discontinued for many years +in every other <i>fabrique</i> in France, is still made at both places, and +they consequently produce the closest imitations of old Sèvres <i>pâte +tendre</i>.</p> + +<p> </p> +<div class="figcenter"><img src="images/i197.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 183.—Cup and Saucer.</span><br /><i>With the early mark in gold.</i></p> + +<p>Fig. 184 is painted in blue; mark, crossed swords and three crosses; +diam. 9½ in.</p> + +<p> <span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span></p> +<div class="figcenter"><img src="images/i198a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 184.—Plate.</span></p> + +<p> </p> +<div class="figcenter"><img src="images/i198b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 185.—Salt-cellar.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span>Fig. 185 is painted with birds; mark, crossed swords and four crosses, +in gold; height 4⅜ in.</p> + +<p><span class="smcap">Brussels.</span> There was a manufactory of hard paste porcelain here towards +the end of the 18th century.</p> + +<p> </p> +<div class="figcenter"><img src="images/i199a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 186.—Milk Jug.</span><br /><i>Signed L. Cretté.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i199b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 187.—Teapot.</span></p> + + +<p> </p> +<h3>LUXEMBURG</h3> + +<p>A factory for hard paste porcelain was established at Sept Fontaines +about 1806, by the brothers Boch. Both pottery and porcelain were made +here, including plates, vases, figures, &c.</p> + +<p> <span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span></p> +<p class="center">LUXEMBURG</p> +<div class="figcenter"><img src="images/i200.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 188.—Two Figures of “The Seasons.”</span><br /><i>With mark, B. L.</i></p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span></p> +<h3>RUSSIA</h3> + +<p class="dropcap"><span class="caps">At</span> St. Petersburg, an Imperial china manufactory was established in +1744, by the Empress Elizabeth Petrowna, with workmen from Meissen. +Catherine II. patronised the works, and in 1765 enlarged them +considerably, under the direction of the minister, J. A. Olsoufieff, +since which this <i>fabrique</i> has held a distinguished place among +European manufactories. The paste is hard and of a blueish cast, finely +glazed, and it betrays its Dresden origin.</p> + +<p> </p> +<div class="figcenter"><img src="images/i201a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 189.—Cup and Saucer.</span><br /><i>With the mark of the Emperor Paul.</i></p> + +<p> </p> +<div class="figcenter"><img src="images/i201b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 190.—Verrière.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span><span class="smcap">Moscow</span>, 1720. The potter Eggebrecht, who had undertaken a manufactory of +delft at Dresden, by direction of Böttcher, had, after that was +discontinued, left to go to Moscow, and, being acquainted with some of +the processes for making porcelain, commenced manufacturing it at +Moscow.</p> + +<p> </p> +<div class="figcenter"><img src="images/i202.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 191.—Statuette.</span><br /><i>Mark, G in blue.</i><br />Height 8 in.</p> + +<p> <span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span></p> +<div class="figcenter"><img src="images/i203.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 192.—Cup and Saucer.</span><br /><i>With view of Moscow. Mark, A. Popoffe’s initials.</i></p> +<p> </p> + +<p>A porcelain manufactory was established at <span class="smcap">Twer</span>, by an Englishman named +Gardner, in 1787, and another by A. Popoff.</p> + +<p><span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span><span class="smcap">Korzec</span>, in Volhynia. About 1803, Mérault, a chemist of the Sèvres +manufactory, went to direct the <i>fabrique</i> at Korzec, taking with him a +laboratory assistant named Pétion. After carrying it on for a few years, +Mérault abandoned the direction, and returned to France.</p> + +<p> </p> +<div class="figcenter"><img src="images/i204.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig.</span> 193.—<i>Pâte dure</i> <span class="smcap">Cup and Saucer</span>.<br /><i>Painted with a +portrait of a lady</i>, en grisaille, <i>with gilt borders</i>.<br /><i>Mark, Eye within a triangle.</i></p> +<p> </p> + +<p><span class="smcap">Baranowka</span>, in Volhynia. A small factory existed <span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span>here at which the +porcelain clay found in the neighbourhood was used.</p> + +<p> </p> +<div class="figcenter"><img src="images/i205.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 194.—Milk Jug.</span><br /><i>Mark, the name of the town.</i></p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span></p> +<h3>SWEDEN</h3> + +<p class="dropcap"><span class="caps">Marieberg.</span> This manufactory produced porcelain (<i>soft paste</i>), as well +as fayence. In quality as well as in decoration the porcelain is like +that of Mennecy-Villeroy in France. The industry was established by +Ehrenreich, under the patronage of Count Scheffer, Councillor of State, +in 1750, and altogether ceased about 1780.</p> + +<p> </p> +<div class="figcenter"><img src="images/i206.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 195.—Custard Cup and Cover.</span><br /><i>Mark, M.B. combined.</i><br />Height 3¼ in.</p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span></p> +<h3>DENMARK</h3> + +<p class="dropcap"><span class="caps">Copenhagen.</span> This manufactory was commenced by an apothecary of the name +of Müller, in 1772, and Baron von Lang, from the Fürstenberg +manufactory, is said to have been instrumental in forming it. The +capital was raised in shares, but the factory not being successful, the +Government interfered, and it became a royal establishment in 1775, and +has remained so ever since.</p> + +<p> </p> +<div class="figcenter"><img src="images/i207.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 196.—Cabaret.</span><br /><i>With portraits of Raphael, and other celebrated painters.</i></p> + +<p> <span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span></p> +<div class="figcenter"><img src="images/i208.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 197.—Cabaret.</span></p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span></p> +<h3>FRANCE</h3> + +<p class="dropcap"><span class="caps">St. Cloud.</span> A factory was established here about 1695 for the production +of porcelain, at which time M. Morin was proprietor, and M. Chicanneau +director of the works.</p> + +<p> </p> +<div class="figcenter"><img src="images/i209.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 198.—Jug.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span>According to letters patent of 1702, granted to the heirs of Chicanneau, +his widow, Barbe Courdray, and her children, were interested in the +works; their father had made many experiments and attempts to discover +the secret of true porcelain, and from the year 1696 had produced some +nearly equal to the porcelain of China. His children, to whom he +imparted the secret, successfully continued the fabrication, and were +permitted to manufacture porcelain at St. Cloud, or in any other part or +parts of the kingdom, except Rouen and its faubourgs. In 1712 a renewal +of the patent took place for ten years, and in the meantime the widow +Barbe Courdray married a M. Trou.</p> + +<p> </p> +<div class="figcenter"><img src="images/i210.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 199.—Statuette.</span><br /><i>Astronomy seated, holding the sun.</i></p> +<p> </p> + +<p>In 1722 letters patent were granted for twenty years more to Jean and +Jean Baptiste Chicanneau, Marie Moreau, the widow of Pierre Chicanneau +(third son) and Henri and Gabriel Trou, children of Barbe Courdray by +her second marriage. About this time serious disagreements occurred +between the two families, and they separated, Gabriel and Henri Trou +remaining at St. Cloud, patronised by the Duke of Orleans; while Marie +Moreau opened another establishment in the Rue de la Ville l’Évêque, +Faubourg St. Honoré, directed by Dominique François<span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span> Chicanneau. In 1742 +another <i>arrêt</i> granted privileges for twenty years to both these +establishments, and Marie Moreau dying in 1743 left Dominique her +business.</p> + +<p>The manufactory at St. Cloud was destroyed by fire (the act of an +incendiary) in 1773, and the manufacture ceased, the proprietors not +being able to raise sufficient funds to rebuild it.</p> + +<p><span class="smcap">Chantilly.</span> This manufactory was founded in 1725 by Ciquaire Cirou, under +the patronage of the Prince de Condé, as appears by letters patent dated +1735, who was succeeded by Antheaume and others. The porcelain was +highly esteemed, and there was hardly any object which they did not +produce, from the lofty vase to the simplest knife handle. The Chantilly +pattern was a great favourite for ordinary services; it was called +“Barbeau,” and consisted of a small blue flower running over the white +paste.</p> + +<p> </p> +<div class="figcenter"><img src="images/i211.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 200.—Dish.</span><br /><i>Mark, hunting horn and P, in gold.</i><br />Diameter 12 in.</p> + +<p> <span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span></p> +<div class="figcenter"><img src="images/i212.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 201.—Pair of Figures.</span></p> +<p> </p> + +<p><span class="smcap">Rouen.</span> Louis Poterat, Sieur de St. Ètienne, of St. Sever, at Rouen, +obtained letters patent in 1673,<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span> stating that he had discovered +processes for fabricating porcelain similar to that of China, and wares +resembling those of Delft; but the former was of a very rude character +and never arrived at any perfection.</p> + +<p>After the establishment at St. Cloud had commenced selling porcelain, +the proprietors of the Rouen manufactory appear to have revived their +porcelain in the hopes of competing with them, but with no good result.</p> + +<p><span class="smcap">Mennecy-Villeroy.</span> This important manufactory was established in 1735 by +François Barbin, under the patronage of the Duc de Villeroy. The early +specimens are similar to the <i>porcelaine tendre</i> of St. Cloud, of a +milky translucent appearance.</p> + +<p> </p> +<div class="figcenter"><img src="images/i213.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 202.—Sugar Basin and Stand.</span></p> +<p> </p> + +<p>Barbin was succeeded about 1748 by Messieurs<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span> Jacques and Jullien, and +the manufactory continued in a flourishing state until 1773, when on the +expiration of the lease it was removed to Bourg-la-Reine.</p> + +<p> </p> +<div class="figcenter"><img src="images/i214.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 203.—Group of Children.</span></p> +<p> </p> + +<p><span class="smcap">Sceaux Penthièvre</span>, near Paris. Established in 1750 by Jacques Chapelle; +it was situated opposite the Petit Châtelet, and was under the patronage +of the Duc de Penthièvre. It was carried on by Glot in 1773. The +Prince-Protector died in 1794,<span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span> but the production of <i>pâte tendre</i> +ceased before that time.</p> + +<p> </p> +<div class="figcenter"><img src="images/i215a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 204.—Cup and Saucer.</span></p> + +<p> </p> +<div class="figcenter"><img src="images/i215b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 205.—Milk-pot.</span><br /><i>Mark, S. X.</i></p> +<p> </p> + +<p><span class="smcap">Arras.</span> Established in 1782 by the Demoiselles Deleneur, under the +patronage of M. de Calonne, Intendant de Flandre et de l’Artois; it only +lasted a few years.</p> + +<p> </p> +<div class="figcenter"><img src="images/i215c.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 206.—Seau.</span><br /><i>Mark, A. R.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span><span class="smcap">Boulogne-sur-mer.</span> Established by M. Haffringue, in the 19th century, +with the kaolin of Limoges.</p> + +<p> </p> +<div class="figcenter"><img src="images/i216a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 207.—Plaque.</span><br /><i>White biscuit.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i216b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 208.—Sucrier.</span><br /><i>White biscuit.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span><span class="smcap">Étiolles</span> (Seine-et-Oise), near Corbeil. Established in 1768, by Monnier, +for soft paste porcelain. The works lasted only a short time.</p> + +<p> </p> +<div class="figcenter"><img src="images/i217a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 209.—Cup and Saucer.</span><br /><i>Mark, E. Pellevé</i>, 1770.<br />Diameter 2½ and 5 in.</p> +<p> </p> + +<p><span class="smcap">Lille.</span> Established in 1711 by Barthélemy Dorez and Pierre Pelissier, his +nephew, natives of Lille.<span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span> The porcelain (<i>pâte tendre</i>) of this time +was like that of St. Cloud, but in the Delft style, the favourite +ornamentation being Chinese designs. At a later period (in 1784) a +manufactory of hard porcelain was established by Leperre Durot, under +the patronage of the Dauphin; it was styled “Manufacture Royale de +Monseigneur le Dauphin.” The porcelain of Leperre Durot is richly +adorned with gold and with carefully painted bouquets of flowers.</p> + +<p> </p> +<div class="figcenter"><img src="images/i217b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 210.—Cup and Saucer.</span><br /><i>With mark, crowned Dolphin.</i></p> +<p> </p> + +<p>M. Roger succeeded Leperre Durot, and in 1792 he sold his interest in +the works to Messieurs Regnault and Graindorge; they were, however, soon +ruined, and the establishment was closed.</p> + +<p><span class="smcap">Bourg-la-Reine.</span> Started in 1773 by Messieurs Jacques and Jullien, who +removed thither on the expiration of their lease at Mennecy. It was in +active existence, making china purely of an industrial character, in +1788.</p> + +<p> </p> +<div class="figcenter"><img src="images/i218.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 211.—Custard Cup.</span><br /><i>Mark, B. R.</i><br />Height 3¼ in.</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span><span class="smcap">Clignancourt.</span> Established in 1775 by Pierre Deruelle, under the +patronage of Monsieur le Comte de Provence, brother of the king +(afterwards Louis XVIII.).</p> + +<p> </p> +<p> </p> +<div class="figcenter"><img src="images/i219.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 212.—Milk-pot and Cover.</span><br /> +<span class="smcap">Fig. 213.—Cup and Dish.</span><span class="spacer"> </span><span class="smcap">Fig. 214.—Milk Jug.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span><span class="smcap">Lunéville.</span> A factory called “Manufacture Stanislas” was established in +1731. It lasted only a short time, but a later manufactory, founded +about 1769, was celebrated for its productions.</p> + +<p>Paul Louis Cyfflé, sculptor, obtained, in 1768, letters patent for +fifteen years, by virtue of which he established another manufactory for +superior vessels of the material called <i>terre de Lorraine</i>, and in the +following year a new privilege was granted for making groups and +statuettes with his improved paste, under the name of <i>pâte de marbre</i>.</p> + +<p><span class="smcap">Orleans.</span> Established by M. Gerréault in 1753, under the protection of +the Duc de Penthièvre; the porcelain first made here was of the soft +paste, but hard paste was subsequently produced. Gerréault was succeeded +by Bourdon <i>fils</i> about 1788, Piédor, Dubois, and lastly, Le Brun, from +1808 to 1811.</p> + +<p><span class="smcap">Niderviller.</span> Established about 1760 by Baron de Beyerlé. After +successfully carrying on this branch for several years, he attempted +hard porcelain in 1768, and procured potters and artists from Saxony. +Three or four years before his death, which happened in 1784, the estate +was bought by General de Custine. This new proprietor continued the +<i>fabrique</i>, under the direction of M. Lanfray, who paid especial +attention to the production of fine porcelain; the fabrication of +statuettes was greatly increased.