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+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: UTF-8
+
+*** 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
+
+
+
+
+
+
+
+
+
+_The Complete Work from which this Handbook is extracted_
+
+The Keramic Gallery
+
+BY WILLIAM CHAFFERS
+
+Containing several hundred illustrations, some in colour, of rare,
+curious, and choice examples of Pottery and Porcelain from the earliest
+times to the beginning of the nineteenth century
+
+NEW EDITION, REVISED AND EDITED BY H. M. CUNDALL, I.S.O., F.S.A.
+
+Royal 8vo, cloth extra, top edge gilt, to range with the same author's
+"Marks and Monograms on Pottery"
+
+This important book, which was long out of print and scarce, is not
+reprinted because of its rarity, but because it is an _indispensable_
+companion to the same author's "Marks and Monograms on Pottery and
+Porcelain."
+
+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.
+
+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.
+
+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.
+
+
+
+
+HANDBOOK TO KERAMICS
+
+
+
+
+[Illustration: CHELSEA STATUETTE, "MELPOMENE"]
+
+
+
+
+  THE COLLECTOR'S HANDBOOK TO
+  Keramics
+  _Of the Renaissance and Modern Periods_
+
+  SELECTED FROM HIS LARGER WORK, ENTITLED
+  "The Keramic Gallery"
+
+
+  WITH 350 ILLUSTRATIONS
+
+
+  BY
+  WILLIAM CHAFFERS
+
+  AUTHOR OF "MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN"
+  "HALL MARKS ON GOLD AND SILVER PLATE," ETC. ETC.
+
+
+  LONDON
+  GIBBINGS AND COMPANY, LIMITED
+  NEW YORK: CHARLES SCRIBNER'S SONS
+  1909
+
+
+
+  Printed by BALLANTYNE, HANSON & CO.
+  At the Ballantyne Press, Edinburgh
+
+
+
+
+PREFACE
+
+
+As "THE KERAMIC GALLERY" by the late William Chaffers forms a pictorial
+supplement to his book "MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN,"
+so likewise this work, "HANDBOOK TO KERAMICS," which is an abridged
+edition of "THE KERAMIC GALLERY," is intended to form a companion volume
+of illustrations to "THE COLLECTOR'S HANDBOOK OF MARKS AND MONOGRAMS ON
+POTTERY AND PORCELAIN."
+
+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 "THE
+KERAMIC GALLERY," 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.
+
+Brief accounts, extracted from the larger volume, of the various
+manufactories are also given, with a view to help in establishing the
+period to which any specimen may belong.
+
+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.
+
+H. M. C.
+
+
+
+
+CONTENTS
+
+
+                                            PAGE
+  MAIOLICA--
+    ITALY                                      1
+    SPAIN                                     41
+
+  CONTINENTAL FAYENCE--
+    FRANCE                                    50
+    GERMANY                                   84
+    HOLLAND AND LUXEMBURG                    100
+    RUSSIA AND SWEDEN                        107
+
+  CONTINENTAL PORCELAIN--                    110
+    ITALY                                    112
+    SPAIN                                    127
+    GERMANY                                  130
+    AUSTRIA                                  160
+    SWITZERLAND                              168
+    HOLLAND                                  170
+    BELGIUM AND LUXEMBURG                    175
+    RUSSIA                                   179
+    SWEDEN                                   184
+    DENMARK                                  185
+    FRANCE                                   187
+
+  GREAT BRITAIN--
+    POTTERY                                  216
+    PORCELAIN                                255
+
+  ORIENTAL POTTERY AND PORCELAIN--
+    CHINA                                    285
+    JAPAN                                    295
+    PERSIA, SYRIA, AND TURKEY                304
+
+  INDEX                                      313
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  CHELSEA STATUETTE, "MELPOMENE"                            _Frontispiece_
+
+
+  MAIOLICA
+
+  ITALY
+
+  FIG.                                                                PAGE
+
+    1. URBINO--Plateau. Marriage of Alexander and Roxana                 2
+    2.   "     Plateau, with Leda and the Swan in the centre             3
+    3.   "     Plateau. By Alfonso Patanazzi, 1606                       4
+    4.   "     Vase. Apollo and Daphne. _Circa_ 1580                     5
+    5.   "     Cruet. _Circa_ 1570                                       6
+    6.   "     Plate. "The Stream of Life;" signed M{o}. Giorgio         7
+    7.   "     Vase, with Shield of Arms, by M{o}. Giorgio. _16th
+               century_                                                  7
+    8. PESARO--Drug Vase, inscribed "Sir di Cedro." _17th century_       9
+    9.   "     Bowl, Cover, and Dish, _18th century_                    10
+   10. CASTEL DURANTE--Vase. _Circa_ 1560                               11
+   11.       "         Plate. _Circa_ 1530                              11
+   12. FAENZA--Plaque; inscribed "Andrea di Bono, 1491"                 12
+   13.    "    Plate, with motto "En Piu." _15th century_               13
+   14.    "    Plaque. Joseph Sold by His Brethren. _16th century_      14
+   15.    "    Plate, with Arms and Arabesques, _16th century_          15
+   16. DIRUTA--Plate. _Circa_ 1520                                      16
+   17.    "    Plate; inscribed "Sura Fiore." _Circa_ 1520              16
+   18. FORLÌ--Plate. Christ among the Doctors. _16th century_           17
+   19. VITERBO--Plateau. Diana and Actæon. _Dated_ 1544                 18
+   20. CAFAGGIOLO--Plateau. St. George. _Circa_ 1520                    19
+   21. SIENA--Plate. By M{o}. Benedetto. _Circa_ 1520                   21
+   22.   "    Plate. Woman and Two Peacocks. _18th century_             22
+   23.   "    Plate. Vintage; signed "Ferdinando M{a}. Campani, 1747"   22
+   24.   "    Plate. Galatea. _Early 18th century_                      23
+   25. VENICE--Plate. Architectural Subject. _Circa_ 1700               24
+   26. NOVE--Tureen and Cover. _18th century_                           25
+   27. FLORENCE--Cup and Saucer                                         26
+   28. PADUA--Plate. Myrrha Fleeing from her Father                     27
+   29. CASTELLI--Bowl and Cover. _18th century_                         28
+   30.    "      Ewer and Basin. _18th century_                         29
+   31. MONTE LUPO--Plate. Three Cavaliers                               31
+   32. MILAN--Écuelle and Dish. _18th century_                          32
+   33.   "    Ewer and Dish. _18th century_                             32
+   34.   "    Cup and Plate. _18th century_                             32
+   35. TURIN--Dish with pierced Border. _Dated_ 1577                    33
+   36. FERRARA--Plateau. Triumph of Bacchus. _First half of 18th
+                century_                                                34
+   37. GENOA--Bottle. _18th century_                                    35
+   38. SAVONA--Basket. _18th century_                                   36
+   39. LORETO--Two Bowls                                                37
+   40. SGRAFFIATO or INCISED WARE--Bowl. _About_ 1460                   38
+   41.      "             "        Plate. _About_ 1540                  38
+   42.      "             "        Basket. _19th century_               39
+
+  SPAIN
+
+   43. HISPANO-MORESQUE--Vase. _15th century_                           40
+   44.        "          Azulejo. _14th century_                        41
+   45.        "          Plateau. _15th or 16th century_                43
+   46.        "          Plateau. _15th or 16th century_                44
+   47. VALENCIA--Dish                                                   45
+   48. MANISES--Vase                                                    46
+   49. TRIANA--Bottle in Form of a Lady                                 47
+   50.   "     Dish. _Dated_ 1774                                       47
+   51. ALCORA--Plaque with Rococo Frame                                 48
+   52. TALAVERA--Bowl                                                   49
+
+
+  CONTINENTAL FAYENCE
+
+  FRANCE
+
+   53. SAINT PORCHAIRE--Candlestick                                     51
+   54.        "         Biberon                                         52
+   55. APT--Vase                                                        53
+   56. BLOIS--Candlestick                                               54
+   57. AVIGNON--Ewer. _About_ 1600                                      55
+   58. PALISSY WARE--Dish, with Reptiles, Fish, &c. _16th century_      56
+   59. NEVERS--Pilgrim's Bottle. _Second half of 17th century_          57
+   60.   "     Ewer. _Second half of 17th century_                      58
+   61.   "     Pilgrim's Bottle                                         59
+   62. ROUEN--Ewer                                                      60
+   63.   "    Ewer                                                      61
+   64.   "    Plate                                                     61
+   65.   "    Compotier                                                 62
+   66.   "    Compotier                                                 62
+   67. STRASSBURG--Fountain                                             63
+   68.    "        Clock and Bracket                                    64
+   69. MOUSTIERS--Plateau                                               65
+   70.    "       Compotier                                             66
+   71.    "       Plate                                                 67
+   72.    "       Barber's Basin                                        67
+   73. VARAGES--Plate                                                   68
+   74. MARSEILLES--Tureen                                               69
+   75. SINCENY--Bowl and Cover                                          71
+   76. LUNÉVILLE--Pair of Rustic Figures                                73
+   77.    "       Dish                                                  73
+   78. APREY--Plate                                                     74
+   79. MANERBE--Finial                                                  75
+   80. ST. CLÉMENT--Écuelle                                             76
+   81. NIDERVILLER--Vase                                                77
+   82. ST. ARMAND-LES-EAUX--Inkstand                                    79
+   83. SCEAUX PENTHIÈVRE--Plate                                         80
+   84. CREIL--Plate                                                     81
+   85. LILLE--Dish                                                      82
+
+  GERMANY
+
+   86. NUREMBERG--Jug. _15th century_                                   85
+   87.    "       Dish                                                  86
+   88. BAYREUTH--Coffee-pot                                             88
+   89. LIMBURG--Cruche                                                  90
+   90. RAEREN--Cruche                                                   90
+   91. SEIGBURG--Canette                                                91
+   92. GRENZHAUSEN--Jug                                                 92
+   93.     "        Fountain                                            93
+   94. KREUSSEN--Tankard                                                94
+   95. HARBURG--Cruche                                                  95
+   96. DRESDEN--Böttcher Coffee-pot                                     97
+   97. TEINITZ--Plate                                                   98
+   98. KIEL--Bishop Mitre Bowl                                          99
+
+  HOLLAND
+
+   99. DELFT--Cruche                                                   101
+  100.   "    Teapot                                                   102
+  101.   "    Vase                                                     103
+  102.   "    Plate                                                    104
+  103. AMSTERDAM--Dish                                                 105
+
+  SWEDEN
+
+  104. RÖRSTRAND--Butterboat                                           108
+  105. MARIEBERG--Vase and Cover                                       108
+  106.    "       Plate                                                109
+
+
+  CONTINENTAL PORCELAIN
+
+  ITALY
+
+  107. FLORENCE--Cruet                                                 112
+  108.    "      Bowl                                                  113
+  109. DOCCIA--Teapot                                                  113
+  110.    "    Basin                                                   114
+  111. NAPLES--CAPO DI MONTE--Vase                                     115
+  112.   "           "        Saucer                                   115
+  113.   "           "        Cup and Saucer                           116
+  114.   "           "        Coffee-pot                               116
+  115. TREVISO--Écuelle                                                117
+  116.   "      Cup and Saucer                                         118
+  117. TURIN, VINOVO--Écuelle                                          118
+  118. VENICE--Vase and Cover                                          120
+  119.   "     Vase                                                    121
+  120. NOVE--Jardinière                                                123
+  121.   "   Vase                                                      124
+  122.   "   Vase                                                      125
+  123.   "   Milk-pot                                                  125
+
+  SPAIN
+
+  124. MADRID--BUEN RETIRO--Group                                      127
+  125.   "         "        Vase                                       128
+  126.   "         "        Vase                                       128
+  127. ALCORA--Plaque                                                  129
+
+  GERMANY
+
+  128. DRESDEN--Vase                                                   131
+  129.    "     Sucrier, Cup, and Saucer                               132
+  130.    "     Cup and Saucer                                         132
+  131.    "     Vase and Cover                                         133
+  132.    "     Bust of a Girl                                         134
+  133.    "     Teapot and Saucer                                      134
+  134. BERLIN--Group                                                   135
+  135.   "     Group                                                   136
+  136.   "     Milk-pot, Cup, and Saucer                               137
+  137. HÖCHST--Lamp-stand                                              138
+  138.   "     Tray and Sucrier                                        139
+  139. FRANKENTHAL--Plate                                              140
+  140.     "        Déjeuner Service                                   141
+  141. NYMPHENBURG--Tankard                                            142
+  142.     "        Cup and Saucer                                     143
+  143. ANSPACH--Cup and Saucer                                         143
+  144. BAYREUTH--Cup                                                   144
+  145. KELSTERBACH--Harlequin                                          145
+  146. THURINGIA--Cup and Saucer                                       146
+  147. CLOSTER VEILSDORF--Teapot                                       146
+  148.        "           Tray                                         147
+  149. RUDOLSTADT--Milk-pot, Cup, and Saucer                           147
+  150. FULDA--A Peasant                                                148
+  151.   "    A Peasant                                                148
+  152.   "    Cup and Saucer                                           149
+  153.   "    Coffee-pot                                               149
+  154. FÃœRSTENBERG--Bust of Augusta, Duchess of Brunswick              150
+  155.     "        Medallions                                         150
+  156. LUDWIGSBURG--Chocolate-pot                                      151
+  157.     "        Coffee-pot                                         152
+  158. REGENSBURG--Cup and Saucer                                      153
+  159. GROSSBREITENBACH--Milk-pot                                      153
+  160. LIMBACH--Sucrier, Cover, and Stand                              154
+  161. GERA--Sugar Basin                                               155
+  162.   "   Cup, Cover, and Saucer                                    156
+  163. GOTHA--Figure of Bacchus                                        157
+  164. RAUENSTEIN--Cup and Saucer                                      158
+  165. WALLENDORF--Vase                                                159
+
+  AUSTRIA
+
+  166. VIENNA--Cabaret                                                 161
+  167.   "     Milk-pot                                                162
+  168.   "     Plate                                                   163
+  169.   "     Cup and Saucer                                          164
+  170. SCHLAGGENWALD--Cup and Saucer                                   166
+  171. HEREND--Cabaret, portion of a                                   167
+
+  SWITZERLAND
+
+  172. NYON--Cup and Saucer                                            168
+  173.   "        "                                                    169
+  174. ZURICH--Group                                                   169
+
+  HOLLAND
+
+  175. WEESP--Ewer                                                     170
+  176.   "    Coffee-pot                                               170
+  177. OUDE LOOSDRECHT--Vase                                           171
+  178.   "      "       Panel                                          172
+  179. AMSTERDAM--Pair of Bottles                                      172
+  180. OUDE AMSTEL--Teapot and Sucrier                                 173
+  181.   "     "    Sucrier                                            173
+  182. THE HAGUE--Plate                                                174
+
+  BELGIUM AND LUXEMBURG
+
+  183. TOURNAI--Cup and Saucer                                         175
+  184.    "     Plate                                                  176
+  185. TOURNAI--Salt-cellar                                            176
+  186. BRUSSELS--Milk Jug                                              177
+  187.    "      Teapot                                                177
+  188. LUXEMBURG--Two figures of "The Seasons"                         178
+
+  RUSSIA
+
+  189. ST. PETERSBURG--Cup and Saucer                                  179
+  190.  "      "       Verrière                                        179