</p> + +<p> <span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span></p> +<p class="center">ORLEANS</p> +<div class="figcenter"><img src="images/i221.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 215.—Bowl, Cover, and Stand.</span><br /><i>Mark, heraldic label in blue.</i></p> + +<p> <span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span></p> +<div class="figcenter"><img src="images/i222.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 216.—Milk-pot and Cover.</span><br /><i>Mark, double C under coronet, in blue.</i><br />Height 6½ in.</p> +<p> </p> + +<p>After the decapitation of the unfortunate de Custine, his estates, being +forfeited to the Republic, were sold on the 25 Germinal, An X (1802), to +M. Lanfray, and carried on by him until his death in 1827, when the +manufactory was sold to L. G. Dryander, of Saarbrücken. For many years +he continued to make porcelain, as well as fayence groups and +statuettes, but the distance of his <i>fabrique</i> from the kaolin of St. +Yrieix prevented him from competing successfully with those of Limoges, +and this branch was abandoned.</p> + +<p><span class="smcap">Boissette</span>, near Melun. A factory was <span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span>established in 1777 by Jacques +Vermonet père et fils, but it lasted only a short time.</p> + +<p> </p> +<div class="figcenter"><img src="images/i223a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 217.—Teapot.</span></p> +<p> </p> + +<p><span class="smcap">Caen</span>, Normandy. Established and supported by some of the principal +inhabitants, at the time of the French Revolution (about 1793), when +several workmen from Sèvres came to join it. It was carried on for a few +years, but no market being found for the ware, the factory was +discontinued at the commencement of the last century. It is hard paste, +and equal to that of Sèvres, and of the same forms.</p> + +<p> </p> +<div class="figcenter"><img src="images/i223b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 218.—Cup and Saucer.</span><br /><i>With “Caen” stencilled in red.</i></p> +<p> </p> + +<p><span class="smcap">Valenciennes</span> (Nord). By an Order of Council, dated 24th May 1785, M. +Fauquet was permitted to<span class="pagenum"><a name="Page_202" id="Page_202">[Pg 202]</a></span> carry on a manufacture of porcelain at +Valenciennes. He was originally established at St. Amand in the +manufacture of fayence as early as 1775, and probably carried on both +works simultaneously.</p> + +<p> </p> +<div class="figcenter"><img src="images/i224.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 219.—Cup and Saucer.</span><br /><i>Mark, F. L. V., in cipher, in +blue.</i><br />Diam. 3¾ and 6¼ in.</p> +<p> </p> + +<p><span class="smcap">St. Amand-les-eaux.</span> Founded by M. Maximilien de Bettignies in 1815, for +the manufacture of <i>pâte tendre</i> porcelain like the old Sèvres. He was +formerly proprietor of the Tournai manufactory, which he ceded to his +brother Henri when that city became re-annexed to Belgium.</p> + +<p><span class="smcap">Strassburg.</span> About the year 1752, Paul Hannong obtained the secret of +true porcelain from<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span> Ringler, and started a factory here, but in +consequence of the monopoly of Sèvres he was compelled to relinquish it, +and in 1753 removed to Frankenthal, where he greatly flourished under +the protection of the Elector Palatine Carl Theodore.</p> + +<p> </p> +<div class="figcenter"><img src="images/i225.jpg" alt="" /></div> +<p class="center">Fig. 220.—<span class="smcap">Cup and Saucer.</span><br /><i>Mark, J. H.</i><br />Diam. 2⅝ and 5⅝ in.</p> +<p> </p> + +<p><span class="smcap">Marseilles.</span> An important manufactory of porcelain was established here +by Jacques Gaspard Robert about 1766. Porcelain was made also by Honoré +Savy and Veuve Perrin, but was only of secondary importance. The works +were closed about the period of the French Revolution in 1793.</p> + +<p><span class="smcap">Paris.</span> Rue Thiroux. Established in 1778 by<span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span> André Marie Lebeuf, and the +ware was called “Porcelaine de la Reine.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i226a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 221.—Sucrier.</span><br /><i>Mark, crowned A.</i></p> +<p> </p> + +<p><span class="smcap">Paris.</span> Rue de Bondy. Opened in 1780 by Dihl and Guerhard, under the +patronage of the Duc d’Angoulême, and the ware was called “Porcelaine +d’Angoulême.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i226b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 222.—Ewer and Basin.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span><span class="smcap">Paris.</span> Rue Fontaine au Roi. This factory, called “De la Courtille,” was +established in 1773 by Jean Baptiste Locré, who was afterwards joined by +Russinger in 1784. The latter during the Revolution became sole +director.</p> + +<p> </p> +<div class="figcenter"><img src="images/i227.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 223.—Part of a Tea Service.</span></p> +<p> </p> + +<p><span class="smcap">Paris.</span> Faubourg St. Honoré. A factory was established here by Veuve +Chicanneau, <i>née</i> Marie<span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span> Moreau. The teapot, Fig. 224, was probably made +at these works.</p> + +<p> </p> +<div class="figcenter"><img src="images/i228a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 224.—Teapot.</span><br /><i>Mark, V<sup>e</sup> M. & C.</i></p> +<p> </p> + +<p><span class="smcap">Paris.</span> Pont-aux-Choux. In 1784, Louis Honoré de la Marre de Villars +opened an establishment for the manufacture of porcelain in the Rue des +Boulets, Faubourg St. Antoine. It was afterwards disposed of to Jean +Baptiste Outrequin de Montarcy and Edmé Toulouse, who in 1786 obtained a +brêvet from the Duke of Orleans, Louis Philippe Joseph, and authority to +sign the productions with the letters L. P., and to take the title of +<i>Manufacture de M. le Duc d’Orléans</i>. They were afterwards established +in Rue Amelot, <i>au Pont-aux-Choux</i>, by which name the porcelain is +generally known.</p> + +<p> </p> +<div class="figcenter"><img src="images/i228b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 225.—Teapot.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span>The former name ceased in 1793, with the condemnation of the Duke of +Orleans, and the objects subsequently produced were inscribed merely +“<i>Fabrique du Pont-aux-Choux</i>.”</p> + +<p><span class="smcap">Paris.</span> Rue de Crussol. Established in 1789 by Charles Potter, an +Englishman, and the ware was called the “Prince of Wales’s China.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i229a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 226.—Cup.</span></p> +<p> </p> + +<p><span class="smcap">Paris.</span> Belleville. Originally established in 1790 by Jacob Petit; but +later removed to Fontainebleau. The products of the first period were +much esteemed, being well painted and well modelled, bearing Petit’s +mark; but the proprietor unwisely altered his original plan and imitated +Dresden, counterfeiting also the mark of the crossed swords. Jacob Petit +also made biscuit figures, birds’ nests, flowers, &c.</p> + +<p> </p> +<div class="figcenter"><img src="images/i229b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 227.—Watch-stand.</span><br /><i>Plain white of rococo form.<br />Mark, J. P. in blue.</i> Height 5 in.</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span><span class="smcap">Paris.</span> Rue du Faubourg St. Denis. Fabrique de Charles Philippe Comte +d’Artois, afterwards Charles X. This manufacture was the most ancient of +all those established in Paris. Hannong of Strassburg, who brought into +France the secret of hard porcelain, formed the first establishment in +1769. Having obtained the protection of Charles Philippe, Comte +d’Artois, it was called by his name. The factory belonged actually to +Bourdon des Planches, who continued the manufacture of hard porcelain, +&c., but the works were closed in 1810.</p> + +<p><span class="smcap">Vincennes.</span> There was a porcelain manufactory here in 1786, quite apart +from the royal factory. It was directed by M. Le Maire, probably the +same who founded that in Rue Popincourt, which was ceded to M. Nast in +1783. There were four establishments at Vincennes; the first by the +brothers Dubois, subsequently transferred to Sèvres; the second by +Maurin des Aubiez, in 1767; the third by Pierre Antoine Hannong; and the +fourth that described above.</p> + +<p> </p> +<div class="figcenter"><img src="images/i230.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 228.—Cup and Saucer.</span><br /><i>Mark, H. L. L., in gold .</i><br />Diam. 2½ and 5 in.</p> + +<p> <span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span></p> +<h3>VINCENNES AND SÈVRES</h3> + +<p>The history of the celebrated manufactory at Sèvres must be traced back +to that of St. Cloud, which was founded as early as 1695. Here Louis +XIV. accorded his patronage and favour by granting exclusive privileges. +In 1735 the secret of the manufacture was carried, by some of the +workmen, to Chantilly, and for a time continued there by the brothers +Dubois. They left in a few years, taking with them their secret, and +settled at Vincennes, where a laboratory was granted them, but after +three years they were dismissed.</p> + +<p>In 1745, a sculptor, named Charles Adam, formed a company, and the +scheme was approved of by the king, privileges being accorded them for +thirty years, and a place granted for their works in the Château de +Vincennes. In 1753 the privileges of Charles Adam were purchased by Eloy +Brichard, and Louis XV. took a third share; hence the factory became a +royal establishment. Madame de Pompadour considerably encouraged the +ceramic art, and it arrived at the height of perfection. The buildings +were found too small to meet the increasing demands for the beautiful +productions, and in 1756 the works were<span class="pagenum"><a name="Page_210" id="Page_210">[Pg 210]</a></span> removed to a large edifice at +SÈVRES built expressly for the company.</p> + +<p>A favourite decoration of Vincennes porcelain was flowers and birds, on +a beautiful <i>bleu de roi</i> ground, and cupids painted in <i>camaïeu</i> of a +single colour.</p> + +<p> </p> +<div class="figcenter"><img src="images/i232.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 229.—Vase.</span><br /><i>Bleu de roi ground, with panels with birds in gold.<br /> +Mark, double L enclosing a dot, in gold.</i><br />Height 9¼ in.</p> +<p> </p> + +<p>In 1760 the king became sole proprietor, and M. Boileau was appointed +director.</p> + +<p><span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span>In 1769, after Macquer had brought the making of hard paste to +perfection, the manufacture was successfully established at Sèvres, and +both descriptions of china continued to be made until 1804, when, +Brongniart being director, soft paste was altogether discontinued, and +declared to be “useless in art, of expensive manipulation, dangerous to +the workmen, subject to great risk in the furnace, &c.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i233.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 230.—Cup and Saucer.</span><br /><i>Bleu de roi ground, with white medallions enclosing birds in gold.<br /> +Mark, double L, in blue.</i><br />Diam. 2⅝ and 5⅜ in.</p> +<p> </p> + +<p>The principal colours used in decorating the ground of the Sèvres vases +were:—</p> + +<p>1. The <i>bleu céleste</i>, or turquoise, invented in 1752 by Hellot.</p> + +<p>2. The rich cobalt blue, called <i>bleu de roi</i>, of which there were two +varieties, the darker being designated <i>gros bleu</i>.</p> + +<p><span class="pagenum"><a name="Page_212" id="Page_212">[Pg 212]</a></span>3. The <i>violet pensée</i>, a beautiful violet from a mixture of manganese, +one of the rarest decorations of the <i>pâte tendre</i>.</p> + +<p> </p> +<div class="figcenter"><img src="images/i234.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 231.—Vase.</span></p> +<p> </p> + +<p>4. The <i>rose Pompadour</i> (called in England <i>rose Du-Barry</i>), a charming +pink or rose colour invented in 1757 by Xhrouet of Sèvres.</p> + +<p><span class="pagenum"><a name="Page_213" id="Page_213">[Pg 213]</a></span>5. The clear yellow or <i>jonquille</i>, a sort of canary colour.</p> + +<p>6. The <i>vert pré</i>, or bright grass green.</p> + +<p> </p> +<div class="figcenter"><img src="images/i235.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 232.—Écuelle.</span><br /><i>Dated 1771.</i></p> +<p> </p> + +<p>7. The <i>vert pomme</i>, or apple green.</p> + +<p>8. The <i>rouge de fer</i>, a brilliant red.</p> + +<p>9. The <i>œil de perdrix</i> was at a later period a favourite ornament +for the grounds of vases.</p> + +<p> <span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span></p> +<div class="figcenter"><img src="images/i236.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 233.—Biscuit Group. Cupid and Psyche.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span>The forms are exceedingly varied, but names are assigned to each, either +from the designers of the models or their special shapes or +ornamentation; these may be found at length in <i>Marks and Monograms on +Pottery and Porcelain</i>, 10th edition.</p> + +<p>The beautiful <i>pâte tendre</i> ware of Sèvres was always much esteemed, and +never could have been produced at a reasonable price even at the time it +was made, the expense of decoration as well as the risk in firing being +so great. It was manufactured for royal presents or occasionally sold by +express permission at exorbitant prices, which bore a more approximate +value to the present exorbitant prices than is generally supposed.</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span></p> +<h2>GREAT BRITAIN</h2> +<p> </p> +<h3>POTTERY</h3> + +<p class="dropcap"><span class="caps">The</span> earthenware vessels made in England previous to the 16th century +were of a very coarse description, rudely fashioned and usually devoid +of ornament, sometimes cast in a mould in grotesque forms, and +occasionally covered with a yellow or green glaze. Numerous specimens of +early English cups are found in excavations in London and other parts of +England, and may be identified by comparison with the vessels in Norman +and mediæval manuscripts.</p> + +<p>Although inexpensive, they were badly burned, and not very durable; and +the German stoneware with a salt glaze was eagerly sought after +throughout the 16th century, and imported in large quantities. These +stone pots were usually impressed with the arms of German towns; a rose +or other device in front, and a ferocious bearded visage under the +spout. They were derisively called bellarmines, after the celebrated +Cardinal Bellarmin, who in the 16th century made himself so conspicuous +by his zealous opposition to the Reformed religion.</p> + +<p>These bellarmines were in general use throughout England in the 16th and +beginning of the 17th century at inns and public-houses for serving ale +to<span class="pagenum"><a name="Page_217" id="Page_217">[Pg 217]</a></span> the customers. The importation of these stone pots was always +monopolised by the potters of Cologne, near which city they were made. +In the reign of Queen Elizabeth we find one William Simpson presenting a +memorial that he may be allowed to bring “the drinking stone pottes made +at Culloin” into this country, and requesting permission to make similar +stone pots in England; but he was not successful in his suit.</p> + +<p>In 1626, however, two other potters, named Rous and Cullyn, merchants of +the city of London, obtained the exclusive privilege of making stone +pots and jugs in this country, and a patent was granted them for +fourteen years; the preamble states that “heretofore, and at this +present, our kingdom of England has been served with stone pottes, stone +jugges, and stone bottells, out of foreign parts, from beyond the seas.”