+  191. MOSCOW--Statuette                                               180
+  192.   "     Cup and Saucer                                          181
+  193. KORZEC--Cup and Saucer                                          182
+  194. BARANOWKA--Milk Jug                                             183
+
+  SWEDEN
+
+  195. MARIEBERG--Custard Cup and Cover                                184
+
+  DENMARK
+
+  196. COPENHAGEN--Cabaret                                             185
+  197.     "       Cabaret                                             186
+
+  FRANCE
+
+  198. ST. CLOUD--Jug                                                  187
+  199.     "      Statuette                                            188
+  200. CHANTILLY--Dish                                                 189
+  201.     "      Pair of Figures                                      190
+  202. MENNECY-VILLEROY--Sugar Basin and Stand                         191
+  203.        "          Group                                         192
+  204. SCEAUX PENTHIÈVRE--Cup and Saucer                               193
+  205.    "       "       Milk-pot                                     193
+  206. ARRAS--Sceau                                                    193
+  207. BOULOGNE-SUR-MER--Plaque                                        194
+  208.    "        "     Sucrier                                       194
+  209. ÉTIOLLES--Cup and Saucer                                        195
+  210. LILLE--Cup and Saucer                                           195
+  211. BOURG-LA-REINE--Custard Pot                                     196
+  212. CLIGNANCOURT--Milk-pot and Cover                                197
+  213.      "        Cup and Dish                                      197
+  214.      "        Milk Jug                                          197
+  215. ORLEANS--Bowl, Cover, and Stand                                 199
+  216. NIDERVILLER--Milk-pot and Cover                                 200
+  217. BOISSETTE--Teapot                                               201
+  218. CAEN--Cup and Saucer                                            201
+  219. VALENCIENNES--Cup and Saucer                                    202
+  220. STRASSBURG--Cup and Saucer                                      203
+  221. PARIS: RUE THIROUX--Sucrier                                     204
+  222.   "    RUE DE BONDY--Ewer and Basin                             204
+  223.   "    RUE FONTAINE AU ROI--Part of a Tea Service               205
+  224.   "    FAUBOURG ST. HONORÉ--Teapot                              206
+  225.   "    PONT-AUX-CHOUX--Teapot                                   206
+  226.   "    RUE DE CRUSSOL--Cup                                      207
+  227.   "    BELLEVILLE--Watch-stand                                  207
+  228.   "    VINCENNES--Cup and Saucer                                208
+  229.   "       "  (Royal Factory)--Vase                              210
+  230.   "       "        "          Cup and Saucer                    211
+  231. SÈVRES--Vase                                                    212
+  232.   "     Écuelle                                                 213
+  233.   "     Group                                                   214
+
+
+  GREAT BRITAIN
+
+  POTTERY
+
+  234. STAFFORDSHIRE--Tyg                                              218
+  235.      "         Mug                                              218
+  236.      "         Plateau                                          219
+  237. ETRURIA--Wedgwood Vase                                          220
+  238.    "        "       "                                           222
+  239.    "        "     The Portland Vase                             223
+  240.    "        "     Teapot, Caddy, and Plate                      224
+  241.    "        "     Six Jasper Cameos                             225
+  242.    "        "     Vase                                          225
+  243.    "        "     Ewer                                          225
+  244. BURSLEM--Obelisk, by Ralph Wood, and Tea Set, by Aaron Wood     226
+  245.    "     Statuette of Chaucer, by Ralph Wood                    227
+  246.    "     Vase, by Moses Steel                                   228
+  247. SHELTON--Bowl, by S. Hollins                                    229
+  248.    "     Basin, by T. & J. Hollins                              229
+  249. NEW HALL CHINA WORKS--Cup and Saucer                            230
+  250. BRADWELL--Teapot, by Elers                                      231
+  251. HANLEY--Barrel, by Miles                                        231
+  252.    "    Vase, by Elijah Mayer                                   232
+  253.    "    Jardinière                                              233
+  254.    "    Vase                                                    233
+  255. TUNSTALL--Jug, by W. Adams                                      234
+  256. LANE END--Sugar Basin                                           235
+  257.    "      Teapot                                                235
+  258. LONGPORT--Cup, Cover, and Saucer                                235
+  259.    "      Dish                                                  235
+  260. LANE DELPH--Cup, Cover, and Saucer                              236
+  261. LIVERPOOL--Mug                                                  237
+  262.    "       Punch Bowl                                           238
+  263.    "       Tiles, by J. Sadler                                  239
+  264.    "       Teapot                                               239
+  265. JACKFIELD--Teapot                                               241
+  266. FULHAM--"Lydia Dwight"                                          242
+  267. LAMBETH--Dish                                                   243
+  268. DON POTTERY--Tea-caddy                                          245
+  269. LEEDS--Chestnut Bowl and Cover                                  246
+  270. CASTLEFORD--Teapot                                              246
+  271. SWINTON--Teapot                                                 247
+  272. NEWCASTLE-ON-TYNE--Dish                                         248
+  273.         "          Mug                                          248
+  274. ST. ANTHONY'S--Jug                                              249
+  275. NOTTINGHAM--Mug                                                 249
+  276.     "       Jug in the form of a Bear                           250
+  277. GREAT YARMOUTH--Plate                                           250
+  278. LOWESBY--Garden Pot                                             251
+  279.    "     Vase                                                   251
+  280. BRISTOL--Tiles                                                  252
+  281. CADBOROUGH--Vessel in the form of a Pig                         253
+  282. SWANSEA--Dish                                                   254
+
+  PORCELAIN
+
+  283. WORCESTER--A Cup and Saucer                                     256
+  284.     "      Portion of a Tea Service (Japan pattern)             258
+  285.     "         "             "       (with coloured transfer)    258
+  286. ROCKINGHAM--Plate                                               259
+  287.     "       Vase                                                259
+  288. DERBY--Group. Chelsea-Derby                                     260
+  289.   "    Pair of Vases  "                                         261
+  290.   "    Plate, by Billingsley                                    261
+  291.   "    Cup, Cover, and Saucer. Crown-Derby                      262
+  292.   "    Scent Vase                   "                           262
+  293.   "    Cup, Cover, and Saucer       "                           263
+  294. BURTON-ON-TRENT--Comport                                        264
+  295. WIRKSWORTH--Cup and Cover                                       264
+  296. PINXTON--Jardinière                                             265
+  297.    "     Sugar Bowl and Cover                                   265
+  298. PLYMOUTH--Coffee-pot                                            266
+  299.    "      Beaker and Cover                                      266
+  300.    "      Centrepiece                                           267
+  301.    "      A Shepherdess                                         268
+  302.    "      A Shepherd                                            268
+  303. BRISTOL--Bowl and Cover                                         269
+  304.    "     Dish                                                   269
+  305. CAUGHLEY--Mug                                                   270
+  306.    "      Plate                                                 270
+  307. COALPORT--Dish                                                  271
+  308. STOKE-ON-TRENT--Spode Cup, Cover, and Saucer                    272
+  309.   "        "      "   Vase                                      273
+  310.   "        "    Minton Bowl                                     274
+  311. LONGTON HALL--Vase                                              275
+  312. BOW--Teapot                                                     274
+  313.  "   Bowl                                                       276
+  314.  "   Plate                                                      276
+  315.  "   Statuette, "Flora"                                         277
+  316.  "   Bust of King George II.                                    278
+  317.  "   Group, "A Tea Party"                                       279
+  318. CHELSEA--Statuette, Marshal Conway                              280
+  319.    "         "      "Shepherd"                                  280
+  320. CHELSEA--Vase                                                   281
+  321. SWANSEA--Plate                                                  282
+  322.    "     Plate                                                  282
+  323. NANTGARW--Plate                                                 283
+  324.    "      Cup and Saucer                                        283
+  325.    "      Vase                                                  284
+
+
+  ORIENTAL
+
+  326. CHINA--Stoneware Vase                                           286
+  327.   "        "       "                                            287
+  328.   "    Porcelain Vase                                           288
+  329.   "        "     Ewer                                           289
+  330.   "    Bottle                                                   290
+  331.   "    Jar                                                      291
+  332.   "    Plate. Eggshell porcelain                                292
+  333.   "      "        "        "                                    293
+  334. JAPAN--Vase. Hizen ware                                         296
+  335.   "  Figure of Fukurokuji                                       297
+  336.   "  Saké Cup and Stand                                         298
+  337.   "  Jar. Ôto ware                                              299
+  338.   "  Vase. Kishin ware                                          300
+  339.   "  Candlestick. Tozan porcelain                               300
+  340.   "  Flask. Satsuma ware                                        301
+  341.   "  Incense Burner. Imari porcelain                            302
+  342. PERSIA--Wall Tile. _13th century_                               305
+  343.   "  Water-bottle. With metallic lustre                         306
+  344.   "  Dish for Rice                                              307
+  345.   "  Rose water Sprinkler                                       308
+  346.   "      "          "                                           309
+  347. DAMASCUS--Plate                                                 310
+  348.    "      Dish                                                  311
+  349. RHODIAN--Plate                                                  312
+
+
+
+
+HANDBOOK TO KERAMICS
+
+
+
+
+MAIOLICA
+
+
+ITALY
+
+The painted pottery of Italy, ever since its introduction into that
+country in the 15th century, has been called by the Italians themselves
+_Maiolica_. In England it was in the 18th century called _Raphael ware_,
+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.
+
+The term _maiolica_ 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 _Maiorica_, and
+subsequently _Maiolica_.
+
+URBINO
+
+Urbino was one of the most celebrated of all the Italian _fabriques_,
+and must have had by far the most 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.)
+
+[Illustration: FIG. 1.--PLATEAU. MARRIAGE OF ALEXANDER AND ROXANA.
+_After Raphael. Signed and dated_ "XANTO, 1533."]
+
+[Illustration: FIG. 2.--PLATEAU, WITH LEDA AND THE SWAN IN CENTRE. _16th
+Century._]
+
+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.
+
+[Illustration: FIG. 3.--PLATEAU. BY ALFONSO PATANAZZI, 1606.]
+
+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.)
+
+[Illustration: FIG. 4.--VASE. APOLLO AND DAPHNE. _Circa_ 1580.]
+
+[Illustration: FIG. 5.--CRUET. _About_ 1570.]
+
+GUBBIO
+
+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.
+
+[Illustration: FIG. 6.--PLATE. "STREAM OF LIFE." _16th Century. Signed
+by_ M{O} GIORGIO. Diam. 7-3/4 in.]
+
+[Illustration: FIG. 7.--VASE. BY M{O} GIORGIO. H. 10-1/2 in. _16th
+Century._]
+
+Another painter in lustre, of the school of M{o} Giorgio, has signed his
+pieces with the letter N., which is supposed by some to be a monogram of
+Vincenzio, the son of M{o} Giorgio; and a painter named Perestino, of
+Gubbio, produced some very beautiful pieces, dated 1533 and 1536.
+
+PESARO
+
+Guido Ubaldo II. della Rovere, who became Duke of Urbino in 1538, was a
+patron of the _fabrique_ 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.
+
+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 _fabrique_, established by Giuseppe Bertolucci of Urbania in
+1757; Pietro Lei, a painter of Sassuolo, was engaged there.
+
+[Illustration: FIG. 8.--DRUG VASE. _17th Century._]
+
+[Illustration: FIG. 9.--BOWL, COVER, AND DISH. _18th Century._]
+
+CASTEL DURANTE
+
+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 _bottega_ for maiolica, at
+Castel Durante, _circa_ 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.
+
+[Illustration: FIG. 10.--VASE. _About_ 1560.]
+
+[Illustration: FIG. 11.--PLATE. _About_ 1530.]
+
+In the year 1635 the name of the _fabrique_ was changed to URBANIA 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.
+
+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.
+
+FAENZA
+
+If not the most ancient, Faenza was one of the most celebrated of the
+manufactories of maiolica in 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 _maiolica_ from Maiorca, and in
+France, _faïence_ 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.
+
+[Illustration: FIG. 12.--PLAQUE. "ANDREA DI BONO, 1491."]
+
+[Illustration: FIG. 13.--PLATE. WITH AN EMBLEM OF TWO HEARTS PIERCED
+WITH ARROWS AND THE MOTTO "EN PIU." _15th Century._]
+
+The products of this _fabrique_ 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.
+
+[Illustration: FIG. 14.--PLAQUE. JOSEPH SOLD BY HIS BRETHREN. _16th
+Century._]
+
+In the 16th century a favourite decoration was grotesques and arabesques
+in blue _camaïeu_ on yellow ground, or alternately on the two colours
+(see Fig. 15). 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.
+
+[Illustration: FIG. 15.--PLATE. ARMS AND ARABESQUES. _16th Century._]
+
+DIRUTA
+
+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 "_In Deruta_" 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.
+
+[Illustration: FIG. 16.--PLATE. BLUE AND WHITE. _16th Century._]
+
+[Illustration: FIG. 17.--PLATE. INSCRIBED "SURA FIORE." _About_ 1520.]
+
+FORLÌ
+
+According to Passeri there were _fabriques_ 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{o}.
+Jeronimo da Forli."
+
+[Illustration: FIG. 18.--PLATE. CHRIST AMONGST THE DOCTORS. Diam. 14 in.
+_16th Century._]
+
+RIMINI is only known by a few specimens, which are actually signed, and
+by the mention made of its _fabriques_ by Piccolpassi. The pieces are
+dated 1535, and as late as 1635.
+
+VITERBO, RAVENNA, AND TREVISO
+
+There were manufactories at these three places in the 16th century, but
+few specimens of their productions now exist. (See Chaffers' _Marks and
+Monograms_, p. 112.) The first named is illustrated (Fig. 19) by a
+plateau; a man at the bottom holds a scroll inscribed "VITERBO DIOMED,
+1544."
+
+[Illustration: FIG. 19.--PLATEAU. DIANA AND ACTÆON. _Dated_ 1544.]
+
+CAFAGGIOLO
+
+This _fabrique_, 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.
+
+[Illustration: FIG. 20.--PLATEAU. ST. GEORGE. _Circa_ 1520.]
+
+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.
+
+Another characteristic of this _fabrique_ is the dark blue background of
+many of the pieces, and the method in which it was coarsely applied by
+the brush.
+
+Fig. 20 represents the St. George of Donatello, from the bronze statue
+in the church of Or San Michele, at Florence.
+
+SIENA
+
+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; the average diameter is 5 inches.
+The plate in blue _camaïeu_ on white ground, in the accompanying
+illustration (Fig. 21) is signed on the reverse "fata in Siena da M{o}.
+Benedetto."
+
+[Illustration: FIG. 21.--PLATE. BY M{O}. BENEDETTO. _About_ 1520.]
+
+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).
+
+[Illustration: FIG. 22.--PLATEAU. WOMAN AND PEACOCKS. _18th Century._]
+
+[Illustration: FIG. 23.--PLATE. VINTAGE. _Signed_ FERDINANDO M{A}
+CAMPANI, SIENA, 1747.]
+
+[Illustration: FIG. 24.--PLATE. GALATEA. _After_ ANNIBALE CARACCI.
+_Early 18th Century._]
+
+PISA
+
+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
+bearing the name "PISA," a large vase of fine form, covered with
+arabesques on white ground, was in the collection of the late Baron
+Alphonse de Rothschild.
+
+VENICE
+
+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 _fabrique_ and not a painter. As an example of Venetian
+maiolica, _circa_ 1700, see Fig. 25, a plate painted with an
+architectural subject.
+
+[Illustration: FIG. 25.--PLATE. _Circa_ 1700.]
+
+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.
+
+NOVE
+
+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 _Fabbrica
+Baroni Nove_. It was prosperous for a short time, and some beautiful
+examples were produced.
+
+[Illustration: FIG. 26.--TUREEN AND COVER. _18th Century._]
+
+_Maiolica fina_ 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.
+
+FLORENCE
+
+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.
+
+[Illustration: FIG. 27.--CUP AND SAUCER.]