</p> + +<p> </p> +<h3>STAFFORDSHIRE</h3> + +<p>When Dr. Plot wrote his natural history of this county in 1686 there +were very few manufactories of pottery; he only speaks of one at +Amblecott and another at Wednesbury; but he says: “The greatest pottery +they have in this country is carried on at Burslem, near +Newcastle-under-Lyme.” The earthenware made here towards the end of the +17th century was of a very coarse character, and the decoration +extremely rude, consisting merely of patterns trailed over the surface +in coloured clay, technically termed <i>slip</i>, diluted to the consistence +of syrup, so that it could run out through a quill. The<span class="pagenum"><a name="Page_218" id="Page_218">[Pg 218]</a></span> usual colours +of these slips were orange, white, and red, the orange forming the +ground and the white and red the paint. After the dishes had been thus +ornamented they were glazed with lead ore beaten into dust, finely +sifted, and strewed over the surface, which gave it the gloss but not +the colour. The vessels remained twenty-four hours in the kiln, and +were then drawn for sale, principally to poor cratemen, who hawked them +at their backs all over the country.</p> + +<p> </p> +<div class="figcenter"><img src="images/i240a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 234.—Tyg.</span> <i>With four handles.<br />Dated</i> 1621.</p> +<p> </p> +<div class="figcenter"><img src="images/i240b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 235.—Mug.</span> <i>With two handles.<br />Dated</i> 1682.</p> + +<p> <span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span></p> +<div class="figcenter"><img src="images/i241.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 236.—Plateau.</span> <i>With Charles II. and his Queen, in relief.<br /> +By</i> <span class="smcap">Ralph Toft</span>. 1677.</p> +<p> </p> + +<p>The forms of these vessels were tygs or mugs, with two or more handles +for passing round a table, candlesticks, dishes, &c. The earliest names +found upon them are Thomas and Ralph Toft, William Talor, Joseph Glass; +all names still known in Staffordshire.</p> + +<p><span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span><span class="smcap">Burslem.</span> The family of <span class="smcap">Wedgwood</span> was of long standing at Burslem, and +many members of it were employed in making pottery long before the birth +of the great potter, Josiah Wedgwood. His father, grandfather, and +great-grandfather, as well as many of his other relations, were all +engaged in the trade. Josiah Wedgwood was born in 1730, at Burslem; he +was the youngest of thirteen children; his father, Thomas Wedgwood, died +when Josiah was only nine years old. His eldest brother, Thomas, +succeeded his father as a potter, and Josiah was bound apprentice to him +in 1744, after the expiration of which he left his brother’s house to +make knife handles, imitation agate, and tortoiseshell small wares, at +Stoke. Here, in 1752, he entered into partnership with John Harrison, +which only lasted two years.</p> + +<p> </p> +<div class="figcenter"><img src="images/i242.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 237.—Vase.</span><br /><i>Pale blue jasper, with subjects in relief.</i></p> +<p> </p> + +<p>Next Josiah Wedgwood went into partnership with Thomas Whieldon of +Fenton Low, one of the most eminent potters of his day, and they +remained <span class="pagenum"><a name="Page_221" id="Page_221">[Pg 221]</a></span>together five years; while here Wedgwood also produced that +fine green glaze which covered his dessert services, in imitation of +leaves.</p> + +<p>At the expiration of the partnership in 1759 Wedgwood returned to +Burslem, and commenced business on his own account at the “Churchyard” +works. He soon became so successful that he was compelled to enlarge his +establishment, and to take over the “Ivy House” works. He engaged the +services of his cousin, Thomas Wedgwood, who had gained his experience +at the Worcester works, and in 1765 he took him into partnership, and +three years later Thomas Bentley joined the firm. The first ware which +gained him reputation was his fine cream-coloured ware, which remained a +staple article from 1762 down to the time of his decease, and after +royalty had approved of it the name was changed to Queen’s ware.</p> + +<p>Wedgwood also produced, about this date, a sort of red ware, formed of +the same ochreous clay as was used by the Elers nearly a century before; +it required no glaze except what it derived from friction on the wheel +and lathe, and was covered with engine-turned ornament; and in 1766 he +began to make a black ware, which he called basaltes or black Egyptian. +The business increased so much that he was obliged to open a new +manufactory at <span class="smcap">Etruria</span> in 1769.</p> + +<p>In 1773 he made “a fine white terra-cotta of great beauty and delicacy, +suitable for cameos, portraits, and bas-reliefs”; this was the +forerunner of the jasper ware, which became by constant attention and +successive improvements the most beautiful of all his<span class="pagenum"><a name="Page_222" id="Page_222">[Pg 222]</a></span> wares. In 1776 +the solid jasper ware was invented, which, however, attained its +greatest perfection ten years later. In the manufacture of this elegant +ware Wedgwood largely employed sulphate of barytes, and for many years +derived great profits, none of the workmen having any idea of the nature +of the material upon which they were operating, until a letter +containing a bill of parcels referring to a quantity of the article fell +into the hands of a dishonest servant, who told the secret, and +deprived the inventor of that particular source of emolument: for when +the same article was made by those who employed inferior workmen, to +whom they only paid one-fourth of the salary given by Wedgwood, the +price of jasper ware became so reduced that he was unable to employ +those exquisite modellers whom he had formerly engaged to superintend +that branch of the manufacture.</p> + +<p> </p> +<div class="figcenter"><img src="images/i244.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 238.—Vase.</span><br /><i>Of basaltes ware.</i></p> + +<p> <span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span></p> +<div class="figcenter"><img src="images/i245.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 239.—The Portland Vase.</span> <br /><i>Of black and white jasper.</i></p> +<p> </p> + +<p>In 1785 a “jasper dip” was introduced, in which<span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span> the white clay vessels +were dipped, and received a coating of jasper, instead of being jasper +throughout. This was considered a great improvement, and caused an +increase of 20 per cent. in the price.</p> + +<p> </p> +<div class="figcenter"><img src="images/i246.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 240.—Teapot, Caddy, and Plate.</span><br /><i>With printed transfer.</i></p> +<p> </p> + +<p>Flaxman was engaged by Wedgwood and Bentley as early as 1775, and he +furnished them with drawings and models. After Bentley’s death in 1780 +Flaxman’s fame as a sculptor obtained him more important work, but +still, as time permitted, he worked for Wedgwood up to the time of his +departure for Rome in 1787.</p> + +<p>Josiah Wedgwood died on the 3rd of January 1795, in his 65th year.</p> + +<p> <span class="pagenum"><a name="Page_225" id="Page_225">[Pg 225]</a></span></p> +<div class="figcenter"><img src="images/i247a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 241.—Six Jasper Cameos.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i247b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 242.—Vase.</span><br /><i>Granite ground, with gilt festoons and handles.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i247c.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 243.—Ewer.</span><br /><i>Of agate ware.</i></p> + +<p> <span class="pagenum"><a name="Page_226" id="Page_226">[Pg 226]</a></span></p> +<div class="figcenter"><img src="images/i248.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 244.—An Obelisk</span>, <i>by</i> <span class="smcap">Ralph Wood</span>,<br /><i>and</i> <span class="smcap">A Tea Set</span>, <i>by</i> <span class="smcap">Aaron Wood</span>.</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span>In 1773 <span class="smcap">Ralph Shawe</span> of Burslem took out a patent for chocolate-coloured +ware, striped with white and lined with white, glazed with salt. He +afterwards transferred his factory to France.</p> + +<p><span class="smcap">Ralph Wood</span> was established at Burslem about 1730, and was succeeded +about 1750 by his son <span class="smcap">Aaron Wood</span>, who served his apprenticeship to +Thos. Wedgwood; he was a very clever cutter of moulds for stoneware +plates and dishes, with raised pattern borders, &c., which have been +erroneously termed Elizabethan. Cream ware is said to have been invented +by him. He was succeeded, about 1770, by his son <span class="smcap">Enoch Wood</span>, who was +also a sculptor, and made many busts of eminent men. His successors were +Wood and Caldwell, who continued the manufacture of busts and groups.</p> + +<p> </p> +<div class="figcenter"><img src="images/i249.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 245.—Statuette.</span><br /><i>Chaucer, by</i> <span class="smcap">Ralph Wood</span>.</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span><span class="smcap">Moses Steel</span> was a manufacturer at Burslem in 1715. The name of a +descendant is found on a vase, with blue ground and white figures in +relief, in the style of Wedgwood, in the Victoria and Albert Museum.</p> + +<p> </p> +<div class="figcenter"><img src="images/i250.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 246.—Vase.</span></p> +<p> </p> + +<p><span class="smcap">Shelton. Astbury</span> of Shelton, early in the 18th century, made red crouch, +and white stoneware. It is said he derived his knowledge of mixing the +clays by pretending to be an idiot and obtaining employment at the +Elers’ manufactory at Bradwell;<span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span> after gaining their secret, he set up +in business against them.</p> + +<p>The first use of calcined flints as an ingredient in the composition of +pottery is attributed to the younger Astbury; it led to the manufacture +of fine fayence, and paved the way for the great improvements afterwards +achieved by Wedgwood.</p> + +<p><span class="smcap">Samuel Hollins</span> of Shelton established about 1760 a manufactory of fine +red ware teapots; he procured the clay from Bradwell. He was succeeded +about 1777 by T. and <span class="smcap">J. Hollins</span>.</p> + +<p> </p> +<div class="figcenter"><img src="images/i251a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 247.—Green Bowl.</span><br /><i>With ornaments in relief.<br />Signed “S. Hollins.”</i></p> +<p> </p> +<div class="figcenter"><img src="images/i251b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 248.—Basin.</span><br /><i>With white ground and blue figures in relief.<br />Stamped T. and J. Hollins.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span>The <span class="smcap">New Hall China Works</span> at Shelton owed their origin to the purchase of +Champion’s (Cookworthy’s) patent by a company of potters in 1777, and +were the first porcelain manufactory in Staffordshire. The ware made +here was not of a fine character; inferior artists were employed in its +production, and it was never held in any great esteem. The manufacture +consequently soon fell to decay, after many changes. The mark is the +name of the works in a double ring.</p> + +<p> </p> +<div class="figcenter"><img src="images/i252.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 249.—Cup and Saucer.</span><br /><i>Painted with flowers.</i></p> +<p> </p> + +<p><span class="smcap">Bradwell.</span> A potter to whom Staffordshire was indebted for great +improvements in the ware was <span class="smcap">John Philip Elers</span>, who about 1690 came over +from Holland and settled at Bradwell. He was descended from a noble +family of Saxony.</p> + +<p>Elers was a clever chemist, and discovered the art of mixing the clays +of Staffordshire to greater perfection than had ever before been +attained. He manufactured to a considerable extent an improved kind of +red pottery, in imitation of that of Japan,<span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span> while by the addition of +manganese to the clays, he made a fine black ware, which a century +afterwards was adopted and improved by Wedgwood.</p> + +<p> </p> +<div class="figcenter"><img src="images/i253a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 250.—Teapot.</span><br /><i>Of red ware, with flowers in relief.</i></p> +<p> </p> + +<p><span class="smcap">Hanley.</span> Shaw mentions a Mr. <span class="smcap">Miles</span> of Miles’s<span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span> Bank, Hanley, who produced +the brown stoneware about 1700. There is in the Victoria and Albert +Museum a fayence barrel of brown glaze with gilt hoops, dating +apparently from the first half of the 18th century, and it is impressed +with the name of Miles (see Fig. 251).</p> + +<p> </p> +<div class="figcenter"><img src="images/i253b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 251.—Barrel.</span></p> +<p> </p> + +<p><span class="smcap">Elijah Mayer</span> of Hanley was a contemporary of Wedgwood. He was noted for +his cream-coloured ware and brown-line ware, but he produced many other +varieties. A vase of unglazed drab terra-cotta, with festoons, &c., in +relief, coloured (see Fig. 252).</p> + +<p> </p> +<div class="figcenter"><img src="images/i254.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 252.—Vase.</span></p> +<p> </p> + +<p>He also produced basaltes ware tea services, with animals, &c., in +relief.</p> + +<p><span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span><span class="smcap">Palmer</span> of Hanley was a great pirate of Wedgwood’s inventions, and Mrs. +Palmer, who seems to have been the active manager of her husband’s +business, engaged persons surreptitiously to obtain Wedgwood and +Bentley’s new patterns as soon as they arrived at the London warehouse, +for the purpose of copying them. Palmer had a London partner of the name +of <span class="smcap">Neale</span>. They imitated Wedgwood’s black Egyptian vases and other +inventions, and eventually his Etruscan painted vases. In 1776 Palmer +failed, and the business was carried on by Neale & Co., who by some +means discovered the secret of the jasper body. They became formidable +rivals of Wedgwood.</p> + +<p> </p> +<div class="figcenter"><img src="images/i255a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 253.—Jardinière.</span> <br /><i>Of blue and white jasper.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i255b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig.254.—Vase.</span></p> +<p> </p> + +<p><span class="smcap">J. Voyez</span> of Hanley was a clever artist; he was employed by Wedgwood and +afterwards by Neale and Palmer.</p> + +<p><span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span><span class="smcap">Fenton. Thomas Whieldon</span> of Fenton established a pottery in 1740; besides +the common household articles, he made fancy marbled ware. Aaron Wood +and Josiah Spode were his apprentices, and Josiah Wedgwood was in +partnership with him until 1759.</p> + +<p><span class="smcap">Tunstall. Enoch Booth</span> of Tunstall, and <span class="smcap">John Warburton</span> of <span class="smcap">Cobridge</span> in the +same county, were extensive potters, and first made cream-coloured +pottery by the use of fluid glaze introduced by Booth.</p> + +<p><span class="smcap">William Adams</span> of Tunstall was a favourite pupil of Wedgwood, and while +with him executed some of his finest specimens of jasper ware. He +afterwards went into business on his own account, and carried on an +extensive trade.</p> + +<p> </p> +<div class="figcenter"><img src="images/i256.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 255.—Jug.</span><br /><i>Of blue jasper.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_235" id="Page_235">[Pg 235]</a></span><span class="smcap">Lane End. John Turner</span> of Lane End made a fine description of ware, and +his productions were the most successful imitation of Wedgwood’s jasper, +with ornaments in relief, and only second to the latter’s in excellence; +he also made a fine white stoneware.</p> + +<p> </p> +<div class="figcenter"><img src="images/i257a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 256.—Sugar Basin.</span><br /><i>Of yellow clay, with figures in relief.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i257b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 257.—Teapot.</span><br /><i>With medallion, figures in relief.</i></p> +<p> </p> + +<p><span class="smcap">Longport.</span> The Messrs. <span class="smcap">Davenport</span> of Longport made great improvements in +the manufacture of earthenware; they were celebrated especially for +their stone china. The manufactory was established in 1793, and has been +successfully carried on up to the present day in the same family.</p> + +<p> </p> +<div class="figcenter"><img src="images/i257c.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 258.—Cup, Cover, and Saucer.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i257d.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 259.—Dish.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span><span class="smcap">Lane Delph</span> (now Middle Fenton). <span class="smcap">Miles Mason</span> of Lane Delph early in the +last century produced some fine ware. The ironstone china was brought to +great perfection by Charles James Mason, and the forms were of a high +quality, very much resembling porcelain.</p> + +<p> </p> +<div class="figcenter"><img src="images/i258.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 260.—Cup, Cover, and Saucer.</span></p> +<p> </p> + +<p><span class="smcap">Stoke-on-Trent. Thomas Minton</span> established a manufactory at +Stoke-upon-Trent in 1791; he was apprenticed to Turner of Caughley as an +engraver. His productions were of the useful kind, viz., services for +the table, in imitation of common nankin. He died in 1836, and was +succeeded by his second son, the celebrated Herbert Minton, who brought +the potter’s art to great perfection. He largely increased the business, +and manufactured articles in earthenware, hard and soft porcelain, and +parian.<span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span> Reproductions of Italian maiolica, Delia Robbia, Palissy, and +Henri II. ware were also extensively made by him. He died in 1858, and +was succeeded by Michael Daintry Hollins and Colin Minton Campbell, his +nephew and heir. The founder’s grandsons afterwards succeeded to the +business; the firm of Messrs. Minton & Co. still exists, but there are +no members of the family now connected with it.</p> + +<p> </p> +<div class="figcenter"><img src="images/i259.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 261.—Mug.</span></p> +<p> </p> + +<p><span class="smcap">Liverpool.</span> Early in the 18th century, and probably much before that, +Liverpool was noted for the manufacture of pottery. Little is known of +its early history, and it was not until Mr. Jos. Mayer rescued from +oblivion many interesting particulars that anything like a succinct +account was published. In his interesting notice of the Art of Pottery +in Liverpool, we learn that the most celebrated of the early potters was +Alderman Thomas Shaw, who had works for making pottery in the beginning +of the 18th century; several large plaques and monumental slabs of his +make are in existence, dated from 1716 to 1756. About this time, there +seems to have been a large demand for punch bowls; as these formed the +principal ornaments on the sideboards of the middle classes, and +especially on board the ships, which were constantly going and coming in +the port, considerable pains were taken<span class="pagenum"><a name="Page_238" id="Page_238">[Pg 238]</a></span> in decorating them, and many +are still in existence painted with ships, convivial mottoes, and +inscriptions.</p> + +<p>Another important establishment was founded by Mr. John Sadler, the son +of a painter, who had learnt the art of engraving.</p> + +<p>He was the inventor, about 1752, of the method of transferring prints +from engraved copper plates upon pottery, and in conjunction with Guy +Green, proposed to take out a patent in 1756, the draft of which is +still preserved, but they preferred keeping the invention secret to the +doubtful security of patent rights.</p> + +<p> </p> +<div class="figcenter"><img src="images/i260.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 262.—Punch Bowl.</span></p> +<p> </p> + +<p>Wedgwood availed himself of this new mode of decoration, and sent his +Queen’s ware weekly to Messrs. Sadler and Green to be printed.</p> + +<p> <span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span></p> +<div class="figcenter"><img src="images/i261a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 263.—Tiles.</span><br /><i>By</i> <span class="smcap">J. Sadler</span>.</p> +<p> </p> +<div class="figcenter"><img src="images/i261b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 264.—Teapot.</span><br /><i>With portrait of Wesley.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span><span class="smcap">Richard Chaffers</span> was the principal manufacturer of Liverpool; he served +his apprenticeship with Alderman Shaw, and in 1752 established a bank +for the manufacture of blue and white earthenware and fine porcelain, +which gained him great reputation; they were largely exported to our +American Colonies (now the United States).</p> + +<p>His porcelain works were established about the same time as those of +Worcester and Derby, and his productions had a great sale in England.</p> + +<p>The Liverpool establishments of <span class="smcap">Pennington, Philip Christian</span> and <span class="smcap">Richard +Abbey</span> were on an extensive scale, but towards the end of the eighteenth +century only one of any importance survived, and that belonged to +Messrs. <span class="smcap">Worthington</span>, <span class="smcap">Humble</span> and <span class="smcap">Holland</span>, who in 1796 established a large +manufactory on the south bank of the Mersey. As Wedgwood had christened +his settlement Etruria they called theirs Herculaneum. A larger capital +being required, in 1806 an increase of proprietors took place. The first +wares made here were Queen’s and blue printed ware. About 1800 the +production of porcelain was commenced, the mark used being +“Herculaneum,” or “Herculaneum Pottery.” About 1836, when the factory +came into possession of Messrs. Case, Mort & Co., the mark used was a +bird called the liver, which forms the crest of the Borough of +Liverpool.</p> + +<p><span class="smcap">Jackfield</span>, near Thursfield, in Shropshire. There was an old pottery here +about 1760. The ware was of a red clay, with a brilliant black glaze, +sometimes with scrolls and flowers in relief. Tea services<span class="pagenum"><a name="Page_241" id="Page_241">[Pg 241]</a></span> are +frequently seen. The jugs were known in the locality as “black +decanters.” About 1780 the works were taken by Mr. John Rose, and +subsequently removed to <span class="smcap">Coalport</span>, on the opposite side of the Severn, +where the well-known Salopian porcelain was made.</p> + +<p> </p> +<div class="figcenter"><img src="images/i263.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 265.—Teapot.</span></p> +<p> </p> + +<p>Fig. 265. A black glazed teapot inscribed “Richard and Ruth Goodin, +1769.”</p> + +<p><span class="smcap">Fulham.</span> The first successful imitation of the <i>grès de Cologne</i> was made +by <span class="smcap">John Dwight</span>, an Oxfordshire gentleman, and in course of time it +almost entirely superseded the importation from abroad. This great +potter took out his first patent in 1671, and probably established a +manufactory at Fulham in that year, which was successfully carried on +through two patents of fourteen years each. The Fulham stoneware is of +exceedingly hard and close texture, very compact and sonorous, covered +with a salt glaze, of grey colour, ornamented with a brilliant blue +enamel in bands, leaves, and flowers, having medallions of kings and +queens of England in front, with Latin names and titles, or their +initials only.</p> + +<p>Dwight produced a great variety of objects, and<span class="pagenum"><a name="Page_242" id="Page_242">[Pg 242]</a></span> brought the potter’s +art to a great perfection. The figures, busts, and groups are +exquisitely modelled, and will bear comparison with any contemporary +manufactures of Europe. A careful inspection will convince any +unprejudiced mind of the erroneous impression which exists, that until +the time of Wedgwood the potter’s art in England was at a very low ebb, +and that none but the rudest description of pottery was made, without +any attempt to display artistic excellence. For here, a century before +Josiah Wedgwood’s time, we have examples of English pottery which would +do credit to the atelier of that distinguished potter himself. John +Dwight died in the year 1737, and with him also departed the glory of +his manufactory at Fulham.</p> + +<p> </p> +<div class="figcenter"><img src="images/i264.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 266.—“Lydia Dwight.</span><br /><i>Dyed March 3, 1673.</i>”</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span><span class="smcap">Lambeth.</span> The next important pottery in England in the 17th century was +that of Lambeth. In the <i>History of Lambeth</i> it is related that about +1650 some Dutch potters established themselves here, and by degrees the +industry became important, for the village contained no less than twenty +manufactories, in which were made the glazed pottery and tiles used in +London and various parts of England. The ware was very much of the +character of Delft, with a fine white creamy glaze, painted with +landscapes and figures in blue.</p> + +<p> </p> +<div class="figcenter"><img src="images/i265.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 267.—Dish.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span>The white bottles or jugs, upon which are written the names of wines +accompanied by dates, were made here.</p> + +<p>The trade flourished here for more than a century, until about 1780 or +1790, at which time the Staffordshire potters, by the great improvements +they had made in the quality of their ware, and having coal and clay +ready to their hand, were enabled to produce it at a cheaper rate, and +eventually beat the Lambeth potters out of the field.</p> + +<p>The Lambeth potters, about the end of the 17th century, appear also to +have copied the forms of the Palissy ware, especially in large oval +dishes with initials and dates. Fig. 267 is an example of one of these +dishes.</p> + +<p><span class="smcap">Yearsley</span>, in Yorkshire. A pottery of coarse character was made here in +the 17th century. A factory was established by an ancestor of Josiah +Wedgwood about the year 1700; and on the estate of Sir George Wombwell +fragments of pottery, of a coarse brown ware, with lead glaze, have been +frequently found on the site of the old manufactory.</p> + +<p><span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span>There was also a manufactory established at the Manor-house, <span class="smcap">York</span>, about +1665, of which little is known except the mention of its existence by +Ralph Thoresby and Horace Walpole; although it is by the former +erroneously called porcelain, the ware was actually a fine stoneware, +with a salt glaze.</p> + +<p><span class="smcap">Don Pottery.</span> There was a pottery on the river Don, near Doncaster, +established by Mr. John Green of New-hill, who came from the Leeds +pottery about 1790. In 1807 some other members of his family joined the +firm, and it was for a short time “Greens, Clark, & Co.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i267.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 268.—Tea Caddy.</span><br /><i>Of yellow clay, ornamented with +chocolate brown appliqué<br />medallions of female figures in relief.</i></p> +<p> </p> +<p>The Don Pottery was very similar to that of Leeds, frequently producing +pierced work-baskets, vases, dinner, dessert and tea services, &c.</p> + +<p><span class="smcap">Leeds.</span> This ware was made by Messrs. Hartley, Greens, & Co. in 1770. It +is of a sort of cream colour, and has much perforated or basket-work, +sharply cut out of the borders in various patterns.<span class="pagenum"><a name="Page_246" id="Page_246">[Pg 246]</a></span> Important +centre-pieces with figures were also made here.</p> + +<p> </p> +<div class="figcenter"><img src="images/i268a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 269.—Chestnut Bowl and Cover.</span></p> +<p> </p> + +<p><span class="smcap">Castleford</span>, about twelve miles from Leeds. Here David Dunderdale +established works in 1790 for the finer kinds of pottery, especially +Queen’s ware and the black Egyptian.</p> + +<p> </p> +<div class="figcenter"><img src="images/i268b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 270.—Teapot.</span><br /><i>With ornaments in relief, of white +ware edged with blue.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span><span class="smcap">Swinton</span>, near Rotherham. Initiated by Edward Butler in 1757, on the +estate of the Marquis of Rockingham. In 1765 it was carried on by +William Malpas, and in 1778 by Messrs. Bingley, Brameld, & Co., who +enlarged the works, and made earthenware of a very superior quality. +Rockingham teapots, of a mottled chocolate colour, glazed inside with +white, were in great repute. But the aims of the Messrs. Brameld were of +a higher character, and some works of artistic merit were produced. When +the Rockingham works were closed in 1842 many of the moulds were +purchased by Mr. John Reed, and transferred to the Mexborough pottery.</p> + +<p> </p> +<div class="figcenter"><img src="images/i269.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 271.—Teapot.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span><span class="smcap">Newcastle-on-Tyne.</span> There were some extensive manufactories here at the +end of the 18th century for making Queen’s ware, some of which is +perforated like that of Leeds, and has wicker pattern borders. Some of +the earthenware mugs have a pink metallic lustre, and are ornamented +with transfer engravings. On the inside was usually a toad in relief.</p> + +<p> </p> +<div class="figcenter"><img src="images/i270a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 272.—Dish.</span><br /><i>Of Queen’s ware, marked “fell.”</i></p> +<p> </p> +<div class="figcenter"><img src="images/i270b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 273.—Mug.</span><br /><i>With printed monument of Lord Nelson; +inside is a toad;<br />marked “Fell & Co., Newcastle Pottery.”</i></p> +<p> </p> + +<p><span class="smcap">St. Anthony’s</span>, about 2½ miles from <span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span>Newcastle-upon-Tyne. Established +by Sewell & Donkin in 1780. Queen’s ware and pink metallic lustre, also +printed subjects, were produced; pierced wicker baskets, like that of +Leeds, were also made.</p> + +<p> </p> +<div class="figcenter"><img src="images/i271a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 274.—Jug.</span><br /><i>With cupids in relief, coloured with +pink metallic lustred clouds.</i></p> +<p> </p> + +<p><span class="smcap">Nottingham.</span> Stoneware was made here in the first half of the 18th +century; it usually has a dark brown glaze, with a slightly metallic +lustre, is very hard and durable, and is frequently ornamented with +outlines of stalks and flowers, especially the pink.</p> + +<p> </p> +<div class="figcenter"><img src="images/i271b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 275.—Mug.</span><br /><i>Inscribed, “Made at Nottingham, the 17th +August 1771.”</i></p> + +<p> <span class="pagenum"><a name="Page_250" id="Page_250">[Pg 250]</a></span></p> +<div class="figcenter"><img src="images/i272a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 276.—Jug.</span><br /><i>In the form of a Bear.</i></p> +<p> </p> + +<p><span class="smcap">Great Yarmouth.</span> A potter named Absolon about 1790 decorated pottery of +the cream colour. The favourite subjects are single flowers and plants, +with their names on the back of the piece.</p> + +<p> </p> +<div class="figcenter"><img src="images/i272b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 277.—Plate.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span><span class="smcap">Lowesby</span>, in Leicestershire. A pottery was established by Sir Francis +Fowkes, about the year 1835. Red terra-cotta with black enamelled +ornaments, in imitation of Wedgwood, was made.</p> + +<p> </p> +<div class="figcenter"><img src="images/i273a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 278.—Garden Pot.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i273b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 279.—Vase.</span></p> +<p> </p> + +<p><span class="smcap">Bristol.</span> At <span class="smcap">Redcliffe Backs</span> a manufactory of Delft ware was carried on +in the 18th century by Richard Frank.