+
+PADUA
+
+In a street which still retains the name of _Boccaleri_ (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 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 NICOLETI, the name he usually adopted. The plaque
+is now preserved in the Museum of that city.
+
+[Illustration: FIG. 28.--PLATE. MYRRHA FLEEING FROM HER FATHER.]
+
+Fig. 28, a plate, painted on grey ground, is inscribed on the reverse
+with the name of the place and the date 1548.
+
+CASTELLI
+
+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 Saverio Grue, a man of letters and science, became
+about this time director of this Neapolitan maiolica _fabrique_. 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.
+
+[Illustration: FIG. 29.--BOWL AND COVER. _18th Century._]
+
+[Illustration: FIG. 30.--EWER AND BASIN. _18th Century._]
+
+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."
+
+NAPLES
+
+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.
+
+MONTE LUPO
+
+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.
+
+Fig. 31, is signed on the back "Raffaello Girolamo fecit Monte Lupo
+1639."
+
+[Illustration: FIG. 31.--PLATE. THREE CAVALIERS.]
+
+MILAN
+
+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.)
+
+Some pieces, apparently of a later date, are from the manufactory of
+Pasquale Rubati, and usually signed with his initials.
+
+[Illustration: FIG. 32.--ÉCUELLE AND DISH. _18th Century._]
+
+[Illustration: FIG. 33.--EWER AND DISH. _18th Century._]
+
+[Illustration: FIG. 34.--CUP AND PLATE. _18th Century._]
+
+TURIN
+
+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).
+
+[Illustration: FIG. 35.--DISH. _Dated_ 1577.]
+
+FERRARA
+
+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 _fabriques_ 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 _impresa_ of the
+Duke, a flame of fire and the motto "ARDET ETERNUM," were produced at
+this _fabrique_, about 1579. At a much later period, probably late in
+the 17th century, there was still a manufactory here.
+
+[Illustration: FIG. 36.--PLATEAU. THE TRIUMPH OF BACCHUS. _First Half of
+the 18th Century._]
+
+BASSANO, NEAR VENICE
+
+A _fabrique_ (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.
+
+GENOA
+
+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 _camaïeu_, sometimes with
+small caricature figures in the style of Callot. 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.
+
+[Illustration: FIG. 37.--BOTTLE. _18th Century._]
+
+Fig. 37, a bottle, painted in blue with birds and scroll ornaments, has
+this mark.
+
+SAVONA
+
+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.
+
+[Illustration: FIG. 38.--BASKET. _18th Century._]
+
+LORETO
+
+Although Santa Casa at Loreto is not strictly speaking a _fabrique_ 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.
+
+[Illustration: FIG. 39.--TWO BOWLS.]
+
+SGRAFFIATO OR INCISED WARE
+
+The earthenware vessels with stanniferous enamel, called in Italy
+_sgraffiato_ ware, have been attributed to CITTÀ DI CASTELLO. They are
+engraved in outline and decorated _en engobe_--that is, the object
+before being glazed is covered with a second coating of coloured slip
+or _engobe_, on which is graved the ornament or design after it has been
+merely dried by the air, leaving a sort of _champ levé_, 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 _sgraffiato_
+ware at LA FRATTA, 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 PAVIA in the 17th century.
+
+[Illustration: FIG. 40.--BOWL OF INCISED WARE. _About_ 1460.]
+
+[Illustration: FIG. 41.--PLATE. Diam., 11-1/2 in. _About_ 1540.]
+
+[Illustration: FIG. 42.--RED GLAZED EARTHENWARE BASKET. _19th Century._]
+
+[Illustration: HISPANO-MORESQUE
+
+FIG. 43.--VASE. Height 20-3/4 in. _15th Century._]
+
+
+SPAIN
+
+The 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.
+
+[Illustration: FIG. 44.--AZULEJO.]
+
+The Hispano-Moresque period, which is best known to us from the numerous
+specimens preserved to our time, commences with the 14th century, when
+the Alhambra of Granada was erected by the Moors.
+
+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.
+
+Fig. 43, a vase, is decorated with leaves and conventional flowers, in
+reddish yellow lustre and blue.
+
+The _azulejos_ 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).
+
+MALAGA. 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.
+
+Figs. 45 and 46 are other specimens of the Spanish lustre ware, with
+shields of arms, of the 15th or 16th century.
+
+MAJORCA 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' Bernardi da
+Uzzano, writing in 1442 about the productions of the Balearic Isles,
+says "_the fayence of Majorca has a very extensive sale in Italy_."
+
+[Illustration: FIG. 45.--PLATEAU.]
+
+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.
+
+VALENCIA 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 _lustred_ 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.
+
+[Illustration: FIG. 46.--PLATEAU.]
+
+[Illustration: FIG. 47.--DISH.]
+
+Valencia has from time immemorial been celebrated for its _azulejos_ 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 extensively made at Valencia
+throughout the 17th and 18th centuries. Fig. 47, a dish, is blue and
+white with a lion in the centre.
+
+MANISES, 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.
+
+[Illustration: FIG. 48.--VASE.]
+
+TRIANA, near Seville. There were several _fabriques_ here, one for the
+manufacture of spires or ornaments of earthenware, with which the gables
+of the buildings were crowned; others for the _azulejos_ 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., _en grande tenue_; inside the _fontange_ or top-knot of the
+headdress, which forms the spout, is written "Victor. I. Viva. Mi. Arno.
+Don. Damian. Sant. ✠."
+
+[Illustration: FIG. 49.--BOTTLE. Height 14 in.]
+
+[Illustration: FIG. 50.--DISH. _Dated_ 1774.]
+
+ALCORA. There was a very important _fabrique_ of fayence at this place,
+carried on by the Count D'Aranda, in the 18th century.
+
+The usual mark upon this fayence is the letter A in gold or colour.
+
+[Illustration: FIG. 51.--PLAQUE.]
+
+TALAVERA, near Toledo, was one of the most important manufactories in
+Spain in the 17th and 18th centuries, and the word _talavera_ was used
+to indicate all fayence in the same manner as _fayence_ in France and
+_delft_ in England.
+
+[Illustration: FIG. 52.--BOWL. _18th Century._]
+
+Fig. 52, a bowl, is glazed, decorated within and without with a bull
+fight, storks, and trees, in green, orange and manganese.
+
+
+
+
+CONTINENTAL FAYENCE
+
+
+FRANCE
+
+Maiolica 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.
+
+SAINT PORCHAIRE. All the earliest writers on the subject appear to have
+thought that it was made in Touraine, and it was called HENRI DEUX ware.
+
+The ware next became known as FA�ENCE D'OIRON, but in 1888 it was
+affirmed that the factory of this pottery was at Saint Porchaire.
+
+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
+_champ levé_ enamels or niello work in metal.
+
+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, tragic masks, shields of arms of France, and the cipher of
+Henri II.; above are three terminal figures of satyrs; date about 1540.
+
+[Illustration: FIG. 53.--CANDLESTICK.]
+
+Fig. 54, a _biberon_, is inlaid with interlaced bands and scrolls,
+rosettes, guilloches, masks, &c., in a reddish colour; a curved band on
+the neck has a row of ciphers, these being the letters A. M., elegantly
+arranged as a decorative monogram, probably that of the Constable Anne
+de Montmorency.
+
+[Illustration: FIG. 54.--BIBERON. Height 9-1/4 in.]
+
+BEAUVAIS was celebrated for the manufacture of decorative pottery in the
+14th century, and descriptions of cups of the _terre de Beauvais_
+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.
+
+APT. 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.
+
+[Illustration: FIG. 55.--VASE.]
+
+Fig. 55 is a yellow vase with masks and vine leaves.
+
+BLOIS. 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.
+
+[Illustration: FIG. 56.--CANDLESTICK.]
+
+AVIGNON. 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 Italy, sometimes perforated and ornamented with masks and
+flowers in relief, or painted yellow.
+
+[Illustration: FIG. 57.--EWER. _About 1600._]
+
+BERNARD PALISSY, 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 Paris basin; the
+fish are those of the Seine, and the reptiles and plants such as he
+found in the environs of Paris.
+
+[Illustration: FIG. 58.--DISH. _16th Century._]
+
+NEVERS. The earliest evidence of the making of fayence at Nevers is the
+foundation of a _fabrique_ 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 _fabrique_, which was equally
+successful, and seven generations of his family were employed in it.
+Other manufactories were started in the 18th century.
+
+The fayences of the first epoch, 1600 to 1660, have frequently been
+confounded with Italian 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 _bleu de Perse_; 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 _en camaïeu_, sometimes intermixed with a sort of brown lilac.
+
+[Illustration: FIG. 59.--PILGRIM'S BOTTLE. _Bleu de Perse. 2nd half of
+17th Century._ Height 11-1/2 in.]
+
+[Illustration: FIG. 60.--EWER. _Painted with Japanese figures, 2nd half
+of 17th Century._ Height 15-3/8 in.]
+
+[Illustration: FIG. 61.--PILGRIM'S BOTTLE. APOLLO AND DAPHNE; _rev._ A
+BACCHANALIAN SCENE. _In blue and yellow._ Height 12-1/4 in.]
+
+ROUEN. There was a manufactory of pottery at 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 "_à la corne_." 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 _camaïeu_ and in polychrome, some
+in the style of Nevers, with white on _bleu de Perse_, but of paler
+colour. The pieces were frequently of large size, and included
+fountains, consoles, vases, &c.
+
+[Illustration: FIG. 62.--EWER.]
+
+[Illustration: FIG. 63.--EWER.]
+
+[Illustration: FIG. 64.--PLATE.]
+
+Fig. 62 is painted with polychrome decoration of landscapes, &c.; period
+of Louis XIV.; height 26-3/8 in.
+
+Fig. 63 is painted in blue with arabesques and flowers; period of Louis
+XIV.; height 9-3/4 in.
+
+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.
+
+[Illustration: FIG. 65.--COMPOTIER.]
+
+[Illustration: FIG. 66.--COMPOTIER.]
+
+Fig. 65 is painted in polychrome; period of Louis XV.; diam. 9-5/8 in.
+
+Fig. 66 is painted with Chinese figures, &c., in polychrome; period of
+Louis XV.; diam. 10 in.
+
+STRASSBURG[1] and HAGENAU 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.
+
+[Illustration: FIG. 67.--FOUNTAIN.]
+
+[Illustration: FIG. 68.--CLOCK AND BRACKET.]
+
+Fig. 67, polychrome decoration, bears the initials of Paul Hannong;
+about 1750; height 22-1/4 in.
+
+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.
+
+MOUSTIERS. The products of the Moustiers _fabriques_ may be divided into
+three periods:--
+
+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.
+
+[Illustration: FIG. 69.--PLATEAU.]
+
+2nd Epoch. From the commencement of the 18th century to about 1745. The
+specimens of this period are in blue _camaïeu_ 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.
+
+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.
+
+[Illustration: FIG. 70.--COMPOTIER.]
+
+Fig. 69, painted in green _camaïeu_ with a rustic subject in the style
+of Boucher, with polychrome floral border; 1720 to 1760; diam. 11-1/8
+in.
+
+Fig. 70. Compotier, painted with a central hunting subject, after
+Tempesta, surrounded by a floral border, and outer border of garlands,
+in polychrome; 1680 to 1720; diam. 10-3/8 in.
+
+[Illustration: FIG. 71.--PLATE.]
+
+[Illustration: FIG. 72.--BARBER'S BASIN.]
+
+Fig. 71. Plate, octagonal, with curved outline, painted with central
+medallion of Juno standing in a landscape, surrounded by a garland, and
+round the border the busts of divinities within medallions, and
+garlands, in polychrome; 1680 to 1720; diam. 10 in.
+
+Fig. 72. Barber's basin, painted in polychrome with the subject of Diana
+and Actæon; 1680 to 1720; length 15 in.
+
+VARAGES 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. 11-1/2 in.
+
+[Illustration: FIG. 73.--PLATE.]
+
+MARSEILLES. 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 _fabriques_ 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
+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.
+
+[Illustration: FIG. 74.--TUREEN.]
+
+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 _pernettes_ 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.
+
+Fig. 74. Soup tureen, cover, and stand, with polychrome flower
+decoration and gilding, was made by Savy, about 1750; length of tureen,
+15-1/2 in.
+
+SINCENY in Picardy. A manufactory was established here in 1733, by Jean
+Baptiste de Fayard, Gouverneur de Chaunay et Seigneur de Sinceny. Dr.
+Warmont (_Recherches Historiques sur les faïences de Sinceny, &c._,
+Paris, 1864) divides the products of this manufactory into three
+periods:--
+
+    1. Rouennaise, 1734 to 1775.
+    2. Faïence au feu de réverbère, 1775 to 1789.
+    3. Décadence de l'Art, 1789 to 1864.
+
+The earliest pieces were painted in blue; the next in blue touched with
+red or green and yellow, decorated with _lambrequins_ (mantlings), _à la
+corne_ (cornucopiæ), birds, and butterflies. Chinese figures were
+doubtless stencilled by pricked papers and charcoal powder.
+
+[Illustration: FIG. 75.--BOWL AND COVER.]
+
+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 _le feu de réverbère_, in
+contradistinction to the old process _au grand feu_; 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 _camaïeu_;
+delicate wicker baskets, watch stands, &c., were produced; they were
+painted with Chinese figures, rococo scrolls, and other ornaments. From
+1790 the fayence _au feu de réverbère_ 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.
+
+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.
+
+LUNÉVILLE. Founded in 1731 by Jacques Chambrette, it was called _La
+Manufacture Stanislas_; 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.
+
+[Illustration: FIG. 76.--A PAIR OF RUSTIC FIGURES. _With polychrome
+decoration. About 1775._ Height 8-3/4 in.]
+
+[Illustration: FIG. 77.--DISH. _In polychrome. About 1760._ Length
+13-1/4 in.]
+
+APREY, 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.
+
+[Illustration: FIG. 78.--PLATE. _In polychrome._ Diam. 9-3/8 in.]
+
+At MANERBE, near Lisieux in Normandy, and at MALICORNE, INFREVILLE,
+CHÂTEAU-LA-LUNE and ARMENTIÈRES, 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 _figulines rustiques_ of
+Palissy, and have frequently been sold as such.
+
+[Illustration: FIG. 79.--FINIAL. _About 1600._]
+
+ST. CLÉMENT. Established about 1750. Little is known of this _fabrique_.
+There are some specimens of the 18th century in the Sèvres Museum; also
+some others of later date, 1819 and 1823.
+
+[Illustration: FIG. 80.--ÉCUELLE. _With gilt scrolls on white ground._]
+
+TOULOUSE. 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.
+
+NIDERVILLER.[2] 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, 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.
+
+[Illustration: FIG. 81.--VASE.]
+
+Fig. 81. Vase with cover, one of a pair; urn shape, painted to resemble
+deal, with medallions containing landscapes in rose _camaïeu_, and
+borders of bay leaves. It bears the mark of Count Custine; date about
+1774; height 17-3/8 inches.
+
+DOUAI. 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.
+
+VINCENNES. 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.
+
+SARREGUEMINES.[3] 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.
+
+ST. AMAND-LES-EAUX, 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 _fabrique_,
+and advertised that the St. Amand works were in full activity, making
+white fayence in the style of Rouen.
+
+[Illustration: FIG. 82.--INKSTAND.]
+
+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.
+
+SCEAUX PENTHIÈVRE. In 1753, Jacques de 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.
+
+[Illustration: FIG. 83.--PLATE.]
+
+BOURG-LA-REINE. 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.
+
+CREIL. A manufactory of fine fayence, worked in the 18th century by M.