</p> + +<p>At <span class="smcap">Temple Backs</span>, Bristol, Joseph Ring, son-in-law of Cookworthy (after +the porcelain works had been relinquished in 1777), opened a manufactory +called the “Bristol Pottery.” It was continued for<span class="pagenum"><a name="Page_252" id="Page_252">[Pg 252]</a></span> many years, and +about 1820 it was occupied by Messrs. Pountney & Allies. The articles +produced were similar to those of the superior potteries in +Staffordshire.</p> + +<p> </p> +<p class="center">BRISTOL (Redcliffe Backs)</p> +<div class="figcenter"><img src="images/i274.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 280.—Tiles.</span><br /><i>St. Mary Redcliffe Church.</i></p> +<p> </p> + +<p><span class="smcap">Cadborough</span>, near Rye in Sussex. A pottery was established here early in +the 19th century for the manufacture of common sorts of pottery, but +some vases of glazed ware of elegant forms were also <span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span>produced. The +works are now carried on at Bellevue Pottery, Rye.</p> + +<p> </p> +<div class="figcenter"><img src="images/i275.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 281.—Vessel.</span><br /><i>In form of a pig.</i></p> +<p> </p> + +<p><span class="smcap">Swansea.</span> Established about 1750; it was greatly enlarged by George +Haynes in 1780, who styled it the “Cambrian Pottery.” In 1802 the works +were purchased by Lewis Weston Dillwyn, and about 1810 an improved ware +was made which was termed <i>opaque porcelain</i>; with the assistance of +Young, a draughtsman employed in delineating natural history, the ware +became remarkable for its beautiful and truthful paintings.</p> + +<p>The early Swansea ware was elegant in form, and frequently covered with +a deep blue glaze.</p> + +<p> <span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span></p> +<div class="figcenter"><img src="images/i276.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 282.—Dish.</span><br /><i>Mark, Swansea and letter C.</i></p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span></p> +<h2>GREAT BRITAIN</h2> +<p> </p> +<h3>PORCELAIN</h3> + +<p class="dropcap"><span class="caps">The</span> manufacture of porcelain in England began much earlier than has been +generally supposed, and the invention was patented in England by John +Dwight of Fulham in 1671, while that at St. Cloud was not patented until +1702, thirty years afterwards.</p> + +<p><span class="smcap">Worcester.</span> Although this manufactory originated more than a century and +a half ago, and has always been carried on by private enterprise, it is +still in a flourishing state. It was established in 1751, chiefly +through the exertions of Dr. Wall, a physician and a good practical +chemist, who in conjunction with others formed the “Worcester Porcelain +Company.” The early productions were principally of the useful +description, and were sold at a cheaper rate than the wares of Bow and +Chelsea. About the year 1757, the important method of multiplying +designs upon the biscuit ware by means of transferring impressions of +engraved copper plates to the surface, was adopted at Worcester almost +at the same time as at Liverpool, the invention being in fact claimed by +both; but specimens are found bearing the names of Sadler and Green of +Liverpool, and Richard Holdship and Robert Hancock of Worcester, dated +in the same year. Bat printing succeeded the printing from engraved or +etched plates. This new style was accomplished thus: instead of the +design being first printed upon paper and then transferred, the plate +was stippled with a fine point by London artists after designs of +landscapes, shells, fruit, and flowers by Cipriani, Bartolozzi, Cosway, +and Angelica Kauffmann, who were so fashionable about the end of the +18th century. The copper plate being carefully cleaned, a thin coating +of linseed oil was laid upon it, and removed by the palm of the hand +from the surface, leaving the oil in the engraved spots; instead of +paper, bats of glue were used, cut into squares of the size of the +engraving; one of these bats was pressed on to the plate, so as to +receive the oil out of the engraved holes, and laid on to the china, +transferring the oil to the surface; it was then dusted with the colour +required, the superfluous colour being removed carefully with cotton +wool, and the china was then placed in the kiln.</p> + +<p> <span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span></p> +<div class="figcenter"><img src="images/i278.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 283.—Cup and Saucer.</span></p> + +<p><span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span>In 1783 the Worcester porcelain works were purchased by Mr. Thomas +Flight, from whom they afterwards passed to Messrs. Flight and Barr; the +principal painters at this time were: J. Pennington, who painted +figures; S. Astles, flowers; G. Davis, exotic birds in the Chelsea +style; Webster, landscapes and flowers; J. Barker, shells; Brewer of +Derby, landscapes; while Thomas Baxter, an accomplished artist, painted +figure subjects.</p> + +<p>The Worcester works remained with Messrs. Flight & Barr until 1840, when +the two principal manufactories of Worcester—that of Flight & Barr, and +that of the Messrs. Chamberlain, were amalgamated; the plant and stock +were removed to the premises of the latter, and the new firm was styled +Chamberlain & Co. The last-named works were established by Robert +Chamberlain in 1786; he was the first apprentice at the Old Worcester +Porcelain Company, and he and his brother Humphrey took premises in High +Street. At first they only decorated porcelain, which they bought of +Turner of Caughley; but they afterwards manufactured largely on their +own account,<span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span> and their business increased to a great extent, being +patronised by the royal family.</p> + +<p> </p> +<div class="figcenter"><img src="images/i280a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 284.—Portion of a Tea Service.</span><br /><i>Japanese pattern, blue, red, and gold.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i280b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 285.—Portion of a Tea Service.</span><br /><i>Transfer coloured, and partly gilt.</i></p> +<p> </p> + +<p>These two works which were united in 1840, remained so until 1852, when +Messrs. Kerr & Binns became the ostensible proprietors. In 1862 another +Joint Stock Company was formed, Mr. R. W. Binns having the direction of +the artistic department and Mr. Edward Phillips being general +superintendent.</p> + +<p><span class="smcap">Swinton</span>, near Rotherham. The manufacture of porcelain at the +<span class="smcap">Rockingham Works</span> was introduced, under the patronage of the Earl +Fitzwilliam, about the year 1823 by Thomas Brameld, who spared no +expense in endeavouring to bring it to perfection. The china was of a +superior description, and the painting and decoration were of a high +character. In 1832 royal patronage was obtained and a magnificent +service was ordered by King William IV.; instead, however, of placing +the firm in a flourishing condition, it was actually the cause of its +ruin, for the expense incurred by the engagement of first-class artists, +and the super-abundance of gold employed in decorating the service, +resulted in so great a loss that the manufacture was totally +discontinued a few years after.</p> + +<p> <span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span></p> +<div class="figcenter"><img src="images/i281a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 286.—Plate.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i281b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 287.—Vase.</span><br /><i>Centre-piece of the service made for King William IV.</i><br />Height 14 in.</p> + +<p> </p> +<p><span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span><span class="smcap">Derby.</span> The earliest manufactory was called “The Derby Pot Works,” and +was carried on at Cock Pit Hill by Messrs. John and Christopher Heath +for pottery and porcelain. It is said to have been on an extensive +scale, but little is known of its operations. The proprietors, who were +bankers in Full Street, became bankrupt in 1780, when the stock was sold +and the works discontinued.</p> + +<p> </p> +<div class="figcenter"><img src="images/i282.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 288.—Group.</span><br /><i>Chelsea Derby.</i></p> + +<p> <span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span></p> +<div class="figcenter"><img src="images/i283a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 289.—Pair of Vases.</span><br /><i>Chelsea Derby.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i283b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 290.—Plate.</span><br /><i>With flowers by Billingsley.</i></p> +<p> </p> + +<p>The “Derby Porcelain Manufactory” was founded in 1751 by William +Duesbury; the first productions were chimney ornaments, lambs, sheep, +and services for the table, but it was probably not until he purchased +the Chelsea works in 1769 that any great<span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span> reputation was acquired, and +few if any of the early specimens can be identified. Some beautiful +examples of porcelain painted in the Chinese style were produced about +this time, but as the rage for oriental ware seemed so prevalent, the +proprietor, to insure the sale of his china, copied the Chinese marks as +well as the style of decoration. Crown Derby was produced from 1780, and +was continued by Bloor, the successor of Duesbury, as late as 1830. +After the purchase of the Chelsea and Bow works, the Derby porcelain +manufactory rose to great importance, the proprietors having of course +retained the best workmen who had been engaged there. In fact, with all +the models and moulds, the mixers, throwers, and painters of those two +great establishments, the manufactory may be considered as the Chelsea +and Bow works continued in another locality. Upon the death of William +Duesbury, in 1785, his son William continued the business, and a third +William Duesbury succeeded in the beginning of the last century. About +1815, Robert Bloor took over the works, which were altogether closed in +1848. An offshoot, however, is still carried on.</p> + +<p> </p> +<div class="figcenter"><img src="images/i284a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 291.—Cup, Cover, and Saucer.</span><br /><i>Crown Derby.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i284b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 292.—Scent Vase.</span><br /><i>Crown Derby.</i></p> +<p> </p> + +<p> <span class="pagenum"><a name="Page_263" id="Page_263">[Pg 263]</a></span></p> +<div class="figcenter"><img src="images/i285.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 293.—Cup, Cover, and Saucer.</span><br /><i>Crown Derby.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_264" id="Page_264">[Pg 264]</a></span><span class="smcap">Burton-on-Trent.</span> A manufactory of earthenware was established here early +in the last century, and from about 1839 porcelain was made for seven +years.</p> + +<p> </p> +<div class="figcenter"><img src="images/i286a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 294.—Comport.</span></p> +<p> </p> + +<p><span class="smcap">Wirksworth.</span> A manufactory of china as well as pottery, established by a +Mr. Gill, existed here about 1770, and continued for about twenty years.</p> + +<p> </p> +<div class="figcenter"><img src="images/i286b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 295.—Cup.</span></p> +<p> </p> + +<p><span class="smcap">Pinxton</span> in Derbyshire. Established about 1795, by Billingsley in +partnership with John Coke; the former was a practical potter, having +been engaged at the Derby works as a flower painter, in which capacity +he excelled; he brought with him a staff of workmen and their families, +and the factory went<span class="pagenum"><a name="Page_265" id="Page_265">[Pg 265]</a></span> on successfully for about five or six years, when +Billingsley left; it was continued by Coke, and afterwards by Cutts the +foreman, but was altogether discontinued about 1812. The ware made here +by Billingsley was of a peculiar transparent character; and a favourite +pattern was the French sprig or “Chantilly,” being an imitation of the +Angoulême china.</p> + +<p> </p> +<div class="figcenter"><img src="images/i287a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 296.—Jardinière.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i287b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 297.—Sugar Bowl and Cover.</span></p> +<p> </p> + +<p><span class="smcap">Lowestoft.</span> According to Gillingham’s <i>History of Lowestoft</i>, written in +1790, an attempt was made to manufacture porcelain there in 1756 by Mr.<span class="pagenum"><a name="Page_266" id="Page_266">[Pg 266]</a></span> +Hewlin Luson of Gunton Hall, he having found some fine clay on his +estate suitable for the purpose, and in the following year Messrs. +Gillingwater, Walker, Browne, Aldred, and Richman, established the +Lowestoft porcelain works, which existed until 1802. The porcelain was +of soft paste, and in 1902 fragments of it and moulds were found on the +site of the factory. The theory that hard paste was made at Lowestoft or +that Chinese porcelain was painted there has now been abandoned.</p> + +<p><span class="smcap">Plymouth.</span> About the year 1755 William Cookworthy commenced his +experiments to ascertain the nature of true porcelain of hard paste, +and searched with great perseverance throughout England for the +materials which were the constituent parts of Chinese porcelain. At +length a friend of his discovered on the estate of Lord Camelford, in +the parish of St. Stephen’s, Cornwall, “a certain white saponaceous +clay, and close by it a species of granite or moorstone, white with +greenish spots, which he immediately perceived to be the two long +sought-for ingredients, the one giving whiteness and body to the paste, +the other vitrification and transparency.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i288a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 298.—Coffee-pot.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i288b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 299.—Beaker and Cover.</span></p> +<p> </p> + +<p> <span class="pagenum"><a name="Page_267" id="Page_267">[Pg 267]</a></span></p> +<div class="figcenter"><img src="images/i289.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 300.—Centrepiece.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_268" id="Page_268">[Pg 268]</a></span>The patent was obtained in 1768, and the materials were described as +growan stone and growan clay. The works were carried on for nearly six +years, and consequently a considerable quantity of ware was made. +Cookworthy engaged the services of a French artist, M. Soqui, whose +ornamental delineations on the articles produced here were very +beautiful. Some elegant salt-cellars and table ornaments in the form of +open conch shells resting on a bed of coral, &c., all well modelled in +hard paste, were favourites for the table.</p> + +<p> </p> +<div class="figcenter"><img src="images/i290a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 301.—A Shepherdess.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i290b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 302.—A Shepherd.</span></p> +<p> </p> + +<p>Cookworthy and Lord Camelford continued to work this manufactory until +1774, when the patent right was sold and transferred to Richard +Champion.</p> + +<p><span class="pagenum"><a name="Page_269" id="Page_269">[Pg 269]</a></span><span class="smcap">Bristol.</span> A manufactory of <i>soft paste</i> porcelain was founded at Bristol +about 1750. Later Richard Champion, having in 1774 purchased +Cookworthy’s patent, opened a manufactory for <i>hard paste</i>. The ware was +brought to great perfection, but the large outlay prevented its being +remunerative, and in three or four years he sold his interest in the +patent to a company of Staffordshire potters.</p> + +<p> </p> +<div class="figcenter"><img src="images/i291a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 303.—Bowl and Cover.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i291b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 304.—Dish.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_270" id="Page_270">[Pg 270]</a></span><span class="smcap">Caughley</span>, near Broseley, Salop. Established in 1751 by a Mr. Brown, and +afterwards carried on by a Mr. Gallimore. It was not until 1772 that it +rose to any importance, when Thomas Turner commenced operations. He came +from the Worcester porcelain manufactory; he was an engraver, and +probably learnt his art from Robert Hancock.