+S{t} Criq, made opaque porcelain and stoneware in the English style, and
+transferred prints on to the ware.
+
+[Illustration: FIG. 84.--PLATE. _With a yellow border and
+transfer-printed landscape._]
+
+MONTEREAU. 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.
+
+LILLE. A manufactory of fayence, was founded in 1696, by Jacques
+Feburier, of Tournai, and Jean Bossu, of Ghent, who made a ware _à la
+façon de Hollande_.
+
+[Illustration: FIG. 85.--DISH.]
+
+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 the same family until 1827. A fourth
+was established in 1744, by M. Chanou, who made a brown earthenware
+called _terre du St. Esprit_, in the English fashion. There were also
+two other factories here in the 18th century.
+
+
+GERMANY
+
+The 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 _Steingut_, and in France
+_grès_ 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.
+
+NUREMBERG (_Nürnberg_). 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 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 _camaïeu_, sometimes
+in other colours.
+
+[Illustration: FIG. 86.--JUG. _15th Century._]
+
+Fig. 86. Jug, of enamelled earthenware, in various colours, with
+figures in low relief; attributed to Veit Hirschvogel; height 13 in.
+
+[Illustration: FIG. 87.--DISH.]
+
+Fig. 87. Dish, painted in the centre with Christ rising from the tomb;
+signed with the painter's name Glüer, 1723.
+
+LEIPZIG. 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., 2-1/2 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 shaded with black; the hair, beard, and eyes of the
+figures are coloured.
+
+STREHLA. 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.
+
+OBERDORF. 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 AUGSBURG, MEMMINGEN, &c.
+
+BAYREUTH. 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
+_camaïeu_. 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 _fabrique_ 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."
+
+[Illustration: FIG. 88.--COFFEE-POT.]
+
+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.
+
+COLOGNE (_Köln_). The stoneware made here in the 16th century is better
+known throughout Europe than any other description of pottery; its
+durability for domestic uses and the elegant character of its
+ornamentation in relief, caused it to be sought for everywhere. The
+_grès de Cologne_ has been confounded with the _grès de Flandres_, 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 _grès_ 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 FRECHEN, and at LAUENSTEIN, where a factory was established in the
+18th century.
+
+There were also factories at SIEGBURG and LIMBURG.
+
+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 RAEREN 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 _grès de Flandres_.
+
+[Illustration: FIG. 89.--LIMBURG CRUCHE. _Grey and blue._ Height 8-3/4
+in.]
+
+[Illustration: FIG. 90.--RAEREN CRUCHE. _Grey and blue._ Height 7-1/4
+in.]
+
+[Illustration: FIG. 91.--SIEGBURG CANETTE. _Cream colour. Dated 1574._
+Height 17-1/4 in.]
+
+GRENZHAUSEN, in Nassau. There was a factory here about 1780, where
+_grès_ or stoneware was made; it is of a fine quality and easily
+mistaken for the more ancient _grès_. 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.
+
+[Illustration: FIG. 92.--JUG.]
+
+Fig. 92, a jug of reticulated pattern, is engine-turned, and enriched
+with brilliant enamel colours, 18th century.
+
+[Illustration: FIG. 93.--FOUNTAIN.]
+
+Fig. 93, a large fountain, is purple blue and white, 16th century;
+height 30 in.
+
+KREUSSEN, a town of Bavaria, has long been noted for its pottery. The
+_grès_ of the 17th century, called _Kreussener Steingut_, 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.
+
+[Illustration: FIG. 94.--TANKARD.]
+
+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.
+
+BUNZLAU, in Silesia. _Grès_ 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.
+
+HARBURG, 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 _en grisaille_, the colours being fixed by heat.
+
+[Illustration: FIG. 95.--CRUCHE.]
+
+Fig. 95, a cruche of fine fayence, painted with a landscape in grey
+_camaïeu_, is signed "_Joh. Schaper_"; it has a white ground with
+flowers and fruit in natural colours; date about 1640; height 8-1/2 in.
+
+SCHERZHEIM, 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.
+
+LAUENSTEIN, near Coblenz. A manufactory was established in 1760; the
+_grès_ 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.
+
+HÖCHST, 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.
+
+DRESDEN. 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 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.
+
+[Illustration: FIG. 96.--BÖTTCHER COFFEE-POT.]
+
+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.
+
+TEINITZ (Bohemia). A manufactory was carried on in this small town in
+the 18th century by a potter named Welby.
+
+[Illustration: FIG 97.--PLATE.]
+
+Fig. 97. A plate painted in bistre _camaïeu_ 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.
+
+FRANKENTHAL. 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."
+
+ARNSTADT (Gotha). A factory was established here about the middle of the
+18th century. A fayence jug, painted in blue _camaïeu_, with St. George
+and the Dragon, coloured flowers on the sides, and a purple and green
+check border, is in the British Museum.
+
+KIEL 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.
+
+[Illustration: FIG. 98.--BISHOP'S MITRE BOWL.]
+
+
+HOLLAND AND LUXEMBURG
+
+HOLLAND
+
+Delft, 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.
+
+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{t}. Luc.
+
+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 _camaïeu_; and Albrecht de Keizer, with his two
+sons-in-law, Jacob and Adrian Pynaker, 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.
+
+[Illustration: FIG. 99.--CRUCHE.]
+
+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.
+
+[Illustration: FIG. 100.--TEAPOT.]
+
+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 _camaïeu_, 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.
+
+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.
+
+[Illustration: FIG. 101.--VASE.]
+
+Fig. 99, a cruche, is painted in blue _camaïeu_, with a musical party,
+in the costume of about 1670.
+
+[Illustration: FIG. 102.--PLATE.]
+
+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.
+
+Fig. 101, a vase, is painted in blue with flowers, in imitation of a
+Chinese type. The mark of Ghisbrecht Lambrechtse Kruyk. Later half of
+17th century.
+
+Fig. 102, a plate painted with figures in blue, is one of a set of
+twelve representing the tobacco industry.
+
+UTRECHT. There was a manufactory of tiles here, founded in 1760; they
+were decorated in blue or violet, _en camaïeu_, in imitation of Delft;
+the manufactory was closed in 1855.
+
+AMSTERDAM. 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 _camaïeu_. Fig. 103, a fruit dish, is
+painted in blue, with a man and woman seated.
+
+[Illustration: FIG. 103.--DISH.]
+
+OVERTOOM. 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.
+
+LUXEMBURG
+
+An important _fabrique_ 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.
+
+
+RUSSIA AND SWEDEN
+
+RUSSIA
+
+ST. PETERSBURG. 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 "_Connaissances Politiques_," of
+Beausobre, published at Riga in 1773: "There is also among the porcelain
+manufactories at St. Petersburg a _fabrique_ 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 _fabrique_ of fayence,
+and has obtained painters and potters from Germany."
+
+SWEDEN
+
+RÖRSTRAND, 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.
+
+[Illustration: FIG. 104.--BUTTERBOAT.]
+
+[Illustration: MARIEBERG
+
+FIG. 105.--VASE AND COVER.]
+
+Fig. 104, a butterboat, leaf-shaped, is painted with flowers; dated
+1771.
+
+STOCKHOLM is the same manufactory as Rörstrand, but the mark was altered
+when the latter town was united to the capital.
+
+MARIEBERG, 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.
+
+[Illustration: FIG. 106.--PLATE.]
+
+Fig. 105, a vase and cover, is coloured in relief; date about 1770.
+
+Fig. 106, a plate with pierced border, has a shield of arms and flowers;
+dated 1768.
+
+
+
+
+CONTINENTAL PORCELAIN
+
+
+Porcelain 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.
+
+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 _pâte tendre_ 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.
+
+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 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.
+
+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 (_au grand feu_), 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 _indicia_
+must also be taken into consideration.
+
+
+ITALY
+
+FLORENCE. 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 _kaolin_ and _petuntse_, but was a soft paste and
+_translucent_, 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.
+
+[Illustration: FIG. 107.--CRUET.]
+
+Fig. 107, a cruet for oil and vinegar, has scroll ornament in blue; on
+either spout A and O (Aceto and Olio). About 1600.
+
+Fig. 108, a bowl, is painted inside and out with blue flowers. About
+1600.
+
+[Illustration: FIG. 108.--BOWL.]
+
+DOCCIA. 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.
+
+[Illustration: FIG. 109.--TEAPOT.]
+
+About 1860 the fabrication of the imitative Capo di Monte ware of the
+18th century, in coloured _mezzo-rilievo_, 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.
+
+[Illustration: FIG. 110.--BASIN.]
+
+Fig. 109, a teapot, is painted with flowers and purple border.
+
+Fig. 110, a basin, has a band of flowers in relief. Diameter 5-1/2 in.
+
+NAPLES--CAPO DI MONTE. 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 character 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, _circa_ 1760.
+
+[Illustration: FIG. 111.--VASE.]
+
+[Illustration: FIG. 112.--SAUCER.]
+
+[Illustration: FIG. 113.--CUP AND SAUCER.]
+
+[Illustration: FIG. 114.--COFFEE-POT.]
+
+Fig. 111, a vase, has green ornaments, on gold ground, and medallions of
+figures.
+
+Fig. 112, a saucer, bears a portrait of Ferdinand IV. and legend.
+
+Fig. 113, a cup and saucer, is painted with landscape and figures.
+
+Fig. 114, a coffee-pot, has classical subjects.
+
+TREVISO. 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.
+
+[Illustration: FIG. 115.--ÉCUELLE.]
+
+Fig. 115, an écuelle, with blue ground, has gold fret borders and oval
+medallions of Italian buildings, landscapes, and figures.
+
+[Illustration: FIG. 116.--CUP AND SAUCER.]
+
+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.
+
+TURIN--VINOVO. 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.
+
+[Illustration: FIG. 117.--ÉCUELLE.]
+
+Fig. 117, an écuelle, is ornamented in gold, with initials and the Royal
+Arms.
+
+VENICE. Porcelain of soft paste was made here probably about 1720.
+
+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.
+
+Materials for making porcelain were to be obtained in the Venetian
+dominions, but not such as to produce the _hard_ 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 _hard_ and _soft_ paste.
+
+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.
+
+[Illustration: FIG. 118.--VASE AND COVER.]
+
+[Illustration: FIG. 119.--VASE. _Cozzi period._ Height 17 in.]
+
+A beautiful example of this porcelain is represented in Fig. 118, a vase
+and cover of hard paste painted in lake _camaïeu_, 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.
+
+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 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.
+
+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.
+
+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.
+
+The manufactory ceased to exist in 1812.
+
+NOVE. 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.
+
+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 (_ad uso di Sassonia_), the other two for
+French porcelain (_ad uso di Francia_).
+
+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.
+
+[Illustration: FIG. 120.--JARDINIÈRE. _By_ ANTONIBON.]
+
+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, 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.
+
+[Illustration: FIG. 121.--VASE.]
+
+Pasqual Antonibon and his son Giovanni Battista continued the
+fabrication of porcelain until the 6th February 1781, when they entered
+into partnership with Signor Parolini. The same manufacture, _con sommo
+onore dell'arte_, 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.
+
+[Illustration: FIG. 122.--VASE.]
+
+[Illustration: FIG. 123.--MILK-POT.]
+
+An example of the Baroni _fabrique_, in porcelain, with female figure
+handles, and painted with classical subjects, is given. (See Fig. 121.)
+
+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 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.
+
+
+SPAIN
+
+MADRID--BUEN RETIRO. This manufactory (_Soft Paste_), called "_La
+China_," was founded by Charles III. in 1759, in the gardens attached to
+his palace, EL BUEN RETIRO, 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.
+
+[Illustration: FIG. 124.--GROUP.]
+
+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.
+
+[Illustration: FIG. 125.--VASE. Height 22 in.]
+
+[Illustration: FIG. 126.--VASE. _With scenes from_ "Don Quixote." Height
+17 in.]
+
+Ferdinand VII., on his restoration, recreated _La China_, at La Mancha,
+once a villa of the Alva family on the Manzanares; but this factory
+also has ceased to exist, at least as regards artistic merit.
+
+ALCORA. The Comte de Laborde, in his _View of Spain_, 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, _Viaje de
+España_, in 1793.
+
+[Illustration: FIG. 127.--PLAQUE.]
+
+
+GERMANY
+
+DRESDEN. 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. 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 productions emanated from
+the Dresden manufactory from 1731 to 1756.
+
+[Illustration: FIG. 128.--VASE.]
+
+[Illustration: FIG. 129.--SUCRIER, CUP AND SAUCER. _Etched by_ BUSCH.]
+
+[Illustration: FIG. 130.--CUP AND SAUCER. _Of the Marcolini period, with
+gros bleu ground._]
+
+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
+his vanity, for not only the tailor but his wife were thus immortalised,
+_aere perennius_, 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.
+
+[Illustration: FIG. 131.--VASE AND COVER. _Painted with views of public
+buildings in Dresden._]
+
+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.
+
+[Illustration: FIG. 132.--BUST OF A GIRL. _White porcelain._]
+
+[Illustration: FIG. 133.--TEAPOT AND SAUCER. _Pink ground, painted with
+landscapes and figures._]
+
+BERLIN. This manufactory for _Hard Paste_ 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.
+
+[Illustration: FIG. 134.--GROUP. _In plain white. Wegeli period._ Height
+9 in.]
+
+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.
+
+In 1763, Gottskowski gave up to the king the whole of his factory of
+porcelain, receiving 225,000 dollars, and entering into a contract for
+the sale of his secrets.
+
+[Illustration: FIG. 135.--GROUP. _Wegeli period._ Height 6-3/4 in.]
+
+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 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.
+
+[Illustration: FIG. 136.--MILK-POT, CUP AND SAUCER.]
+
+In 1769 an order was published permitting a lottery company to purchase
+annually to the amount of 90,000 dollars.
+
+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.
+
+HÖCHST, 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 Gottlieb Kuntze was
+another celebrated worker in this _fabrique_. On the invasion of the
+French under General Custine in 1794, all the materials were sold by
+auction.
+
+[Illustration: FIG. 137.--LAMP-STAND.]
+
+[Illustration: FIG. 138.--TRAY AND SUCRIER.]
+
+FRANKENTHAL, 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 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:--
+
+  VARIANTIBVS · FLOSCVLIS · DIVERSI · COLORES ·
+  FABRICÆ · SVB · REVIVISCENTIS · SOLIS · HVIVS ·
+  RADIIS · EXVLTANTIS ·
+  IN·FRANKENTHAL· ✷
+
+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, _en
+camaïeu_, of all the various shades of colour employed in the
+manufactory.
+
+[Illustration: FIG. 139.--PLATE.]
+
+[Illustration: FIG. 140.--A DÉJEUNER SERVICE.]
+
+NEUDECK, on the Au, and NYMPHENBURG. 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, 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.
+
+[Illustration: FIG. 141.--TANKARD.]
+
+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 7-1/4
+in.
+
+Fig. 142, painted in colours; marks, the coat of arms of Bavaria, and A
+incised; diameter 3-1/4 in. and 5-1/4 in.
+
+[Illustration: FIG. 142.--CUP AND SAUCER.]
+
+[Illustration: FIG. 143.--CUP AND SAUCER.]
+
+ANSPACH, a town which belonged to the Margraves of Anspach and is now
+in Bavaria. There was a factory here about 1760.
+
+Fig. 143 is painted with figures in colour; signed "Schelk, pinx."; mark
+A in blue; diameter 3 ins. and 5-1/4 in.
+
+BAYREUTH 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.
+
+[Illustration: FIG. 144.--CUP.]
+
+Fig. 144 is painted in colours, and gilt inside; mark, "Metzsch 1748
+Bayr"; diameter 2-3/4 in.
+
+KELSTERBACH, in Hesse. A manufactory for pottery was founded here about
+1758, where later porcelain was also made. The works only lasted about
+sixteen years.
+
+[Illustration: FIG. 145.--HARLEQUIN.]
+
+Fig. 145 is painted in colours; mark, H. D. under a crown, in blue;
+height 6-3/4 in.
+
+THURINGIA. 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 SITZENRODA, which in 1762 was
+removed to Volkstedt.
+
+[Illustration: FIG. 146.--CUP AND SAUCER. Diam. 2-3/4 in. and 5-3/4 in.]
+
+CLOSTER, or KLOSTER, VEILSDORF, or VOLKSTEDT. 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.
+
+[Illustration: FIG. 147.--TEAPOT.]
+
+[Illustration: FIG. 148.--TRAY.]
+
+Fig. 148 is moulded in rococo style, and painted with flowers; mark,
+shield of Saxe-Meiningen between C. V.; length 12-1/2 in.
+
+RUDOLSTADT. 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.
+
+[Illustration: FIG. 149.--MILK-POT AND CUP AND SAUCER.]
+
+FULDA, 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.
+
+[Illustration: FIG. 150.--A PEASANT.]
+
+[Illustration: FIG. 151.--A PEASANT.]
+
+[Illustration: FIG. 152.--CUP AND SAUCER.]
+
+[Illustration: FIG. 153.--COFFEE-POT.]
+
+FÃœRSTENBERG. 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.
+
+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 20-1/2 in.
+
+[Illustration: FIG. 154.--BUST.]
+
+[Illustration: FIG. 155--MEDALLIONS. _In white biscuit._]
+
+Fig. 155. Portraits of O. D. Beckmann and A. L. Schlötzer; marked with a
+running horse and F; length 2-7/8 in.
+
+LUDWIGSBURG, 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.
+
+[Illustration: FIG. 156.--CHOCOLATE-POT.]
+
+Fig. 156 is painted with figures of Hope and Music in panels; mark,
+double C under a crown, in blue; height 5-1/4 in.
+
+[Illustration: FIG. 157.--COFFEE-POT.]
+
+Fig. 157 is painted in lake _camaïeu_, with a landscape and buildings
+after Claude, and has a gilt, arabesque and scroll border.
+
+REGENSBURG, or RATISBON. This factory was established about 1760.
+
+[Illustration: FIG. 158.--CUP AND SAUCER.]
+
+GROSSBREITENBACH. 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.
+
+[Illustration: FIG. 159.--MILK-POT.]
+
+Fig. 159 is grey blue ware in imitation of Wedgwood, 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.
+
+[Illustration: LIMBACH
+
+FIG. 160.--SUCRIER, COVER, AND STAND.]
+
+LIMBACH, Saxe-Meiningen. This manufactory was also under the direction
+of Gotthelf Greiner. It was established about 1762.
+
+Fig. 160 is painted with flowers; mark, two letters L crossed; diameters
+4-7/8 and 8-1/4 in.
+
+GERA. A manufactory was founded here about 1780.
+
+[Illustration: FIG. 161.--SUGAR BASIN.]
+
+Fig. 161 is painted with festoons of pink flowers; mark, G in blue;
+height 6-1/4 in.
+
+[Illustration: FIG. 162.--CUP, COVER, AND SAUCER.]
+
+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 5-1/4 in.
+
+BADEN-BADEN. 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.
+
+[Illustration: GOTHA
+
+FIG. 163.--FIGURE OF BACCHUS. _In white biscuit._ Height 11 in.]
+
+GOTHA. Founded in 1780 by Rothenberg, and afterwards (1802) conducted by
+Henneberg.
+
+RAUENSTEIN, in Saxe-Meiningen. A factory for hard paste was established
+here in 1760.
+
+[Illustration: FIG. 164.--CUP AND SAUCER.]
+
+Fig. 164 is painted with flowers; mark, R--n; diameters 3 and 5 in.
+
+WALLENDORF, in Saxe-Coburg. There was also a factory for hard paste
+established by Greiner and Haman here in 1762.
+
+Fig. 165 is painted in dark blue, and with leaves in relief; mark, W, in
+blue; height 10 in.
+
+[Illustration: FIG. 165.--VASE.]
+
+
+AUSTRIA
+
+VIENNA
+
+This manufactory for _hard paste_ 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 (_Adventures of a Bric-à-Brac Hunter_), 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.
+
+[Illustration: FIG. 166.--CABARET.]
+
+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 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.
+
+[Illustration: FIG. 167.--MILK-POT.]
+
+After twenty-five years' labour De Blaquier decided in 1744 to offer the
+works to the Government.
+
+The young Empress Maria Theresa resolved to support the factory, which
+promised to give occupation and profit to her subjects, honour and gain
+to 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.
+
+[Illustration: FIG. 168.--PLATE.]
+
+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.
+
+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 _chefs d'Å“uvre_ of the early masters were copied,
+while the gilding was brought to a perfection which has never been
+surpassed.
+
+[Illustration: FIG. 169.--CUP AND "TREMBLEUSE" SAUCER. _18th Century._]
+
+After the death of the Baron in 1805, Neidermayer became Director. The
+manufacture continued 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.
+
+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.
+
+Fig. 166 is painted in _camaïeu_ on purple ground, and gilt; mark,
+shield crowned; length of tray 12 in.
+
+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.
+
+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.
+
+SCHLAGGENWALD, 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."
+
+[Illustration: FIG. 170.--CUP AND SAUCER.]
+
+Fig. 170 is painted in colours, with medallions containing figures of
+Justice; mark, S; diam. 2-1/2 and 5 in.
+
+HEREND, in Hungary. There was a manufactory of porcelain here towards
+the end of the 18th century, but particulars concerning its origin are
+not known.
+
+Fig. 171 is painted in oriental style, with flowers, &c.; late 18th
+century.
+
+[Illustration: FIG. 171.--PORTION OF A CABARET OR BREAKFAST SERVICE.]
+
+
+SWITZERLAND
+
+NYON, 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.
+
+[Illustration: FIG. 172.--CUP AND SAUCER.]
+
+ZÜRICH. 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.
+
+[Illustration: NYON
+
+FIG. 173.--CUP AND SAUCER. _With mark, fish in blue._]
+
+Fig. 174 represents a soldier trampling on a Turk and unveiling a lady,
+martial and love trophies on the ground.
+
+[Illustration: FIG. 174.--A GROUP.]
+
+
+HOLLAND
+
+WEESP. 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.
+
+[Illustration: FIG. 175.--EWER. _With mark, W._]
+
+[Illustration: FIG. 176.--COFFEE-POT. _Mark, a cross and dots._]
+
+OUDE LOOSDRECHT, 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.
+
+[Illustration: FIG. 177.--VASE.]
+
+[Illustration: FIG. 178.--PANEL. _Mark, M : o L. in blue._ Width 12-3/4
+in.]
+
+AMSTERDAM. Fig. 179. Painted in lake _camaïeu_ with birds and trees; the
+mark, lion, in blue.
+
+[Illustration: FIG. 179.--A PAIR OF BOTTLES.]
+
+OUDE AMSTEL. 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.
+
+[Illustration: FIG. 180.--TEAPOT AND SUCRIER.]
+
+[Illustration: FIG. 181.--SUCRIER.]
+
+THE HAGUE. 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.
+
+[Illustration: FIG. 182.--PLATE. _Of soft paste._]
+
+Fig. 182 bears the mark of a stork in blue; diam. 9-1/2 in.
+
+
+BELGIUM AND LUXEMBURG
+
+BELGIUM
+
+TOURNAI. 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 _fabrique_ in France, is still made at both places, and
+they consequently produce the closest imitations of old Sèvres _pâte
+tendre_.
+
+[Illustration: FIG. 183.--CUP AND SAUCER. _With the early mark in
+gold._]
+
+Fig. 184 is painted in blue; mark, crossed swords and three crosses;
+diam. 9-1/2 in.
+
+[Illustration: FIG. 184.--PLATE.]
+
+[Illustration: FIG. 185.--SALT-CELLAR.]
+
+Fig. 185 is painted with birds; mark, crossed swords and four crosses,
+in gold; height 4-3/8 in.
+
+BRUSSELS. There was a manufactory of hard paste porcelain here towards
+the end of the 18th century.
+
+[Illustration: FIG. 186.--MILK JUG. _Signed L. Cretté._]
+
+[Illustration: FIG. 187.--TEAPOT.]
+
+LUXEMBURG
+
+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.
+
+[Illustration: LUXEMBURG
+
+FIG. 188.--TWO FIGURES OF "THE SEASONS." _With mark, B. L._]
+
+
+RUSSIA
+
+At 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 _fabrique_ 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.
+
+[Illustration: FIG. 189.--CUP AND SAUCER. _With the mark of the Emperor
+Paul._]
+
+[Illustration: FIG. 190.--VERRIÈRE.]
+
+MOSCOW, 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.
+
+[Illustration: FIG. 191.--STATUETTE. _Mark, G in blue._ Height 8 in.]
+
+[Illustration: FIG. 192.--CUP AND SAUCER. _With view of Moscow. Mark, A.
+Popoffe's initials._]
+
+A porcelain manufactory was established at TWER, by an Englishman named
+Gardner, in 1787, and another by A. Popoff.
+
+KORZEC, in Volhynia. About 1803, Mérault, a chemist of the Sèvres
+manufactory, went to direct the _fabrique_ 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.
+
+[Illustration: FIG. 193.--_Pâte dure CUP AND SAUCER. Painted with a
+portrait of a lady, en grisaille, with gilt borders. Mark, Eye
+within a triangle._]
+
+BARANOWKA, in Volhynia. A small factory existed here at which the
+porcelain clay found in the neighbourhood was used.
+
+[Illustration: FIG. 194.--MILK JUG. _Mark, the name of the town._]
+
+
+SWEDEN
+
+MARIEBERG. This manufactory produced porcelain (_soft paste_), 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.
+
+[Illustration: FIG. 195.--CUSTARD CUP AND COVER. _Mark, M.B. combined._
+Height 3-1/4 in.]
+
+
+DENMARK
+
+COPENHAGEN. 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.
+
+[Illustration: FIG. 196.--CABARET. _With portraits of Raphael, and other
+celebrated painters._]
+
+[Illustration: FIG. 197.--CABARET.]
+
+
+FRANCE
+
+ST. CLOUD. 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.
+
+[Illustration: FIG. 198.--JUG.]
+
+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.
+
+[Illustration: FIG. 199.--STATUETTE. _Astronomy seated, holding the
+sun._]
+
+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 Chicanneau. In 1742
+another _arrêt_ granted privileges for twenty years to both these
+establishments, and Marie Moreau dying in 1743 left Dominique her
+business.
+
+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.
+
+CHANTILLY. 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.
+
+[Illustration: FIG. 200.--DISH. _Mark, hunting horn and P, in gold._
+Diameter 12 in.]
+
+[Illustration: FIG. 201.--PAIR OF FIGURES.]
+
+ROUEN. Louis Poterat, Sieur de St. Ètienne, of St. Sever, at Rouen,
+obtained letters patent in 1673, 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.
+
+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.
+
+MENNECY-VILLEROY. 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 _porcelaine tendre_ of St. Cloud, of a
+milky translucent appearance.
+
+[Illustration: FIG. 202.--SUGAR BASIN AND STAND.]
+
+Barbin was succeeded about 1748 by Messieurs 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.
+
+[Illustration: FIG. 203.--GROUP OF CHILDREN.]
+
+SCEAUX PENTHIÈVRE, 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, but the production of _pâte tendre_
+ceased before that time.
+
+[Illustration: FIG. 204.--CUP AND SAUCER.]
+
+[Illustration: FIG. 205.--MILK-POT. _Mark, S. X._]
+
+ARRAS. 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.
+
+[Illustration: FIG. 206.--SEAU. _Mark, A. R._]
+
+BOULOGNE-SUR-MER. Established by M. Haffringue, in the 19th century,
+with the kaolin of Limoges.
+
+[Illustration: FIG. 207.--PLAQUE. _White biscuit._]
+
+[Illustration: FIG. 208.--SUCRIER. _White biscuit._]
+
+ÉTIOLLES (Seine-et-Oise), near Corbeil. Established in 1768, by Monnier,
+for soft paste porcelain. The works lasted only a short time.
+
+[Illustration: FIG. 209.--CUP AND SAUCER. _Mark, E. Pellevé_, 1770.
+Diameter 2-1/2 and 5 in.]
+
+LILLE. Established in 1711 by Barthélemy Dorez and Pierre Pelissier, his
+nephew, natives of Lille. The porcelain (_pâte tendre_) 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.
+
+[Illustration: FIG. 210.--CUP AND SAUCER. _With mark, crowned Dolphin._]
+
+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.
+
+BOURG-LA-REINE. 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.
+
+[Illustration: FIG. 211.--CUSTARD CUP. _Mark, B. R._ Height 3-1/4 in.]
+
+CLIGNANCOURT. Established in 1775 by Pierre Deruelle, under the
+patronage of Monsieur le Comte de Provence, brother of the king
+(afterwards Louis XVIII.).
+
+[Illustration: FIG. 212.--MILK-POT AND COVER.
+
+FIG. 213.--CUP AND DISH.
+
+FIG. 214.--MILK JUG.]
+
+LUNÉVILLE. 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.
+
+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 _terre de Lorraine_, and in the
+following year a new privilege was granted for making groups and
+statuettes with his improved paste, under the name of _pâte de marbre_.
+
+ORLEANS. 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 _fils_ about 1788, Piédor, Dubois, and lastly, Le Brun, from
+1808 to 1811.
+
+NIDERVILLER. 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
+_fabrique_, under the direction of M. Lanfray, who paid especial
+attention to the production of fine porcelain; the fabrication of
+statuettes was greatly increased.
+
+[Illustration: ORLEANS
+
+FIG. 215.--BOWL, COVER, AND STAND. _Mark, heraldic label in blue._]
+
+[Illustration: FIG. 216.--MILK-POT AND COVER. _Mark, double C under
+coronet, in blue._ Height 6-1/2 in.]
+
+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 _fabrique_ from the kaolin of St.
+Yrieix prevented him from competing successfully with those of Limoges,
+and this branch was abandoned.
+
+BOISSETTE, near Melun. A factory was established in 1777 by Jacques
+Vermonet père et fils, but it lasted only a short time.
+
+[Illustration: FIG. 217.--TEAPOT.]
+
+CAEN, 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.
+
+[Illustration: FIG. 218.--CUP AND SAUCER. _With "Caen" stencilled in
+red._]
+
+VALENCIENNES (Nord). By an Order of Council, dated 24th May 1785, M.
+Fauquet was permitted to 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.
+
+[Illustration: FIG. 219.--CUP AND SAUCER. _Mark, F. L. V., in cipher, in
+blue._ Diam. 3-3/4 and 6-1/4 in.]
+
+ST. AMAND-LES-EAUX. Founded by M. Maximilien de Bettignies in 1815, for
+the manufacture of _pâte tendre_ 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.
+
+STRASSBURG. About the year 1752, Paul Hannong obtained the secret of
+true porcelain from 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.
+
+[Illustration: Fig. 220.--CUP AND SAUCER. _Mark, J. H._ Diam. 2-5/8 and
+5-5/8 in.]
+
+MARSEILLES. 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.
+
+PARIS. Rue Thiroux. Established in 1778 by André Marie Lebeuf, and the
+ware was called "Porcelaine de la Reine."
+
+[Illustration: FIG. 221.--SUCRIER. _Mark, crowned A._]
+
+PARIS. 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."
+
+[Illustration: FIG. 222.--EWER AND BASIN.]