</p> + +<p> </p> +<div class="figcenter"><img src="images/i292a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 305.—Mug.</span><br /><i>Painted in blue.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i292b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 306.—Plate.</span><br /><i>Blue willow pattern.</i></p> +<p> </p> + +<p>The excellence of Turner’s porcelain gained him great patronage. In 1780 +he produced the celebrated “willow pattern,” and completed the first +blue printed table service made in England. Thomas Minton of Stoke +assisted in the completion of it, being articled as an engraver at +Caughley.</p> + +<p>In 1799 Turner retired and John Rose became<span class="pagenum"><a name="Page_271" id="Page_271">[Pg 271]</a></span> proprietor; the latter +removed the works to Coalport about 1814 or 1815.</p> + +<p><span class="smcap">Coalport</span>, in Shropshire. The porcelain works here were established about +1780 by John Rose, who had removed his manufactory from Jackfield. He +carried on this and the Caughley works simultaneously. In 1820, both +the Swansea and the Nantgarw manufactories having been purchased, they +were incorporated with Coalport, and Billingsley of Nantgarw was engaged +as mixer of the clays; he remained at Coalport until his death in 1828. +The “worm sprig” and the “Tournay sprig” were much made at Coalport.</p> + +<p> </p> +<div class="figcenter"><img src="images/i293.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 307.—Dish.</span><br /><i>Marked “Coalport improved Feltspar</i> (sic) <i>Porcelain</i>.”</p> +<p> </p> + +<p><span class="pagenum"><a name="Page_272" id="Page_272">[Pg 272]</a></span><span class="smcap">Colebrook Dale</span> is another name for the Coalport works.</p> + +<p><span class="smcap">Stoke-on-Trent.</span> The first Josiah Spode had a factory here in 1784 for +the production of earthenware. He died in 1797 and was succeeded by his +son Josiah, who commenced the manufacture of porcelain about 1800. He +was a most successful man of business and was appointed potter to the +Prince of Wales. Josiah Spode took William Copeland into partnership, +and the works are still carried on by Messrs. Copeland & Sons.</p> + +<p> </p> +<div class="figcenter"><img src="images/i294.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 308.—Cup, Cover, and Saucer.</span></p> +<p> <span class="pagenum"><a name="Page_273" id="Page_273">[Pg 273]</a></span></p> +<div class="figcenter"><img src="images/i295.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 309.—Vase.</span></p> +<p> </p> + +<p><span class="smcap">Herbert Minton</span> when he succeeded to the business at Stoke-on-Trent (see +page 236), greatly<span class="pagenum"><a name="Page_274" id="Page_274">[Pg 274]</a></span> developed the manufacture of hard and soft +porcelain, and copies were made of Sèvres porcelain vases.</p> + +<p> </p> +<div class="figcenter"><img src="images/i296a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 310.—Bowl.</span><br /><i>Blue and gold, painted with flowers.</i></p> +<p> </p> + +<p><span class="smcap">Longton Hall.</span> A porcelain factory was established here about 1752 by +William Littler. The ware appears to have been rather vitreous in +character, and somewhat resembles Chelsea and Bow porcelain. The works +closed about 1759, and the moulds, &c., are believed to have been +purchased by Duesbury of Derby.</p> + +<p> <span class="pagenum"><a name="Page_275" id="Page_275">[Pg 275]</a></span></p> +<p class="center">LONGTON HALL</p> +<div class="figcenter"><img src="images/i297.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 311.—Vase.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_276" id="Page_276">[Pg 276]</a></span><span class="smcap">Bow.</span> The manufactory of porcelain at Stratford-le-Bow was established +about the middle of the 18th century. Thomas Frye, an eminent painter, +appears to have been instrumental in bringing the china to that +perfection for which the manufactory was celebrated. He took out two +patents for the improvement of porcelain; the first in 1744 was in +conjunction with Edward Heylyn, the second in 1749. In 1750 the works +were disposed of to Messrs. Weatherby & Crowther.</p> + +<p> </p> +<div class="figcenter"><img src="images/i296b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 312.—Teapot.</span><br /><i>Printed with King of Prussia.</i></p> +<p> <span class="pagenum"><a name="Page_277" id="Page_277">[Pg 277]</a></span></p> +<div class="figcenter"><img src="images/i298a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 313.—Bowl.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i298b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 314.—Plate.</span><br /><i>Printed with Æneas and Anchises.</i></p> +<p> <span class="pagenum"><a name="Page_278" id="Page_278">[Pg 278]</a></span></p> +<div class="figcenter"><img src="images/i299.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 315.—Statuette, “Flora.”</span></p> +<p> </p> +<div class="figcenter"><img src="images/i300.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 316.—Bust of George II.</span></p> +<p> </p> + +<p>The interesting bowl (now in the British Museum), made at the Bow works +in the year 1760, and painted by Thomas Craft, is accompanied by a short +history of the works, which informs us that the names of the<span class="pagenum"><a name="Page_279" id="Page_279">[Pg 279]</a></span> +proprietors were known all over the world, that they employed 300 +persons, about 90 painters, and 200 turners, throwers, &c., all under +one roof. (See Fig. 313.) In 1775 or 1776 the works were sold to +Duesbury, and all the moulds and implements were transferred to Derby.</p> + +<p> </p> +<div class="figcenter"><img src="images/i301.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 317.—Group: “A Tea Party.”</span></p> +<p> </p> + +<p>For a more detailed account of the Bow porcelain manufactory, the reader +is referred to <i>Marks and Monograms on Pottery and Porcelain</i>, by W. +Chaffers.</p> + +<p><span class="smcap">Chelsea.</span> This celebrated porcelain manufactory was established about +1740, shortly after that of Bow, and the early productions of the two +are frequently mistaken one for the other; but, fortunately, the Chelsea +wares, especially the finest pieces,<span class="pagenum"><a name="Page_280" id="Page_280">[Pg 280]</a></span> were subsequently marked with an +anchor in gold or red. The period of its greatest excellence was from +1750 to 1765.</p> + +<p>The early pieces were copied principally from the Oriental, being +decorated with Chinese patterns, and these were marked with an embossed +anchor.</p> + +<p> </p> +<div class="figcenter"><img src="images/i302a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 318.—Marshal Conway.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i302b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 319.—Shepherd.</span></p> +<p> </p> + +<p>The beautiful vases in the French style, in imitation of Sèvres, with +<i>gros bleu</i>, crimson, turquoise, and apple-green grounds were made from +1760 to 1765.</p> + +<p><span class="pagenum"><a name="Page_281" id="Page_281">[Pg 281]</a></span>In 1769, by order of M. Sprimont, the proprietor, the Chelsea porcelain +manufactory was sold by auction.</p> + +<p> </p> +<div class="figcenter"><img src="images/i303.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 320.—Vase. “Death of Cleopatra.”</span></p> +<p> </p> + +<p>The works were purchased by W. Duesbury of Derby, and carried on by him +at Chelsea until 1784. The later pieces made here under his direction +are easily distinguished; these vessels are of simple elegant forms, +with the frequent recurrence of gold stripes, and the same forms and +style were adopted simultaneously at Derby, but they are inferior to +the<span class="pagenum"><a name="Page_282" id="Page_282">[Pg 282]</a></span> vases made when M. Sprimont had the works under his direction.</p> + +<p> </p> +<h3>WALES</h3> + +<p><span class="smcap">Swansea.</span> The manufacture of porcelain was revived at Swansea in 1814 by +L. L. Dillwyn. At that time Billingsley had commenced making his +porcelain at Nantgarw; it naturally attracted Dillwyn’s attention, and +conceiving that the kilns used by Billingsley & Walker might be +considerably improved, he made arrangements with them to carry on their +process at Swansea. Hence the origin of the Swansea porcelain, which +obtained great repute, and was continued for six or seven years. Baxter, +a clever painter of figure subjects, left Worcester and entered +Dillwyn’s service in 1816 and continued there for three years, returning +to Worcester in 1819. In the year 1820 the manufactory was discontinued, +and all the moulds and appliances were purchased by John Rose, who +removed them to Coalport about the same time as those of Nantgarw.</p> + +<p> </p> +<div class="figcenter"><img src="images/i304a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 321.—Plate.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i304b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 322.—Plate.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_283" id="Page_283">[Pg 283]</a></span><span class="smcap">Nantgarw.</span> Established in 1813 by Billingsley, the celebrated flower +painter of Derby, with Walker, after they left Worcester. They produced +some very fine porcelain, of the same peculiar character as that of +Pinxton, with a sort of vitreous appearance and a granulated fracture +like that of lump sugar. Being very soft the paste would not in all +cases stand the heat of the kiln; some of the early pieces are +consequently found cracked on the glaze, or slightly warped and bent.</p> + +<p> </p> +<div class="figcenter"><img src="images/i305a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 323.—Plate.</span></p> +<p> </p> +<div class="figcenter"><img src="images/i305b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 324.—Cup and Saucer.</span></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_284" id="Page_284">[Pg 284]</a></span>The Nantgarw porcelain was of remarkably fine body and texture, but its +production was expensive. About the year 1820 the manufacture was +discontinued; Billingsley and Walker having disposed of their interest +in the concern to J. Rose, the moulds and everything connected with the +works were removed to Coalport.</p> + +<p> </p> +<div class="figcenter"><img src="images/i306.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 325.—Vase.</span></p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_285" id="Page_285">[Pg 285]</a></span></p> +<h2>ORIENTAL POTTERY AND PORCELAIN</h2> +<p> </p> +<h3>CHINA</h3> + +<p>The porcelain of China is composed of two earths, the one a decomposed +felspathic rock called <i>kaolin</i>, and the other a rock of the same +geological origin, mixed with quartz, called <i>petuntse</i>. They both +harmonise so completely that they have an equally resisting power when +placed in the kiln. The <i>kaolin</i> used in making porcelain is much softer +than <i>petuntse</i> when dug out of the quarry, yet it is this which, by its +mixture with the other, gives strength and firmness to the work.</p> + +<p>Chinese porcelain was classified by the late Dr. S. W. Bushell, C.M.G., +under the following periods:—</p> + +<p>1. Primitive period, including the <i>Sung</i> dynasty (960-1279) and the +<i>Yuan</i> dynasty (1280-1367).</p> + +<p>2. Ming period, comprising the whole of the <i>Ming</i> dynasty (1368-1643).</p> + +<p>3. K’ang Hsi period, extending from the fall of the Ming dynasty to the +close of the reign of <i>K’ang Hsi</i> (1662-1722).</p> + +<p>4. Yung Chêng and Chiên Lung period (1723-1795), the two reigns being conjoined.</p> + +<p><span class="pagenum"><a name="Page_286" id="Page_286">[Pg 286]</a></span>5. Modern period, from the beginning of the reign of <i>Chia Ch’ing</i> to +the present day.</p> + +<p> </p> +<div class="figcenter"><img src="images/i308.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 326.—Stoneware Vase.</span><br /><i>With Céladon green glaze.<br />Ming dynasty.</i></p> +<p> </p> + +<p>The most ancient mode of decoration was the blue <i>camaïeu</i>, and it is +still much esteemed in China; it was executed on the ware, simply dried +before the<span class="pagenum"><a name="Page_287" id="Page_287">[Pg 287]</a></span> glaze was applied, and then placed in the kiln. Being all +completed in one baking, <i>au grand feu</i>, the painting thus executed +became imperishable.</p> + +<p> </p> +<div class="figcenter"><img src="images/i309.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 327.—Stoneware Vase.</span><br /><i>With Céladon crackle glaze.</i></p> +<p> </p> + +<p>It is on this blue ware that the greater number of the Chinese +characters are found denoting the period in which the porcelain was +made. The cobalt on the earlier pieces was not so fine as on those of +the <i>Siouen-te</i> and <i>Ching-hoa</i> periods, which are now much<span class="pagenum"><a name="Page_288" id="Page_288">[Pg 288]</a></span> sought +after. It is extremely difficult to tell even the approximate date of +the coloured pieces, especially as there was a conventional method of +decorating them which had been practised from time immemorial; the +painters worked according to given models or patterns, and monsters, +deities, or flowers and landscapes, of the same uncouth and rude +designs, were placed in successive ages upon the ware.</p> + +<p> </p> +<div class="figcenter"><img src="images/i310.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 328.—Porcelain Vase.</span><br /><i>Painted in enamel colours.</i></p> +<p> </p> + +<p>The Père d’Entrecolles tells us the manner of painting vases in China, +and how the different parts<span class="pagenum"><a name="Page_289" id="Page_289">[Pg 289]</a></span> of a landscape on one vase were intrusted +to various hands according to their ability to paint special objects +mechanically. He says: “One is employed solely to form the coloured +circle which is seen round the border of the ware, a second traces the +flowers in outline, which a third fills in with colour; another excels +only in painting the water and the mountains, while the next is only +competent to portray birds or animals.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i311.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 329.—Porcelain Ewer.</span><br /><i>Painted in enamel colours, +and mounted with Florentine copper gilt.<br />17th century.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_290" id="Page_290">[Pg 290]</a></span>A sort of very hard stoneware, covered with a thick glaze, may be the +most ancient description seen at the present day. The surface is covered +with a semi-opaque glaze which is called <i>céladon</i> by the French, and +which varies in colour from a russet grey to a sea green. The glaze of +this ware is frequently seen crackled all over in irregular lines, which +is termed in England <i>crackle</i>. This crackle china is the most esteemed +of Oriental porcelain, although it arises from a <i>defective</i> cause.</p> + +<p> </p> +<div class="figcenter"><img src="images/i312.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 330.—Bottle.</span><br /><i>Powder blue porcelain.<br />Ming dynasty.</i></p> +<p> <span class="pagenum"><a name="Page_291" id="Page_291">[Pg 291]</a></span></p> +<div class="figcenter"><img src="images/i313.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 331.—Jar.</span><br /><i>Painted with plum blossoms.<br />Ming dynasty.</i></p> +<p> </p> + +<p>The same effect may be easily produced upon all terra-cottas of which +the paste is more sensible to the changes of temperature than the +exterior coating or glaze. In fayence this accident is of frequent +occurrence; the red porous clay, being more expansive, draws away the +enamel, which, being less elastic, is separated into fragments, and the +greater the resistance the more they are multiplied. Now one of the +qualities of porcelain is precisely to avoid this double action. Its +paste is composed of a felspathic rock, decomposed and infusible, called +<i>kaolin</i>; the cover or glaze comes also from a felspathic rock, slightly +crystallised; these melt and assimilate together <span class="pagenum"><a name="Page_292" id="Page_292">[Pg 292]</a></span>harmoniously in +vitrification, and a complete affinity is evident between the two +elements of porcelain. Nevertheless the Chinese, in modifying the glaze, +are able to render it more or less expansive and to break the harmony +between its own shrinkage and that of the paste or body which it covers.