+
+PARIS. 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.
+
+[Illustration: FIG. 223.--PART OF A TEA SERVICE.]
+
+PARIS. Faubourg St. Honoré. A factory was established here by Veuve
+Chicanneau, _née_ Marie Moreau. The teapot, Fig. 224, was probably made
+at these works.
+
+[Illustration: FIG. 224.--TEAPOT. _Mark, V{e} M. & C._]
+
+PARIS. 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
+_Manufacture de M. le Duc d'Orléans_. They were afterwards established
+in Rue Amelot, _au Pont-aux-Choux_, by which name the porcelain is
+generally known.
+
+[Illustration: FIG. 225.--TEAPOT.]
+
+The former name ceased in 1793, with the condemnation of the Duke of
+Orleans, and the objects subsequently produced were inscribed merely
+"_Fabrique du Pont-aux-Choux_."
+
+PARIS. Rue de Crussol. Established in 1789 by Charles Potter, an
+Englishman, and the ware was called the "Prince of Wales's China."
+
+[Illustration: FIG. 226.--CUP.]
+
+PARIS. 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.
+
+[Illustration: FIG. 227.--WATCH-STAND. _Plain white of rococo form.
+Mark, J. P. in blue._ Height 5 in.]
+
+PARIS. 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.
+
+VINCENNES. 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.
+
+[Illustration: FIG. 228.--CUP AND SAUCER. _Mark, H. L. L., in gold._
+Diam. 2-1/2 and 5 in.]
+
+VINCENNES AND SÈVRES
+
+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.
+
+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 removed to a large edifice at
+SÈVRES built expressly for the company.
+
+A favourite decoration of Vincennes porcelain was flowers and birds, on
+a beautiful _bleu de roi_ ground, and cupids painted in _camaïeu_ of a
+single colour.
+
+[Illustration: FIG. 229.--VASE. _Bleu de roi ground, with panels with
+birds in gold. Mark, double L enclosing a dot, in gold._ Height 9-1/4
+in.]
+
+In 1760 the king became sole proprietor, and M. Boileau was appointed
+director.
+
+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."
+
+[Illustration: FIG. 230.--CUP AND SAUCER. _Bleu de roi ground, with
+white medallions enclosing birds in gold. Mark, double L, in blue._
+Diam. 2-5/8 and 5-3/8 in.]
+
+The principal colours used in decorating the ground of the Sèvres vases
+were:--
+
+1. The _bleu céleste_, or turquoise, invented in 1752 by Hellot.
+
+2. The rich cobalt blue, called _bleu de roi_, of which there were two
+varieties, the darker being designated _gros bleu_.
+
+3. The _violet pensée_, a beautiful violet from a mixture of manganese,
+one of the rarest decorations of the _pâte tendre_.
+
+[Illustration: FIG. 231.--VASE.]
+
+4. The _rose Pompadour_ (called in England _rose Du-Barry_), a charming
+pink or rose colour invented in 1757 by Xhrouet of Sèvres.
+
+5. The clear yellow or _jonquille_, a sort of canary colour.
+
+6. The _vert pré_, or bright grass green.
+
+[Illustration: FIG. 232.--ÉCUELLE. _Dated 1771._]
+
+7. The _vert pomme_, or apple green.
+
+8. The _rouge de fer_, a brilliant red.
+
+9. The _Å“il de perdrix_ was at a later period a favourite ornament
+for the grounds of vases.
+
+[Illustration: FIG. 233.--BISCUIT GROUP. CUPID AND PSYCHE.]
+
+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 _Marks and Monograms on
+Pottery and Porcelain_, 10th edition.
+
+The beautiful _pâte tendre_ 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.
+
+
+
+
+GREAT BRITAIN
+
+
+POTTERY
+
+The 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.
+
+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.
+
+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 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.
+
+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."
+
+STAFFORDSHIRE
+
+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 _slip_, diluted to the consistence
+of syrup, so that it could run out through a quill. The 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.
+
+[Illustration: FIG. 234.--TYG. _With four handles. Dated_ 1621.]
+
+[Illustration: FIG. 235.--MUG. _With two handles. Dated_ 1682.]
+
+[Illustration: FIG. 236.--PLATEAU. _With Charles II. and his Queen, in
+relief. By_ RALPH TOFT. 1677.]
+
+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.
+
+BURSLEM. The family of WEDGWOOD 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.
+
+[Illustration: FIG. 237.--VASE. _Pale blue jasper, with subjects in
+relief._]
+
+Next Josiah Wedgwood went into partnership with Thomas Whieldon of
+Fenton Low, one of the most eminent potters of his day, and they
+remained together five years; while here Wedgwood also produced that
+fine green glaze which covered his dessert services, in imitation of
+leaves.
+
+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.
+
+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 ETRURIA in 1769.
+
+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 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.
+
+[Illustration: FIG. 238.--VASE. _Of basaltes ware._]
+
+[Illustration: FIG. 239.--THE PORTLAND VASE. _Of black and white
+jasper._]
+
+In 1785 a "jasper dip" was introduced, in which 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.
+
+[Illustration: FIG. 240.--TEAPOT, CADDY, AND PLATE. _With printed
+transfer._]
+
+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.
+
+Josiah Wedgwood died on the 3rd of January 1795, in his 65th year.
+
+[Illustration: FIG. 241.--SIX JASPER CAMEOS.]
+
+[Illustration: FIG. 242.--VASE. _Granite ground, with gilt festoons and
+handles._]
+
+[Illustration: FIG. 243.--EWER. _Of agate ware._]
+
+[Illustration: FIG. 244.--AN OBELISK, _by_ RALPH WOOD, _and_ A TEA SET,
+_by_ AARON WOOD.]
+
+In 1773 RALPH SHAWE 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.
+
+RALPH WOOD was established at Burslem about 1730, and was succeeded
+about 1750 by his son AARON WOOD, 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 ENOCH WOOD, 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.
+
+[Illustration: FIG. 245.--STATUETTE. _Chaucer, by_ RALPH WOOD.]
+
+MOSES STEEL 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.
+
+[Illustration: FIG. 246.--VASE.]
+
+SHELTON. ASTBURY 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; after gaining their secret, he set up
+in business against them.
+
+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.
+
+SAMUEL HOLLINS 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 J. HOLLINS.
+
+[Illustration: FIG. 247.--GREEN BOWL. _With ornaments in relief. Signed
+"S. Hollins."_]
+
+[Illustration: FIG. 248.--BASIN. _With white ground and blue figures in
+relief. Stamped T. and J. Hollins._]
+
+The NEW HALL CHINA WORKS 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.
+
+[Illustration: FIG. 249.--CUP AND SAUCER. _Painted with flowers._]
+
+BRADWELL. A potter to whom Staffordshire was indebted for great
+improvements in the ware was JOHN PHILIP ELERS, who about 1690 came over
+from Holland and settled at Bradwell. He was descended from a noble
+family of Saxony.
+
+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, 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.
+
+[Illustration: FIG. 250.--TEAPOT. _Of red ware, with flowers in
+relief._]
+
+HANLEY. Shaw mentions a Mr. MILES of Miles's 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).
+
+[Illustration: FIG. 251.--BARREL.]
+
+ELIJAH MAYER 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).
+
+[Illustration: FIG. 252.--VASE.]
+
+He also produced basaltes ware tea services, with animals, &c., in
+relief.
+
+PALMER 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 NEALE. 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.
+
+[Illustration: FIG. 253.--JARDINIÈRE. _Of blue and white jasper._]
+
+[Illustration: FIG. 254.--VASE.]
+
+J. VOYEZ of Hanley was a clever artist; he was employed by Wedgwood and
+afterwards by Neale and Palmer.
+
+FENTON. THOMAS WHIELDON 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.
+
+TUNSTALL. ENOCH BOOTH of Tunstall, and JOHN WARBURTON of COBRIDGE in the
+same county, were extensive potters, and first made cream-coloured
+pottery by the use of fluid glaze introduced by Booth.
+
+WILLIAM ADAMS 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.
+
+[Illustration: FIG. 255.--JUG. _Of blue jasper._]
+
+LANE END. JOHN TURNER 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.
+
+[Illustration: FIG. 256.--SUGAR BASIN. _Of yellow clay, with figures in
+relief._]
+
+[Illustration: FIG. 257.--TEAPOT. _With medallion, figures in relief._]
+
+LONGPORT. The Messrs. DAVENPORT 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.
+
+[Illustration: FIG. 258.--CUP, COVER, AND SAUCER.]
+
+[Illustration: FIG. 259.--DISH.]
+
+LANE DELPH (now Middle Fenton). MILES MASON 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.
+
+[Illustration: FIG. 260.--CUP, COVER, AND SAUCER.]
+
+STOKE-ON-TRENT. THOMAS MINTON 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. 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.
+
+LIVERPOOL. 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 in decorating them, and many
+are still in existence painted with ships, convivial mottoes, and
+inscriptions.
+
+[Illustration: FIG. 261.--MUG.]
+
+Another important establishment was founded by Mr. John Sadler, the son
+of a painter, who had learnt the art of engraving.
+
+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.
+
+[Illustration: FIG. 262.--PUNCH BOWL.]
+
+Wedgwood availed himself of this new mode of decoration, and sent his
+Queen's ware weekly to Messrs. Sadler and Green to be printed.
+
+[Illustration: FIG. 263.--TILES. _By_ J. SADLER.]
+
+[Illustration: FIG. 264.--TEAPOT. _With portrait of Wesley._]
+
+RICHARD CHAFFERS 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).
+
+His porcelain works were established about the same time as those of
+Worcester and Derby, and his productions had a great sale in England.
+
+The Liverpool establishments of PENNINGTON, PHILIP CHRISTIAN and RICHARD
+ABBEY were on an extensive scale, but towards the end of the eighteenth
+century only one of any importance survived, and that belonged to
+Messrs. WORTHINGTON, HUMBLE and HOLLAND, 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.
+
+JACKFIELD, 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 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 COALPORT, on the opposite side of the Severn,
+where the well-known Salopian porcelain was made.
+
+[Illustration: FIG. 265.--TEAPOT.]
+
+Fig. 265. A black glazed teapot inscribed "Richard and Ruth Goodin,
+1769."
+
+FULHAM. The first successful imitation of the _grès de Cologne_ was made
+by JOHN DWIGHT, 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.
+
+Dwight produced a great variety of objects, and 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.
+
+[Illustration: FIG. 266.--"LYDIA DWIGHT. _Dyed March 3, 1673._"]
+
+LAMBETH. The next important pottery in England in the 17th century was
+that of Lambeth. In the _History of Lambeth_ 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.
+
+[Illustration: FIG. 267.--DISH.]
+
+The white bottles or jugs, upon which are written the names of wines
+accompanied by dates, were made here.
+
+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.
+
+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.
+
+YEARSLEY, 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.
+
+There was also a manufactory established at the Manor-house, YORK, 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.
+
+DON POTTERY. 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."
+
+[Illustration: FIG. 268.--TEA CADDY. _Of yellow clay, ornamented with
+chocolate brown appliqué medallions of female figures in relief._]
+
+The Don Pottery was very similar to that of Leeds, frequently producing
+pierced work-baskets, vases, dinner, dessert and tea services, &c.
+
+LEEDS. 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. Important
+centre-pieces with figures were also made here.
+
+[Illustration: FIG. 269.--CHESTNUT BOWL AND COVER.]
+
+CASTLEFORD, 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.
+
+[Illustration: FIG. 270.--TEAPOT. _With ornaments in relief, of white
+ware edged with blue._]
+
+SWINTON, 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.
+
+[Illustration: FIG. 271.--TEAPOT.]
+
+NEWCASTLE-ON-TYNE. 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.
+
+[Illustration: FIG. 272.--DISH. _Of Queen's ware, marked "fell."_]
+
+[Illustration: FIG. 273.--MUG. _With printed monument of Lord Nelson;
+inside is a toad; marked "Fell & Co., Newcastle Pottery."_]
+
+ST. ANTHONY'S, about 2-1/2 miles from 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.
+
+[Illustration: FIG. 274.--JUG. _With cupids in relief, coloured with
+pink metallic lustred clouds._]
+
+NOTTINGHAM. 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.
+
+[Illustration: FIG. 275.--MUG. _Inscribed, "Made at Nottingham, the 17th
+August 1771."_]
+
+[Illustration: FIG. 276.--JUG. _In the form of a Bear._]
+
+GREAT YARMOUTH. 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.
+
+[Illustration: FIG. 277.--PLATE.]
+
+LOWESBY, 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.
+
+[Illustration: FIG. 278.--GARDEN POT.]
+
+[Illustration: FIG. 279.--VASE.]
+
+BRISTOL. At REDCLIFFE BACKS a manufactory of Delft ware was carried on
+in the 18th century by Richard Frank.
+
+At TEMPLE BACKS, 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 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.
+
+[Illustration: BRISTOL (Redcliffe Backs)
+
+FIG. 280.--TILES. _St. Mary Redcliffe Church._]
+
+CADBOROUGH, 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 produced. The
+works are now carried on at Bellevue Pottery, Rye.
+
+[Illustration: FIG. 281.--VESSEL. _In form of a pig._]
+
+SWANSEA. 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 _opaque porcelain_; with the assistance of
+Young, a draughtsman employed in delineating natural history, the ware
+became remarkable for its beautiful and truthful paintings.
+
+The early Swansea ware was elegant in form, and frequently covered with
+a deep blue glaze.
+
+[Illustration: FIG. 282.--DISH. _Mark, Swansea and letter C._]
+
+
+GREAT BRITAIN
+
+PORCELAIN
+
+The 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.
+
+WORCESTER. 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.
+
+[Illustration: FIG. 283.--CUP AND SAUCER.]
+
+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.
+
+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, and their business increased to a great extent, being
+patronised by the royal family.
+
+[Illustration: FIG. 284.--PORTION OF A TEA SERVICE. _Japanese pattern,
+blue, red, and gold._]
+
+[Illustration: FIG. 285.--PORTION OF A TEA SERVICE. _Transfer coloured,
+and partly gilt._]
+
+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.
+
+SWINTON, near Rotherham. The manufacture of porcelain at the
+ROCKINGHAM WORKS 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.
+
+[Illustration: FIG. 286.--PLATE.]
+
+[Illustration: FIG. 287.--VASE. _Centre-piece of the service made for
+King William IV._ Height 14 in.]
+
+DERBY. 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.
+
+[Illustration: FIG. 288.--GROUP. _Chelsea Derby._]
+
+[Illustration: FIG. 289.--PAIR OF VASES. _Chelsea Derby._]
+
+[Illustration: FIG. 290.--PLATE. _With flowers by Billingsley._]
+
+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 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.
+
+[Illustration: FIG. 291.--CUP, COVER, AND SAUCER. _Crown Derby._]
+
+[Illustration: FIG. 292.--SCENT VASE. _Crown Derby._]
+
+[Illustration: FIG. 293.--CUP, COVER, AND SAUCER. _Crown Derby._]
+
+BURTON-ON-TRENT. A manufactory of earthenware was established here early
+in the last century, and from about 1839 porcelain was made for seven
+years.
+
+[Illustration: FIG. 294.--COMPORT.]
+
+WIRKSWORTH. A manufactory of china as well as pottery, established by a
+Mr. Gill, existed here about 1770, and continued for about twenty years.
+
+[Illustration: FIG. 295.--CUP.]
+
+PINXTON 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 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.
+
+[Illustration: FIG. 296.--JARDINIÈRE.]
+
+[Illustration: FIG. 297.--SUGAR BOWL AND COVER.]
+
+LOWESTOFT. According to Gillingham's _History of Lowestoft_, written in
+1790, an attempt was made to manufacture porcelain there in 1756 by Mr.
+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.
+
+PLYMOUTH. 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."
+
+[Illustration: FIG. 298.--COFFEE-POT.]
+
+[Illustration: FIG. 299.--BEAKER AND COVER.]
+
+[Illustration: FIG. 300.--CENTREPIECE.]
+
+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.
+
+[Illustration: FIG. 301.--A SHEPHERDESS.]
+
+[Illustration: FIG. 302.--A SHEPHERD.]
+
+Cookworthy and Lord Camelford continued to work this manufactory until
+1774, when the patent right was sold and transferred to Richard
+Champion.
+
+BRISTOL. A manufactory of _soft paste_ porcelain was founded at Bristol
+about 1750. Later Richard Champion, having in 1774 purchased
+Cookworthy's patent, opened a manufactory for _hard paste_. 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.
+
+[Illustration: FIG. 303.--BOWL AND COVER.]
+
+[Illustration: FIG. 304.--DISH.]
+
+CAUGHLEY, 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.
+
+[Illustration: FIG. 305.--MUG. _Painted in blue._]
+
+[Illustration: FIG. 306.--PLATE. _Blue willow pattern._]
+
+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.
+
+In 1799 Turner retired and John Rose became proprietor; the latter
+removed the works to Coalport about 1814 or 1815.
+
+COALPORT, 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.
+
+[Illustration: FIG. 307.--DISH. _Marked "Coalport improved Feltspar_
+(sic) _Porcelain_."]
+
+COLEBROOK DALE is another name for the Coalport works.
+
+STOKE-ON-TRENT. 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.
+
+[Illustration: FIG. 308.--CUP, COVER, AND SAUCER.]
+
+[Illustration: FIG. 309.--VASE.]
+
+HERBERT MINTON when he succeeded to the business at Stoke-on-Trent (see
+page 236), greatly developed the manufacture of hard and soft
+porcelain, and copies were made of Sèvres porcelain vases.
+
+[Illustration: FIG. 310.--BOWL. _Blue and gold, painted with flowers._]
+
+LONGTON HALL. 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.
+
+[Illustration: LONGTON HALL
+
+FIG. 311.--VASE.]
+
+BOW. 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.
+
+[Illustration: FIG. 312.--TEAPOT. _Printed with King of Prussia._]
+
+[Illustration: FIG. 313.--BOWL.]
+
+[Illustration: FIG. 314.--PLATE. _Printed with Æneas and Anchises._]
+
+[Illustration: FIG. 315.--STATUETTE, "FLORA."]
+
+[Illustration: FIG. 316.--BUST OF GEORGE II.]
+
+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
+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.
+
+[Illustration: FIG. 317.--GROUP: "A TEA PARTY."]
+
+For a more detailed account of the Bow porcelain manufactory, the reader
+is referred to _Marks and Monograms on Pottery and Porcelain_, by W.
+Chaffers.
+
+CHELSEA. 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, were subsequently marked with an
+anchor in gold or red. The period of its greatest excellence was from
+1750 to 1765.
+
+The early pieces were copied principally from the Oriental, being
+decorated with Chinese patterns, and these were marked with an embossed
+anchor.
+
+[Illustration: FIG. 318.--MARSHAL CONWAY.]
+
+[Illustration: FIG. 319.--SHEPHERD.]
+
+The beautiful vases in the French style, in imitation of Sèvres, with
+_gros bleu_, crimson, turquoise, and apple-green grounds were made from
+1760 to 1765.
+
+In 1769, by order of M. Sprimont, the proprietor, the Chelsea porcelain
+manufactory was sold by auction.
+
+[Illustration: FIG. 320.--VASE. "DEATH OF CLEOPATRA."]
+
+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 vases made when M. Sprimont had the works under his direction.
+
+WALES
+
+SWANSEA. 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.
+
+[Illustration: FIG. 321.--PLATE.]
+
+[Illustration: FIG. 322.--PLATE.]
+
+NANTGARW. 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.
+
+[Illustration: FIG. 323.--PLATE.]
+
+[Illustration: FIG. 324.--CUP AND SAUCER.]
+
+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.
+
+[Illustration: FIG. 325.--VASE.]
+
+
+
+
+ORIENTAL POTTERY AND PORCELAIN
+
+
+CHINA
+
+The porcelain of China is composed of two earths, the one a decomposed
+felspathic rock called _kaolin_, and the other a rock of the same
+geological origin, mixed with quartz, called _petuntse_. They both
+harmonise so completely that they have an equally resisting power when
+placed in the kiln. The _kaolin_ used in making porcelain is much softer
+than _petuntse_ when dug out of the quarry, yet it is this which, by its
+mixture with the other, gives strength and firmness to the work.
+
+Chinese porcelain was classified by the late Dr. S. W. Bushell, C.M.G.,
+under the following periods:--
+
+1. Primitive period, including the _Sung_ dynasty (960-1279) and the
+_Yuan_ dynasty (1280-1367).
+
+2. Ming period, comprising the whole of the _Ming_ dynasty (1368-1643).
+
+3. K'ang Hsi period, extending from the fall of the Ming dynasty to the
+close of the reign of _K'ang Hsi_ (1662-1722).
+
+4. Yung Chêng and Chiên Lung period (1723-1795), the two reigns being
+conjoined.
+
+5. Modern period, from the beginning of the reign of _Chia Ch'ing_ to
+the present day.
+
+[Illustration: FIG. 326.--STONEWARE VASE. _With Céladon green glaze.
+Ming dynasty._]
+
+The most ancient mode of decoration was the blue _camaïeu_, and it is
+still much esteemed in China; it was executed on the ware, simply dried
+before the glaze was applied, and then placed in the kiln. Being all
+completed in one baking, _au grand feu_, the painting thus executed
+became imperishable.
+
+[Illustration: FIG. 327.--STONEWARE VASE. _With Céladon crackle glaze._]
+
+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 _Siouen-te_ and _Ching-hoa_ periods, which are now much 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.
+
+[Illustration: FIG. 328.--PORCELAIN VASE. _Painted in enamel colours._]
+
+The Père d'Entrecolles tells us the manner of painting vases in China,
+and how the different parts 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."
+
+[Illustration: FIG. 329.--PORCELAIN EWER. _Painted in enamel colours,
+and mounted with Florentine copper gilt. 17th century._]
+
+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 _céladon_ 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 _crackle_. This crackle china is the most esteemed
+of Oriental porcelain, although it arises from a _defective_ cause.
+
+[Illustration: FIG. 330.--BOTTLE. _Powder blue porcelain. Ming
+dynasty._]
+
+[Illustration: FIG. 331.--JAR. _Painted with plum blossoms. Ming
+dynasty._]
+
+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
+_kaolin_; the cover or glaze comes also from a felspathic rock, slightly
+crystallised; these melt and assimilate together 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.
+
+[Illustration: FIG. 332.--PLATE. _Egg shell porcelain._]
+
+Hence the crackle, at the option of the potter, is made of large,
+middling, or small size.
+
+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 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.
+
+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.
+
+[Illustration: FIG. 333.--PLATE. _Egg shell porcelain._]
+
+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 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.
+
+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.
+
+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.
+
+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.
+
+
+JAPAN
+
+The 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 B.C., 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 _Nomino Sukuné_, 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. _Nomino_ received as a recompense authorisation to take the
+name of _Fazi_, in the Koræan language _Patzi_, artist-workman.
+
+Under _Sei-wa_ (859-876 A.D.) the number of fabriques increased
+considerably.
+
+Under _Syun-tok_ (1211-1221), a Japanese potter named _Katosiro-uye-mon_
+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, _Katosiro_,
+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.
+
+[Illustration: FIG. 334.--PORCELAIN VASE. _Hizen ware. About 1690._]
+
+[Illustration: FIG. 335.--FUKUROKUJI. _The god of longevity._]
+
+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.
+
+[Illustration: FIG. 336.--SAKÉ CUP AND STAND. _Porcelain gold ornament
+on red ground._]
+
+[Illustration: FIG. 337.--STONEWARE JAR. _Ôto ware._]
+
+[Illustration: FIG. 338.--PORCELAIN VASE. _Kishin ware._]
+
+[Illustration: FIG. 339.--CANDLESTICK. _Tozan porcelain. Painted in
+blue._]
+
+Perhaps the most beautiful of all the porcelain made in Japan is the
+_egg shell_, 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.
+
+The small cups without saucers, which are usually placed upon
+_présentoirs_ of lac, are seldom painted on 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.
+
+[Illustration: FIG. 340.--FLASK. _Satsuma ware._]
+
+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.
+
+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
+manufactories are established, but as many as twenty-four or
+twenty-five are situated near the mountain of _Idsumi-yama_, whence the
+kaolin is obtained of which the vessels are made.
+
+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.
+
+[Illustration: FIG. 341.--INCENSE-BURNER. _Imari porcelain. 18th
+century._]
+
+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, generally ornamented simply by scoring
+and glazing the surface; (2) a cream-coloured _faïence_, with a glaze,
+often crackled and delicately painted in colours; (3) hard porcelain.
+
+"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."
+
+
+PERSIA, SYRIA, AND TURKEY
+
+PERSIA
+
+Siliceous-glazed wares were produced in Persia at a very early period,
+and the late Mr. C. Drury E. Fortnum, in his _Historical Treatise on
+Majolica_, 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.
+
+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 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."
+
+[Illustration: FIG. 342.--WALL TILE. _Glazed earthenware. 13th
+century._]
+
+The Persian fayence was probably the same as 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.
+
+[Illustration: FIG. 343.--WATER-BOTTLE. _With metallic lustre. 15th or
+16th century._]
+
+It has long been a _vexata quæstio_ 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
+(_Les Merveilles de la Céramique_).
+
+[Illustration: FIG. 344.--DISH FOR RICE.]
+
+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 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.
+
+[Illustration: FIG. 345.--ROSE-WATER SPRINKLER.]
+
+[Illustration: FIG. 346.--ROSE-WATER SPRINKLER.]
+
+SYRIA AND TURKEY
+
+Dr. Fortnum was of opinion that what is generally known as DAMASCUS 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.
+
+[Illustration: FIG. 347.--DAMASCUS PLATE. _Painted in colours._]
+
+Remains of potteries are stated to have been found at Lindus on the
+Island of Rhodes, and at 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.
+
+[Illustration: FIG. 348.--DAMASCUS DISH.]
+
+[Illustration: FIG. 349.--RHODIAN PLATE.]
+
+
+
+
+INDEX
+
+
+  _Adams, William_, 234
+
+  Alcora, 47, 129
+
+  Amstel, Oude, 173
+
+  Amsterdam, 105, 172
+
+  Anspach, 143
+
+  Aprey, 74
+
+  Apt, 53
+
+  Armentières, 74
+
+  Arnstadt, 98
+
+  Arras, 193
+
+  Asia Minor, 310
+
+  _Astbury_, 228
+
+  Avignon, 54
+
+
+  Baden-Baden, 156
+
+  Baranowka, 182
+
+  Bassano, 35
+
+  Bayreuth, 87, 144
+
+  Beauvais, 53
+
+  Berlin, 135
+
+  Blois, 54
+
+  Boissette, 200
+
+  _Booth, Enoch_, 234
+
+  Boulogne-sur-Mer, 194
+
+  Bourg-la-Reine, 80, 196
+
+  Bow, 274
+
+  Bradwell, 230
+
+  Bristol, 251, 269
+
+  Broussa, 310
+
+  Brussels, 177
+
+  Buen Retiro, 127
+
+  Bunzlau, 95
+
+  Burslem, 220
+
+  Burton-on-Trent, 264
+
+
+  Cadborough, 252
+
+  Caen, 201
+
+  Cafaggiolo, 19
+
+  Capo di Monte, 114
+
+  Castel Durante, 10
+
+  Castelli, 27
+
+  Castleford, 246
+
+  Caughley, 270
+
+  _Chaffers, Richard_, 240
+
+  Chantilly, 189
+
+  Château-la-Lune, 74
+
+  Chelsea, 279
+
+  China, 285
+
+  Città di Castello, 37
+
+  Clignancourt, 197
+
+  Closter Veilsdorf, 146
+
+  Coalport, 241, 271
+
+  Cobridge, 234
+
+  Colebrook Dale, 272
+
+  Cologne (Köln), 88
+
+  Constantinople, 312
+
+  Copenhagen, 185
+
+  Creil, 80
+
+
+  Damascus, 310
+
+  _Davenport, Messrs._, 235
+
+  Delft, 100
+
+  Derby, 260
+
+  Diruta, 15
+
+  Doccia, 113
+
+  Don Pottery, 245
+
+  Douai, 78
+
+  Dresden, 96, 130
+
+  _Dwight, John_, 241
+
+
+  _Elers, John Philip_, 230
+
+  Étiolles, 195
+
+  Etruria, 221
+
+
+  Faenza, 12
+
+  Faïence d'Oiron, 50
+
+  Fenton, 234
+
+  Ferrara, 34
+
+  Florence, 26, 112
+
+  Fontainebleau, 207
+
+  Forlì, 17
+
+  Frankenthal, 98, 139
+
+  Frechen, 89
+
+  Fulda, 148
+
+  Fulham, 241
+
+  Fürstenberg, 149
+
+
+  Genoa, 35
+
+  Gera, 155
+
+  Gotha, 158
+
+  Great Yarmouth, 250
+
+  Grenzhausen, 92
+
+  Grossbreitenbach, 153
+
+  Gubbio, 6
+
+
+  Hagenau, 63
+
+  Hague, The, 174
+
+  Hanley, 231
+
+  Harburg, 95
+
+  Henri Deux ware, 50
+
+  Herend, 166
+
+  Hispano-Moresque ware, 41
+
+  Höchst, 96, 138
+
+  _Hollins, Samuel_, 229
+
+
+  Infreville, 74
+
+
+  Jackfield, 240
+
+  Japan, 295
+
+
+  Kelsterbach, 144
+
+  Kiel, 99
+
+  Kloster Veilsdorf, 146
+
+  Korzec, 182
+
+  Kreussen, 94
+
+
+  La Fratta, 39
+
+  Lambeth, 243
+
+  Lane Delph, 236
+
+  Lane End, 235
+
+  Lauenstein, 89, 96
+
+  Leeds, 245
+
+  Leipzig, 86
+
+  Lille, 81, 195
+
+  Limbach, 155
+
+  Limburg, 89
+
+  Liverpool, 237
+
+  Longton Hall, 274
+
+  Longport, 235
+
+  Loosdrecht, Oude, 171
+
+  Loreto, 37
+
+  Lowesby, 251
+
+  Lowestoft, 265
+
+  Ludwigsburg, 151
+
+  Lunéville, 72, 198
+
+  Luxemburg, 106, 177
+
+
+  Madrid, 127
+
+  Majorca, 42
+
+  Malaga, 42
+
+  Malicorne, 74
+
+  Manerbe, 74
+
+  Manises, 46
+
+  Marieberg, 109, 184
+
+  Marseilles, 69, 202
+
+  _Mason, Miles_, 236
+
+  _Mayer, Elijah_, 232
+
+  Meissen, 130
+
+  Mennecy-Villeroy, 191
+
+  Milan, 31
+
+  _Minton, Herbert_, 236, 273
+
+  _Minton, Thomas_, 236
+
+  Monte Lupo, 30
+
+  Montereau, 81
+
+  Moscow, 180
+
+  Moustiers, 65
+
+  Murano, 25
+
+
+  Nantgarw, 283
+
+  Naples, 30, 114
+
+  _Neale_, 233
+
+  Neudeck, 141
+
+  Nevers, 56
+
+  Newcastle-on-Tyne, 248
+
+  New Hall China Works, 230
+
+  Niderviller, 76, 198
+
+  Nottingham, 249
+
+  Nove, 25, 122
+
+  Nuremberg (Nürnberg), 84
+
+  Nymphenburg, 141
+
+  Nyon, 168
+
+
+  Oberdorf, 87
+
+  Oiron, Faïence d', 50
+
+  Orleans, 198
+
+  Overtoom, 106
+
+  Oude Amstel, 173
+
+  Oude Loosdrecht, 171
+
+
+  Padua, 26
+
+  _Palissy, Bernard_, 55
+
+  _Palmer_, 233
+
+  Paris, 203
+
+    "    Belleville, 207
+
+    "    Faubourg St. Honoré, 205
+
+    "    Pont-aux-Choux, 206
+
+    "    Rue de Bondy, 204
+
+    "    Rue de Crussol, 207
+
+    "    Rue Fontaine au Roi, 205
+
+    "    Rue du Faubourg St. Denis, 208
+
+    "    Rue Thiroux, 203
+
+  Pavia, 39
+
+  Persia, 304
+
+  Pesaro, 8
+
+  Pinxton, 264
+
+  Pisa, 23
+
+  Plymouth, 266
+
+
+  Raeren, 89
+
+  Ratisbon, 153
+
+  Rauenstein, 158
+
+  Ravenna, 18
+
+  Regensburg, 153
+
+  Rhodes, Island of, 310
+
+  Rimini, 18
+
+  Rockingham, 247, 260
+
+  Rörstrand, 107
+
+  Rouen, 59, 190
+
+  Rudolstadt, 147
+
+
+  St. Anthony's, 248
+
+  St. Armand-les-Eaux, 79, 202
+
+  St. Clément, 76
+
+  St. Cloud, 187
+
+  St. Petersburg, 107, 179
+
+  St. Porchaire, 50
+
+  Salopian, 270
+
+  Sarreguemines (Saargemünd), 78
+
+  Savona, 36
+
+  Sceaux Penthièvre, 79, 192
+
+  Scherzheim, 96
+
+  Schlaggenwald, 166
+
+  Sèvres, 209
+
+  Sgraffiato, 37
+
+  _Shawe, Ralph_, 227
+
+  Shelton, 228
+
+  Siegburg, 89
+
+  Siena, 20
+
+  Sinceny, 70
+
+  _Spode, Josiah_, 272
+
+  Staffordshire, 217
+
+  _Steel, Moses_, 228
+
+  Stockholm, 109
+
+  Stoke-on-Trent, 236, 272
+
+  Strassburg, 63, 202
+
+  Strehla, 87
+
+  Swansea, 253, 282
+
+  Swinton, 247, 258
+
+  Syria, 310
+
+
+  Talavera, 48
+
+  Teinitz, 98
+
+  Thuringia, 145
+
+  _Toft, Ralph_, 219
+
+  _Toft, Thomas_, 219
+
+  Toulouse, 76
+
+  Tournai, 175
+
+  Treviso, 18, 117
+
+  Triana, 46
+
+  Tunstall, 234
+
+  Turkey, 310
+
+  Turin, 33, 118
+
+  _Turner, John_, 235
+
+
+  Urbino, 1
+
+  Utrecht, 105
+
+
+  Valencia, 44
+
+  Valenciennes, 201
+
+  Varages, 68
+
+  Venice, 24, 119
+
+  Vienna, 160
+
+  Vincennes, 78, 208, 209
+
+  Vineuf, 118
+
+  Vinovo, 118
+
+  Viterbo, 18
+
+  Volkstedt, 146
+
+  _Voyez, J._, 233
+
+
+  Wallendorf, 158
+
+  _Warburton, J._, 234
+
+  Wedgwood, 220
+
+  Weesp, 170
+
+  _Whieldon, Thomas_, 234
+
+  Wirksworth, 264
+
+  _Wood, Aaron_, 227
+
+  _Wood, Enoch_, 228
+
+  _Wood, Ralph_, 227
+
+  Worcester, 255
+
+
+  Yarmouth, Great, 250
+
+  Yearsley, 244
+
+  York, 245
+
+
+  Zürich, 168
+
+
+
+Printed by BALLANTYNE, HANSON & CO.