</p> + +<p> </p> +<div class="figcenter"><img src="images/i314.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 332.—Plate.</span><br /><i>Egg shell porcelain.</i></p> +<p> </p> + +<p>Hence the crackle, at the option of the potter, is made of large, +middling, or small size.</p> + +<p>Various kinds of crackle are thus produced, sometimes upon one and the +same piece, as by exposing the porcelain or portions of it when at its +greatest<span class="pagenum"><a name="Page_293" id="Page_293">[Pg 293]</a></span> heat to a sudden cold or contact of water, large fissures may +be obtained. These cracks are sometimes filled in with black, red, +chocolate, or purple colours.</p> + +<p>Others may be classed among the curiosities of porcelain—for example, +cups or bowls which have an outer reticulated coating, pierced or cut +out into arabesques, completely insulated from the inner vessel, except +at the rim at top and bottom where it is joined; these have been used +for tea or hot liquids, and may be held in the hand with impunity, +notwithstanding the heat enclosed within it.</p> + +<p> </p> +<div class="figcenter"><img src="images/i315.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 333.—Plate.</span><br /><i>Egg shell porcelain.</i></p> +<p> </p> + +<p>Another variety consists in cutting or punching out pieces of the paste +or body of the ware in patterns before it is baked; the pieces so cut +out are small<span class="pagenum"><a name="Page_294" id="Page_294">[Pg 294]</a></span> ovals like grains of rice placed in more or less numerous +stars, rosettes, &c. The vase thus ornamented is dipped into the glaze +which fills up all these small holes, and then placed in the kiln. The +pattern, being much more transparent than the body of the ware, is +distinctly seen, but especially so when held to the light.</p> + +<p>Another beautiful effect is produced by means of the glaze itself, which +is of a light or dark shade according to its intensity or thickness; for +example: a fish, animal, or other object is stamped incuse on the upper +surface of a plate, it is then filled in with a coloured glaze and +vitrified, and is consequently shaded according to the thickness of the +glaze on each portion of the design, the surface being perfectly smooth.</p> + +<p>Vases are sometimes seen separated in the middle into two pieces (which +must have been cut while the clay was soft), the upper half being +completely divided from the lower half—in arabesques and dove-tail +patterns, in such a manner, that although separate, they cannot be +altogether removed from each other; the wonder is, that in the baking, +the edges in juxtaposition should not have become again cemented +together.</p> + +<p>The Chinese themselves are great forgers, and endeavour to impose not +only upon the Europeans, but upon their own countrymen, many of whom are +great amateurs, and are willing to pay extravagant prices for ancient +examples of porcelain, especially if made by a celebrated potter.</p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_295" id="Page_295">[Pg 295]</a></span></p> +<h3>JAPAN</h3> + +<p class="dropcap"><span class="caps">The</span> information concerning the origin of making porcelain in Japan is +very scanty. Dr. Hoffmann of Leyden published a history of the principal +porcelain manufactories in 1799, which is appended to M. Stanislas +Julien’s account of those of China: it was a translation from a Japanese +work. He says it was to a colony of Koræans established in the province +of Omi, in the island of Nippon, in the year 27 <span class="smcaplc">B.C.</span>, that the +introduction of this art was attributed. About the same epoch there +lived in the province of Idsumi, situated like that of Omi in the island +of Nippon, a man named <i>Nomino Sukuné</i>, who made, in pottery and +porcelain, vases and notably figures of the size of life, to substitute +for slaves, which it had been previously the custom to bury with their +masters. <i>Nomino</i> received as a recompense authorisation to take the +name of <i>Fazi</i>, in the Koræan language <i>Patzi</i>, artist-workman.</p> + +<p>Under <i>Sei-wa</i> (859-876 <span class="smcaplc">A.D.</span>) the number of fabriques increased considerably.</p> + +<p>Under <i>Syun-tok</i> (1211-1221), a Japanese potter named <i>Katosiro-uye-mon</i> +commenced the making of small vases in which to preserve tea, but for +want of a better process he placed them in the kiln on their orifices, +which consequently appeared as if they had been used, and the vases were +little cared for. Desirous of improving himself in the art, <i>Katosiro</i>, +accompanied by a Bonze or Buddhist monk, visited China in 1211, with +orders from his Government to make himself acquainted with all the +secret processes of the manufacture, which was at that time brought to +so great perfection there.</p> + +<p> <span class="pagenum"><a name="Page_296" id="Page_296">[Pg 296]</a></span></p> +<div class="figcenter"><img src="images/i318.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 334.—Porcelain Vase.</span><br /><i>Hizen ware.<br />About 1690.</i></p> +<p> <span class="pagenum"><a name="Page_297" id="Page_297">[Pg 297]</a></span></p> +<div class="figcenter"><img src="images/i319.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 335.—Fukurokuji.</span><br /><i>The god of longevity.</i></p> +<p> </p> + +<p>On his return, he made such important improvements in the composition +and decoration of porcelain that henceforth it became superior in many +instances to the Chinese, especially in the manufacture of the best +specimens, upon which much time and labour were bestowed. The porcelain +of Japan is very much like that of China, but the colours are more +brilliant on the fine pieces; it has a better finish, and the designs +are more of the European character, the flowers, birds, &c., being +more natural, and the ky-lins, dragons, and other monsters less hideous; +the paste is of better quality and a purer white, especially in ware of +the 17th and 18th centuries.</p> + +<p> <span class="pagenum"><a name="Page_298" id="Page_298">[Pg 298]</a></span></p> +<div class="figcenter"><img src="images/i320.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 336.—Saké Cup and Stand.</span><br /><i>Porcelain gold ornament on red ground.</i></p> +<p> <span class="pagenum"><a name="Page_299" id="Page_299">[Pg 299]</a></span></p> +<div class="figcenter"><img src="images/i321.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 337.—Stoneware Jar.</span><br /><i>Ôto ware.</i></p> + +<p> <span class="pagenum"><a name="Page_300" id="Page_300">[Pg 300]</a></span></p> +<div class="figcenter"><img src="images/i322a.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 338.—Porcelain Vase.</span><br /><i>Kishin ware.</i></p> +<p> </p> +<div class="figcenter"><img src="images/i322b.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 339.—Candlestick.</span><br /><i>Tozan porcelain.<br />Painted in blue.</i></p> +<p> </p> + +<p>Perhaps the most beautiful of all the porcelain made in Japan is the +<i>egg shell</i>, so called because it is extremely thin and translucent, yet +so compact that it can be formed into large vases, as well as plates and +bowls or cups.</p> + +<p>The small cups without saucers, which are usually placed upon +<i>présentoirs</i> of lac, are seldom painted on<span class="pagenum"><a name="Page_301" id="Page_301">[Pg 301]</a></span> the exterior; but within is +frequently found a fillet of gold, and slight sketches in blue or gold +indicating the outline of a mountain, the sun, clouds, and a line of +birds taking flight, or sometimes animals, all in outline. On other +pieces are birds, flowers, and animals delicately painted in colours.</p> + +<p> </p> +<div class="figcenter"><img src="images/i323.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 340.—Flask.</span><br /><i>Satsuma ware.</i></p> +<p> </p> + +<p>The art has been continued to the present day; those beautiful and +extremely delicate cups and saucers, thin as paper, are frequently seen +covered on the outside with a casing of bamboo threads woven together; +the larger basins and covers are also made of equally thin porcelain.</p> + +<p>All these are produced now, as they were in ancient times, at Imari, in +the province of Hizen. It is not in the village itself that these +manufac<span class="pagenum"><a name="Page_302" id="Page_302">[Pg 302]</a></span>tories are established, but as many as twenty-four or +twenty-five are situated near the mountain of <i>Idsumi-yama</i>, whence the +kaolin is obtained of which the vessels are made.</p> + +<p>Crackle china was made in Japan as well as in China from a very early +period, and was frequently painted with flowers, landscapes, and birds.</p> + +<p> </p> +<div class="figcenter"><img src="images/i324.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 341.—Incense-burner.</span><br /><i>Imari porcelain. 18th century.</i></p> +<p> </p> + +<p>According to the late Sir Augustus W. Franks, K.C.B., “the ceramic wares +of Japan exhibit great differences in their composition, texture, and +appearance, but may be roughly classed under three principal heads: (1) +common pottery and stoneware,<span class="pagenum"><a name="Page_303" id="Page_303">[Pg 303]</a></span> generally ornamented simply by scoring +and glazing the surface; (2) a cream-coloured <i>faïence</i>, with a glaze, +often crackled and delicately painted in colours; (3) hard porcelain.</p> + +<p>“To the first of these classes belong the wares of Bizen, old Seto, +Shigaraki, and other small fabrics, including the Raku wares. The +principal factories of the second class are Awata, Satsuma, and the +recent imitations of the latter at Ôta and elsewhere. Among the +porcelain, the coarsest is that made at Kutani, but the most celebrated +fabrics are in the province of Hizen, at Seto in Owari, and Kiyomidzu +near Kiôto.”</p> + + +<p> </p> +<hr style="width: 25%;" /> +<p><span class="pagenum"><a name="Page_304" id="Page_304">[Pg 304]</a></span></p> +<h3>PERSIA, SYRIA, AND TURKEY</h3> +<p> </p> +<h3>PERSIA</h3> + +<p class="dropcap"><span class="caps">Siliceous-glazed</span> wares were produced in Persia at a very early period, +and the late Mr. C. Drury E. Fortnum, in his <i>Historical Treatise on +Majolica</i>, states that the decoration by means of metallic lustre was +practised in that country in the course of the thirteenth century, if +not long before. Glass-glazed bricks, tiles, and other wares, were made +in Babylon at a remote period, as well as in Assyria and Egypt; and it +is probable that the art of their manufacture spread into the +surrounding countries.</p> + +<p>The Persian ware is principally decorated with blue and black. The +lustres are a rich orange gold, a dark copper colour, and a brass +lustre. The patterns upon the tiles and vases are similar, and consist +of elegant arabesques, foliage, and ornamented flowers, more or less in +imitation of nature. Among these we notice the tulip, the Indian pink, +the rose, and other flowers. The tulip in Persia is the emblem of +Affection, which is thus symbolised at the present day. The bowls and +vases are sometimes ornamented with fabulous birds, gazelles, antelopes, +hares, &c., mixed with scrolls and foliage. The forms include +hemispherical and cylindrical<span class="pagenum"><a name="Page_305" id="Page_305">[Pg 305]</a></span> cups, vases, and bowls on conical feet; +common forms are a bottle with a very long neck, probably used to hold +wine, and ewers and basins, the former like a bottle with handle and +long spout, used especially for ablutions, the latter with a pierced +cover. The tiles being mostly made to cover walls, form continuous +arabesques when placed side by side. Chardin says of them, “In truth, +nothing can be seen more lively or more brilliant than this sort of +work, nor of equally fine design.”</p> + +<p> </p> +<div class="figcenter"><img src="images/i327.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 342.—Wall Tile.</span><br /><i>Glazed earthenware.<br />13th century.</i></p> +<p> </p> + +<p>The Persian fayence was probably the same as<span class="pagenum"><a name="Page_306" id="Page_306">[Pg 306]</a></span> the Gombroon ware, which +was shipped by the English East India Company from a port of that name +in the Persian Gulf, where they formed their first establishment about +the year 1600, and whence the great bulk of Chinese porcelain was +exported.</p> + +<p> </p> +<div class="figcenter"><img src="images/i328.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 343.—Water-bottle.</span><br /><i>With metallic lustre.<br />15th or 16th century.</i></p> +<p> </p> + +<p><span class="pagenum"><a name="Page_307" id="Page_307">[Pg 307]</a></span>It has long been a <i>vexata quæstio</i> whether porcelain was ever made in +Persia; some say the idea is altogether chimerical, but M. Jacquemart +endeavours to prove that both hard and soft porcelain were made at Iran, +and has devoted three or four long chapters to the support of his theory +(<i>Les Merveilles de la Céramique</i>).</p> + +<p> </p> +<div class="figcenter"><img src="images/i329.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 344.—Dish for Rice.</span></p> +<p> </p> + +<p>The nearest approach to porcelain in Persian ware is a sort of siliceous +frit or fine stoneware, which possesses a very slight degree of +translucency<span class="pagenum"><a name="Page_308" id="Page_308">[Pg 308]</a></span> but is not true porcelain composed of kaolin and petuntse +like Chinese porcelain. Small creamy white basins, with the sides +pierced with slashes and filled with translucent glazes, are +semi-translucent and have the appearance of porcelain.</p> + +<p> </p> +<div class="figcenter"><img src="images/i330.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 345.—Rose-water Sprinkler.</span></p> + +<p> <span class="pagenum"><a name="Page_309" id="Page_309">[Pg 309]</a></span></p> +<div class="figcenter"><img src="images/i331.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 346.—Rose-water Sprinkler.</span></p> + +<p> <span class="pagenum"><a name="Page_310" id="Page_310">[Pg 310]</a></span></p> +<h3>SYRIA AND TURKEY</h3> + +<p>Dr. Fortnum was of opinion that what is generally known as <span class="smcap">Damascus</span> ware +was probably made not only in that city but at Constantinople, Broussa, +and all the principal sites of manufacturing industry throughout Syria +and Asia Minor. It is distinguished by the great brilliancy of its +enamel colours, the principal of which are a deep lapis-lazuli blue, +turquoise, a vivid emerald green, a brilliant red purple, orange or +buff, olive green and black. The pieces consist principally of circular +dishes, jugs with long cylindrical necks and globular bodies, flasks, +&c., and the best specimens were probably produced during the first half +of the 16th century.</p> + +<p> </p> +<div class="figcenter"><img src="images/i332.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 347.—Damascus Plate.</span><br /><i>Painted in colours.</i></p> +<p> </p> + +<p>Remains of potteries are stated to have been found at Lindus on the +Island of Rhodes, and at<span class="pagenum"><a name="Page_311" id="Page_311">[Pg 311]</a></span> one period all the ware of Asia Minor was +attributed to those works and was called Rhodian. The pottery actually +manufactured there appears, however, to have been of a somewhat coarser +character than that made at Damascus and elsewhere. Richly painted +tiles with diapering and conventional floral patterns under a vitreous +glaze were used largely for the decoration of palaces, mosques, and +tombs throughout Asia Minor and Syria; these tiles are also to be found +at Constantinople.</p> + +<p> </p> +<div class="figcenter"><img src="images/i333.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 348.—Damascus Dish.</span></p> + +<p> <span class="pagenum"><a name="Page_312" id="Page_312">[Pg 312]</a></span></p> +<div class="figcenter"><img src="images/i334.jpg" alt="" /></div> +<p class="center"><span class="smcap">Fig. 349.—Rhodian Plate.</span></p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_313" id="Page_313">[Pg 313]</a></span></p> +<h2>INDEX</h2> + +<div class="index"> +<p> +<i>Adams, William</i>, <a href="#Page_234">234</a><br /> +<br /> +Alcora, <a href="#Page_47">47</a>, <a href="#Page_129">129</a><br /> +<br /> +Amstel, Oude, <a href="#Page_173">173</a><br /> +<br /> +Amsterdam, <a href="#Page_105">105</a>, <a href="#Page_172">172</a><br /> +<br /> +Anspach, <a href="#Page_143">143</a><br /> +<br /> +Aprey, <a href="#Page_74">74</a><br /> +<br /> +Apt, <a href="#Page_53">53</a><br /> +<br /> +Armentières, <a href="#Page_74">74</a><br /> +<br /> +Arnstadt, <a href="#Page_98">98</a><br /> +<br /> +Arras, <a href="#Page_193">193</a><br /> +<br /> +Asia Minor, <a href="#Page_310">310</a><br /> +<br /> +<i>Astbury</i>, <a href="#Page_228">228</a><br /> +<br /> +Avignon, <a href="#Page_54">54</a><br /> +<br /> +<br /> +Baden-Baden, <a href="#Page_156">156</a><br /> +<br /> +Baranowka, <a href="#Page_182">182</a><br /> +<br /> +Bassano, <a href="#Page_35">35</a><br /> +<br /> +Bayreuth, <a href="#Page_87">87</a>, <a href="#Page_144">144</a><br /> +<br /> +Beauvais, <a href="#Page_53">53</a><br /> +<br /> +Berlin, <a href="#Page_135">135</a><br /> +<br /> +Blois, <a href="#Page_54">54</a><br /> +<br /> +Boissette, <a href="#Page_200">200</a><br /> +<br /> +<i>Booth, Enoch</i>, <a href="#Page_234">234</a><br /> +<br /> +Boulogne-sur-Mer, <a href="#Page_194">194</a><br /> +<br /> +Bourg-la-Reine, <a href="#Page_80">80</a>, <a href="#Page_196">196</a><br /> +<br /> +Bow, <a href="#Page_274">274</a><br /> +<br /> +Bradwell, <a href="#Page_230">230</a><br /> +<br /> +Bristol, <a href="#Page_251">251</a>, <a href="#Page_269">269</a><br /> +<br /> +Broussa, <a href="#Page_310">310</a><br /> +<br /> +Brussels, <a href="#Page_177">177</a><br /> +<br /> +Buen Retiro, <a href="#Page_127">127</a><br /> +<br /> +Bunzlau, <a href="#Page_95">95</a><br /> +<br /> +Burslem, <a href="#Page_220">220</a><br /> +<br /> +Burton-on-Trent, <a href="#Page_264">264</a><br /> +<br /> +<br /> +Cadborough, <a href="#Page_252">252</a><br /> +<br /> +Caen, <a href="#Page_201">201</a><br /> +<br /> +Cafaggiolo, <a href="#Page_19">19</a><br /> +<br /> +Capo di Monte, <a href="#Page_114">114</a><br /> +<br /> +Castel Durante, <a href="#Page_10">10</a><br /> +<br /> +Castelli, <a href="#Page_27">27</a><br /> +<br /> +Castleford, <a href="#Page_246">246</a><br /> +<br /> +Caughley, <a href="#Page_270">270</a><br /> +<br /> +<i>Chaffers, Richard</i>, <a href="#Page_240">240</a><br /> +<br /> +Chantilly, <a href="#Page_189">189</a><br /> +<br /> +Château-la-Lune, <a href="#Page_74">74</a><br /> +<br /> +Chelsea, <a href="#Page_279">279</a><br /> +<br /> +China, <a href="#Page_285">285</a><br /> +<br /> +Città di Castello, <a href="#Page_37">37</a><br /> +<br /> +Clignancourt, <a href="#Page_197">197</a><br /> +<br /> +Closter Veilsdorf, <a href="#Page_146">146</a><br /> +<br /> +Coalport, <a href="#Page_241">241</a>, <a href="#Page_271">271</a><br /> +<br /> +Cobridge, <a href="#Page_234">234</a><br /> +<br /> +Colebrook Dale, <a href="#Page_272">272</a><br /> +<br /> +Cologne (Köln), <a href="#Page_88">88</a><br /> +<br /> +Constantinople, <a href="#Page_312">312</a><br /> +<br /> +Copenhagen, <a href="#Page_185">185</a><br /> +<br /> +Creil, <a href="#Page_80">80</a><br /> +<br /> +<br /> +Damascus, <a href="#Page_310">310</a><br /> +<br /> +<i>Davenport, Messrs.</i>, <a href="#Page_235">235</a><br /> +<br /> +Delft, <a href="#Page_100">100</a><br /> +<br /> +Derby, <a href="#Page_260">260</a><br /> +<br /> +Diruta, <a href="#Page_15">15</a><br /> +<br /> +Doccia, <a href="#Page_113">113</a><br /> +<br /> +Don Pottery, <a href="#Page_245">245</a><br /> +<br /> +Douai, <a href="#Page_78">78</a><br /> +<br /> +Dresden, <a href="#Page_96">96</a>, <a href="#Page_130">130</a><br /> +<br /> +<i>Dwight, John</i>, <a href="#Page_241">241</a><br /> +<br /> +<br /> +<i>Elers, John Philip</i>, <a href="#Page_230">230</a><br /> +<br /> +Étiolles, <a href="#Page_195">195</a><br /> +<br /> +Etruria, <a href="#Page_221">221</a><br /> +<span class="pagenum"><a name="Page_314" id="Page_314">[Pg 314]</a></span><br /> +<br /> +Faenza, <a href="#Page_12">12</a><br /> +<br /> +Faïence d’Oiron, <a href="#Page_50">50</a><br /> +<br /> +Fenton, <a href="#Page_234">234</a><br /> +<br /> +Ferrara, <a href="#Page_34">34</a><br /> +<br /> +Florence, <a href="#Page_26">26</a>, <a href="#Page_112">112</a><br /> +<br /> +Fontainebleau, <a href="#Page_207">207</a><br /> +<br /> +Forlì, <a href="#Page_17">17</a><br /> +<br /> +Frankenthal, <a href="#Page_98">98</a>, <a href="#Page_139">139</a><br /> +<br /> +Frechen, <a href="#Page_89">89</a><br /> +<br /> +Fulda, <a href="#Page_148">148</a><br /> +<br /> +Fulham, <a href="#Page_241">241</a><br /> +<br /> +Fürstenberg, <a href="#Page_149">149</a><br /> +<br /> +<br /> +Genoa, <a href="#Page_35">35</a><br /> +<br /> +Gera, <a href="#Page_155">155</a><br /> +<br /> +Gotha, <a href="#Page_158">158</a><br /> +<br /> +Great Yarmouth, <a href="#Page_250">250</a><br /> +<br /> +Grenzhausen, <a href="#Page_92">92</a><br /> +<br /> +Grossbreitenbach, <a href="#Page_153">153</a><br /> +<br /> +Gubbio, <a href="#Page_6">6</a><br /> +<br /> +<br /> +Hagenau, <a href="#Page_63">63</a><br /> +<br /> +Hague, The, <a href="#Page_174">174</a><br /> +<br /> +Hanley, <a href="#Page_231">231</a><br /> +<br /> +Harburg, <a href="#Page_95">95</a><br /> +<br /> +Henri Deux ware, <a href="#Page_50">50</a><br /> +<br /> +Herend, <a href="#Page_166">166</a><br /> +<br /> +Hispano-Moresque ware, <a href="#Page_41">41</a><br /> +<br /> +Höchst, <a href="#Page_96">96</a>, <a href="#Page_138">138</a><br /> +<br /> +<i>Hollins, Samuel</i>, <a href="#Page_229">229</a><br /> +<br /> +<br /> +Infreville, <a href="#Page_74">74</a><br /> +<br /> +<br /> +Jackfield, <a href="#Page_240">240</a><br /> +<br /> +Japan, <a href="#Page_295">295</a><br /> +<br /> +<br /> +Kelsterbach, <a href="#Page_144">144</a><br /> +<br /> +Kiel, <a href="#Page_99">99</a><br /> +<br /> +Kloster Veilsdorf, <a href="#Page_146">146</a><br /> +<br /> +Korzec, <a href="#Page_182">182</a><br /> +<br /> +Kreussen, <a href="#Page_94">94</a><br /> +<br /> +<br /> +La Fratta, <a href="#Page_39">39</a><br /> +<br /> +Lambeth, <a href="#Page_243">243</a><br /> +<br /> +Lane Delph, <a href="#Page_236">236</a><br /> +<br /> +Lane End, <a href="#Page_235">235</a><br /> +<br /> +Lauenstein, <a href="#Page_89">89</a>, <a href="#Page_96">96</a><br /> +<br /> +Leeds, <a href="#Page_245">245</a><br /> +<br /> +Leipzig, <a href="#Page_86">86</a><br /> +<br /> +Lille, <a href="#Page_81">81</a>, <a href="#Page_195">195</a><br /> +<br /> +Limbach, <a href="#Page_155">155</a><br /> +<br /> +Limburg, <a href="#Page_89">89</a><br /> +<br /> +Liverpool, <a href="#Page_237">237</a><br /> +<br /> +Longton Hall, <a href="#Page_274">274</a><br /> +<br /> +Longport, <a href="#Page_235">235</a><br /> +<br /> +Loosdrecht, Oude, <a href="#Page_171">171</a><br /> +<br /> +Loreto, <a href="#Page_37">37</a><br /> +<br /> +Lowesby, <a href="#Page_251">251</a><br /> +<br /> +Lowestoft, <a href="#Page_265">265</a><br /> +<br /> +Ludwigsburg, <a href="#Page_151">151</a><br /> +<br /> +Lunéville, <a href="#Page_72">72</a>, <a href="#Page_198">198</a><br /> +<br /> +Luxemburg, <a href="#Page_106">106</a>, <a href="#Page_177">177</a><br /> +<br /> +<br /> +Madrid, <a href="#Page_127">127</a><br /> +<br /> +Majorca, <a href="#Page_42">42</a><br /> +<br /> +Malaga, <a href="#Page_42">42</a><br /> +<br /> +Malicorne, <a href="#Page_74">74</a><br /> +<br /> +Manerbe, <a href="#Page_74">74</a><br /> +<br /> +Manises, <a href="#Page_46">46</a><br /> +<br /> +Marieberg, <a href="#Page_109">109</a>, <a href="#Page_184">184</a><br /> +<br /> +Marseilles, <a href="#Page_69">69</a>, <a href="#Page_202">202</a><br /> +<br /> +<i>Mason, Miles</i>, <a href="#Page_236">236</a><br /> +<br /> +<i>Mayer, Elijah</i>, <a href="#Page_232">232</a><br /> +<br /> +Meissen, <a href="#Page_130">130</a><br /> +<br /> +Mennecy-Villeroy, <a href="#Page_191">191</a><br /> +<br /> +Milan, <a href="#Page_31">31</a><br /> +<br /> +<i>Minton, Herbert</i>, <a href="#Page_236">236</a>, <a href="#Page_273">273</a><br /> +<br /> +<i>Minton, Thomas</i>, <a href="#Page_236">236</a><br /> +<br /> +Monte Lupo, <a href="#Page_30">30</a><br /> +<br /> +Montereau, <a href="#Page_81">81</a><br /> +<br /> +Moscow, <a href="#Page_180">180</a><br /> +<br /> +Moustiers, <a href="#Page_65">65</a><br /> +<br /> +Murano, <a href="#Page_25">25</a><br /> +<br /> +<br /> +Nantgarw, <a href="#Page_283">283</a><br /> +<br /> +Naples, <a href="#Page_30">30</a>, <a href="#Page_114">114</a><br /> +<br /> +<i>Neale</i>, <a href="#Page_233">233</a><br /> +<br /> +Neudeck, <a href="#Page_141">141</a><br /> +<br /> +Nevers, <a href="#Page_56">56</a><br /> +<br /> +Newcastle-on-Tyne, <a href="#Page_248">248</a><br /> +<br /> +New Hall China Works, <a href="#Page_230">230</a><br /> +<br /> +Niderviller, <a href="#Page_76">76</a>, <a href="#Page_198">198</a><br /> +<span class="pagenum"><a name="Page_315" id="Page_315">[Pg 315]</a></span><br /> +Nottingham, <a href="#Page_249">249</a><br /> +<br /> +Nove, <a href="#Page_25">25</a>, <a href="#Page_122">122</a><br /> +<br /> +Nuremberg (Nürnberg), <a href="#Page_84">84</a><br /> +<br /> +Nymphenburg, <a href="#Page_141">141</a><br /> +<br /> +Nyon, <a href="#Page_168">168</a><br /> +<br /> +<br /> +Oberdorf, <a href="#Page_87">87</a><br /> +<br /> +Oiron, Faïence d’, <a href="#Page_50">50</a><br /> +<br /> +Orleans, <a href="#Page_198">198</a><br /> +<br /> +Overtoom, <a href="#Page_106">106</a><br /> +<br /> +Oude Amstel, <a href="#Page_173">173</a><br /> +<br /> +Oude Loosdrecht, <a href="#Page_171">171</a><br /> +<br /> +<br /> +Padua, <a href="#Page_26">26</a><br /> +<br /> +<i>Palissy, Bernard</i>, <a href="#Page_55">55</a><br /> +<br /> +<i>Palmer</i>, <a href="#Page_233">233</a><br /> +<br /> +Paris, <a href="#Page_203">203</a><br /> +<br /> +<span style="margin-left: 1em;">" Belleville, <a href="#Page_207">207</a></span><br /> +<br /> +<span style="margin-left: 1em;">" Faubourg St. Honoré, <a href="#Page_205">205</a></span><br /> +<br /> +<span style="margin-left: 1em;">" Pont-aux-Choux, <a href="#Page_206">206</a></span><br /> +<br /> +<span style="margin-left: 1em;">" Rue de Bondy, <a href="#Page_204">204</a></span><br /> +<br /> +<span style="margin-left: 1em;">" Rue de Crussol, <a href="#Page_207">207</a></span><br /> +<br /> +<span style="margin-left: 1em;">" Rue Fontaine au Roi, <a href="#Page_205">205</a></span><br /> +<br /> +<span style="margin-left: 1em;">" Rue du Faubourg St. Denis, <a href="#Page_208">208</a></span><br /> +<br /> +<span style="margin-left: 1em;">" Rue Thiroux, <a href="#Page_203">203</a></span><br /> +<br /> +Pavia, <a href="#Page_39">39</a><br /> +<br /> +Persia, <a href="#Page_304">304</a><br /> +<br /> +Pesaro, <a href="#Page_8">8</a><br /> +<br /> +Pinxton, <a href="#Page_264">264</a><br /> +<br /> +Pisa, <a href="#Page_23">23</a><br /> +<br /> +Plymouth, <a href="#Page_266">266</a><br /> +<br /> +<br /> +Raeren, <a href="#Page_89">89</a><br /> +<br /> +Ratisbon, <a href="#Page_153">153</a><br /> +<br /> +Rauenstein, <a href="#Page_158">158</a><br /> +<br /> +Ravenna, <a href="#Page_18">18</a><br /> +<br /> +Regensburg, <a href="#Page_153">153</a><br /> +<br /> +Rhodes, Island of, <a href="#Page_310">310</a><br /> +<br /> +Rimini, <a href="#Page_18">18</a><br /> +<br /> +Rockingham, <a href="#Page_247">247</a>, <a href="#Page_260">260</a><br /> +<br /> +Rörstrand, <a href="#Page_107">107</a><br /> +<br /> +Rouen, <a href="#Page_59">59</a>, <a href="#Page_190">190</a><br /> +<br /> +Rudolstadt, <a href="#Page_147">147</a><br /> +<br /> +<br /> +St. Anthony’s, <a href="#Page_248">248</a><br /> +<br /> +St. Armand-les-Eaux, <a href="#Page_79">79</a>, <a href="#Page_202">202</a><br /> +<br /> +St. Clément, <a href="#Page_76">76</a><br /> +<br /> +St. Cloud, <a href="#Page_187">187</a><br /> +<br /> +St. Petersburg, <a href="#Page_107">107</a>, <a href="#Page_179">179</a><br /> +<br /> +St. Porchaire, <a href="#Page_50">50</a><br /> +<br /> +Salopian, <a href="#Page_270">270</a><br /> +<br /> +Sarreguemines (Saargemünd), <a href="#Page_78">78</a><br /> +<br /> +Savona, <a href="#Page_36">36</a><br /> +<br /> +Sceaux Penthièvre, <a href="#Page_79">79</a>, <a href="#Page_192">192</a><br /> +<br /> +Scherzheim, <a href="#Page_96">96</a><br /> +<br /> +Schlaggenwald, <a href="#Page_166">166</a><br /> +<br /> +Sèvres, <a href="#Page_209">209</a><br /> +<br /> +Sgraffiato, <a href="#Page_37">37</a><br /> +<br /> +<i>Shawe, Ralph</i>, <a href="#Page_227">227</a><br /> +<br /> +Shelton, <a href="#Page_228">228</a><br /> +<br /> +Siegburg, <a href="#Page_89">89</a><br /> +<br /> +Siena, <a href="#Page_20">20</a><br /> +<br /> +Sinceny, <a href="#Page_70">70</a><br /> +<br /> +<i>Spode, Josiah</i>, <a href="#Page_272">272</a><br /> +<br /> +Staffordshire, <a href="#Page_217">217</a><br /> +<br /> +<i>Steel, Moses</i>, <a href="#Page_228">228</a><br /> +<br /> +Stockholm, <a href="#Page_109">109</a><br /> +<br /> +Stoke-on-Trent, <a href="#Page_236">236</a>, <a href="#Page_272">272</a><br /> +<br /> +Strassburg, <a href="#Page_63">63</a>, <a href="#Page_202">202</a><br /> +<br /> +Strehla, <a href="#Page_87">87</a><br /> +<br /> +Swansea, <a href="#Page_253">253</a>, <a href="#Page_282">282</a><br /> +<br /> +Swinton, <a href="#Page_247">247</a>, <a href="#Page_258">258</a><br /> +<br /> +Syria, <a href="#Page_310">310</a><br /> +<br /> +<br /> +Talavera, <a href="#Page_48">48</a><br /> +<br /> +Teinitz, <a href="#Page_98">98</a><br /> +<br /> +Thuringia, <a href="#Page_145">145</a><br /> +<br /> +<i>Toft, Ralph</i>, <a href="#Page_219">219</a><br /> +<br /> +<i>Toft, Thomas</i>, <a href="#Page_219">219</a><br /> +<br /> +Toulouse, <a href="#Page_76">76</a><br /> +<br /> +Tournai, <a href="#Page_175">175</a><br /> +<br /> +Treviso, <a href="#Page_18">18</a>, <a href="#Page_117">117</a><br /> +<br /> +Triana, <a href="#Page_46">46</a><br /> +<br /> +Tunstall, <a href="#Page_234">234</a><br /> +<br /> +Turkey, <a href="#Page_310">310</a><br /> +<br /> +Turin, <a href="#Page_33">33</a>, <a href="#Page_118">118</a><br /> +<br /> +<i>Turner, John</i>, <a href="#Page_235">235</a><br /> +<br /> +<br /> +Urbino, <a href="#Page_1">1</a><br /> +<br /> +Utrecht, <a href="#Page_105">105</a><br /> +<br /> +<br /> +Valencia, <a href="#Page_44">44</a><br /> +<br /> +Valenciennes, <a href="#Page_201">201</a><br /> +<span class="pagenum"><a name="Page_316" id="Page_316">[Pg 316]</a></span><br /> +Varages, <a href="#Page_68">68</a><br /> +<br /> +Venice, <a href="#Page_24">24</a>, <a href="#Page_119">119</a><br /> +<br /> +Vienna, <a href="#Page_160">160</a><br /> +<br /> +Vincennes, <a href="#Page_78">78</a>, <a href="#Page_208">208</a>, <a href="#Page_209">209</a><br /> +<br /> +Vineuf, <a href="#Page_118">118</a><br /> +<br /> +Vinovo, <a href="#Page_118">118</a><br /> +<br /> +Viterbo, <a href="#Page_18">18</a><br /> +<br /> +Volkstedt, <a href="#Page_146">146</a><br /> +<br /> +<i>Voyez, J.</i>, <a href="#Page_233">233</a><br /> +<br /> +<br /> +Wallendorf, <a href="#Page_158">158</a><br /> +<br /> +<i>Warburton, J.</i>, <a href="#Page_234">234</a><br /> +<br /> +Wedgwood, <a href="#Page_220">220</a><br /> +<br /> +Weesp, <a href="#Page_170">170</a><br /> +<br /> +<i>Whieldon, Thomas</i>, <a href="#Page_234">234</a><br /> +<br /> +Wirksworth, <a href="#Page_264">264</a><br /> +<br /> +<i>Wood, Aaron</i>, <a href="#Page_227">227</a><br /> +<br /> +<i>Wood, Enoch</i>, <a href="#Page_228">228</a><br /> +<br /> +<i>Wood, Ralph</i>, <a href="#Page_227">227</a><br /> +<br /> +Worcester, <a href="#Page_255">255</a><br /> +<br /> +<br /> +Yarmouth, Great, <a href="#Page_250">250</a><br /> +<br /> +Yearsley, <a href="#Page_244">244</a><br /> +<br /> +York, <a href="#Page_245">245</a><br /> +<br /> +<br /> +Zürich, <a href="#Page_168">168</a></p></div> + +<p> </p> +<p class="center">Printed by <span class="smcap">Ballantyne, Hanson & Co.</span><br /> +Edinburgh & London</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><b>Footnotes:</b></p> + +<p><a name="f1" id="f1" href="#f1.1">[1]</a> As Strassburg and Hagenau belonged to France at this period, they are included in the French section.</p> + +<p><a name="f2" id="f2" href="#f2.1">[2]</a> Now Niederweiler, in Germany.</p> + +<p><a name="f3" id="f3" href="#f3.1">[3]</a> Now Saargemünd, belonging to Germany.</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><b>Transcriber’s Notes:</b></p> + +<p>Punctuation has been corrected without note.</p> + +<p>Images have been moved from the middle of a paragraph to a nearby paragraph break.</p> + +<p>The text in the list of illustrations is presented as in the original text, but the links +navigate to the page number closest to the illustration’s loaction in this document.</p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Collector's Handbook to Keramics +of the Renaissance 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