+
+Edinburgh & London
+
+
+
+
+Footnotes:
+
+[1] As Strassburg and Hagenau belonged to France at this period, they
+are included in the French section.
+
+[2] Now Niederweiler, in Germany.
+
+[3] Now Saargemünd, belonging to Germany.
+
+
+
+
+Transcriber's Notes:
+
+Passages in italics are indicated by _italics_.
+
+Superscripted letters are shown in {superscript}.
+
+Punctuation has been corrected without note.
+
+The misprint "propuctions" has been corrected to "productions" (page 132).
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Collector's Handbook to Keramics
+of the Renaissance and Modern Period, by William Chaffers
+
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diff --git a/34508-0.zip b/34508-0.zip
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+Project Gutenberg's Collector's Handbook to Keramics, 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: Collector's Handbook to Keramics
+
+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
+
+
+
+
+
+
+
+
+
+_The Complete Work from which this Handbook is extracted_
+
+The Keramic Gallery
+
+BY WILLIAM CHAFFERS
+
+Containing several hundred illustrations, some in colour, of rare,
+curious, and choice examples of Pottery and Porcelain from the earliest
+times to the beginning of the nineteenth century
+
+NEW EDITION, REVISED AND EDITED BY H. M. CUNDALL, I.S.O., F.S.A.
+
+Royal 8vo, cloth extra, top edge gilt, to range with the same author's
+"Marks and Monograms on Pottery"
+
+This important book, which was long out of print and scarce, is not
+reprinted because of its rarity, but because it is an _indispensable_
+companion to the same author's "Marks and Monograms on Pottery and
+Porcelain."
+
+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.
+
+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.
+
+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.
+
+
+
+
+HANDBOOK TO KERAMICS
+
+
+
+
+[Illustration: CHELSEA STATUETTE, "MELPOMENE"]
+
+
+
+
+  THE COLLECTOR'S HANDBOOK TO
+  Keramics
+  _Of the Renaissance and Modern Periods_
+
+  SELECTED FROM HIS LARGER WORK, ENTITLED
+  "The Keramic Gallery"
+
+
+  WITH 350 ILLUSTRATIONS
+
+
+  BY
+  WILLIAM CHAFFERS
+
+  AUTHOR OF "MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN"
+  "HALL MARKS ON GOLD AND SILVER PLATE," ETC. ETC.
+
+
+  LONDON
+  GIBBINGS AND COMPANY, LIMITED
+  NEW YORK: CHARLES SCRIBNER'S SONS
+  1909
+
+
+
+  Printed by BALLANTYNE, HANSON & CO.
+  At the Ballantyne Press, Edinburgh
+
+
+
+
+PREFACE
+
+
+As "THE KERAMIC GALLERY" by the late William Chaffers forms a pictorial
+supplement to his book "MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN,"
+so likewise this work, "HANDBOOK TO KERAMICS," which is an abridged
+edition of "THE KERAMIC GALLERY," is intended to form a companion volume
+of illustrations to "THE COLLECTOR'S HANDBOOK OF MARKS AND MONOGRAMS ON
+POTTERY AND PORCELAIN."
+
+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 "THE
+KERAMIC GALLERY," 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.
+
+Brief accounts, extracted from the larger volume, of the various
+manufactories are also given, with a view to help in establishing the
+period to which any specimen may belong.
+
+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.
+
+H. M. C.
+
+
+
+
+CONTENTS
+
+
+                                            PAGE
+  MAIOLICA--
+    ITALY                                      1
+    SPAIN                                     41
+
+  CONTINENTAL FAYENCE--
+    FRANCE                                    50
+    GERMANY                                   84
+    HOLLAND AND LUXEMBURG                    100
+    RUSSIA AND SWEDEN                        107
+
+  CONTINENTAL PORCELAIN--                    110
+    ITALY                                    112
+    SPAIN                                    127
+    GERMANY                                  130
+    AUSTRIA                                  160
+    SWITZERLAND                              168
+    HOLLAND                                  170
+    BELGIUM AND LUXEMBURG                    175
+    RUSSIA                                   179
+    SWEDEN                                   184
+    DENMARK                                  185
+    FRANCE                                   187
+
+  GREAT BRITAIN--
+    POTTERY                                  216
+    PORCELAIN                                255
+
+  ORIENTAL POTTERY AND PORCELAIN--
+    CHINA                                    285
+    JAPAN                                    295
+    PERSIA, SYRIA, AND TURKEY                304
+
+  INDEX                                      313
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  CHELSEA STATUETTE, "MELPOMENE"                            _Frontispiece_
+
+
+  MAIOLICA
+
+  ITALY
+
+  FIG.                                                                PAGE
+
+    1. URBINO--Plateau. Marriage of Alexander and Roxana                 2
+    2.   "     Plateau, with Leda and the Swan in the centre             3
+    3.   "     Plateau. By Alfonso Patanazzi, 1606                       4
+    4.   "     Vase. Apollo and Daphne. _Circa_ 1580                     5
+    5.   "     Cruet. _Circa_ 1570                                       6
+    6.   "     Plate. "The Stream of Life;" signed M{o}. Giorgio         7
+    7.   "     Vase, with Shield of Arms, by M{o}. Giorgio. _16th
+               century_                                                  7
+    8. PESARO--Drug Vase, inscribed "Sir di Cedro." _17th century_       9
+    9.   "     Bowl, Cover, and Dish, _18th century_                    10
+   10. CASTEL DURANTE--Vase. _Circa_ 1560                               11
+   11.       "         Plate. _Circa_ 1530                              11
+   12. FAENZA--Plaque; inscribed "Andrea di Bono, 1491"                 12
+   13.    "    Plate, with motto "En Piu." _15th century_               13
+   14.    "    Plaque. Joseph Sold by His Brethren. _16th century_      14
+   15.    "    Plate, with Arms and Arabesques, _16th century_          15
+   16. DIRUTA--Plate. _Circa_ 1520                                      16
+   17.    "    Plate; inscribed "Sura Fiore." _Circa_ 1520              16
+   18. FORLÌ--Plate. Christ among the Doctors. _16th century_           17
+   19. VITERBO--Plateau. Diana and Actæon. _Dated_ 1544                 18
+   20. CAFAGGIOLO--Plateau. St. George. _Circa_ 1520                    19
+   21. SIENA--Plate. By M{o}. Benedetto. _Circa_ 1520                   21
+   22.   "    Plate. Woman and Two Peacocks. _18th century_             22
+   23.   "    Plate. Vintage; signed "Ferdinando M{a}. Campani, 1747"   22
+   24.   "    Plate. Galatea. _Early 18th century_                      23
+   25. VENICE--Plate. Architectural Subject. _Circa_ 1700               24
+   26. NOVE--Tureen and Cover. _18th century_                           25
+   27. FLORENCE--Cup and Saucer                                         26
+   28. PADUA--Plate. Myrrha Fleeing from her Father                     27
+   29. CASTELLI--Bowl and Cover. _18th century_                         28
+   30.    "      Ewer and Basin. _18th century_                         29
+   31. MONTE LUPO--Plate. Three Cavaliers                               31
+   32. MILAN--Écuelle and Dish. _18th century_                          32
+   33.   "    Ewer and Dish. _18th century_                             32
+   34.   "    Cup and Plate. _18th century_                             32
+   35. TURIN--Dish with pierced Border. _Dated_ 1577                    33
+   36. FERRARA--Plateau. Triumph of Bacchus. _First half of 18th
+                century_                                                34
+   37. GENOA--Bottle. _18th century_                                    35
+   38. SAVONA--Basket. _18th century_                                   36
+   39. LORETO--Two Bowls                                                37
+   40. SGRAFFIATO or INCISED WARE--Bowl. _About_ 1460                   38
+   41.      "             "        Plate. _About_ 1540                  38
+   42.      "             "        Basket. _19th century_               39
+
+  SPAIN
+
+   43. HISPANO-MORESQUE--Vase. _15th century_                           40
+   44.        "          Azulejo. _14th century_                        41
+   45.        "          Plateau. _15th or 16th century_                43
+   46.        "          Plateau. _15th or 16th century_                44
+   47. VALENCIA--Dish                                                   45
+   48. MANISES--Vase                                                    46
+   49. TRIANA--Bottle in Form of a Lady                                 47
+   50.   "     Dish. _Dated_ 1774                                       47
+   51. ALCORA--Plaque with Rococo Frame                                 48
+   52. TALAVERA--Bowl                                                   49
+
+
+  CONTINENTAL FAYENCE
+
+  FRANCE
+
+   53. SAINT PORCHAIRE--Candlestick                                     51
+   54.        "         Biberon                                         52
+   55. APT--Vase                                                        53
+   56. BLOIS--Candlestick                                               54
+   57. AVIGNON--Ewer. _About_ 1600                                      55
+   58. PALISSY WARE--Dish, with Reptiles, Fish, &c. _16th century_      56
+   59. NEVERS--Pilgrim's Bottle. _Second half of 17th century_          57
+   60.   "     Ewer. _Second half of 17th century_                      58
+   61.   "     Pilgrim's Bottle                                         59
+   62. ROUEN--Ewer                                                      60
+   63.   "    Ewer                                                      61
+   64.   "    Plate                                                     61
+   65.   "    Compotier                                                 62
+   66.   "    Compotier                                                 62
+   67. STRASSBURG--Fountain                                             63
+   68.    "        Clock and Bracket                                    64
+   69. MOUSTIERS--Plateau                                               65
+   70.    "       Compotier                                             66
+   71.    "       Plate                                                 67
+   72.    "       Barber's Basin                                        67
+   73. VARAGES--Plate                                                   68
+   74. MARSEILLES--Tureen                                               69
+   75. SINCENY--Bowl and Cover                                          71
+   76. LUNÉVILLE--Pair of Rustic Figures                                73
+   77.    "       Dish                                                  73
+   78. APREY--Plate                                                     74
+   79. MANERBE--Finial                                                  75
+   80. ST. CLÉMENT--Écuelle                                             76
+   81. NIDERVILLER--Vase                                                77
+   82. ST. ARMAND-LES-EAUX--Inkstand                                    79
+   83. SCEAUX PENTHIÈVRE--Plate                                         80
+   84. CREIL--Plate                                                     81
+   85. LILLE--Dish                                                      82
+
+  GERMANY
+
+   86. NUREMBERG--Jug. _15th century_                                   85
+   87.    "       Dish                                                  86
+   88. BAYREUTH--Coffee-pot                                             88
+   89. LIMBURG--Cruche                                                  90
+   90. RAEREN--Cruche                                                   90
+   91. SEIGBURG--Canette                                                91
+   92. GRENZHAUSEN--Jug                                                 92
+   93.     "        Fountain                                            93
+   94. KREUSSEN--Tankard                                                94
+   95. HARBURG--Cruche                                                  95
+   96. DRESDEN--Böttcher Coffee-pot                                     97
+   97. TEINITZ--Plate                                                   98
+   98. KIEL--Bishop Mitre Bowl                                          99
+
+  HOLLAND
+
+   99. DELFT--Cruche                                                   101
+  100.   "    Teapot                                                   102
+  101.   "    Vase                                                     103
+  102.   "    Plate                                                    104
+  103. AMSTERDAM--Dish                                                 105
+
+  SWEDEN
+
+  104. RÖRSTRAND--Butterboat                                           108
+  105. MARIEBERG--Vase and Cover                                       108
+  106.    "       Plate                                                109
+
+
+  CONTINENTAL PORCELAIN
+
+  ITALY
+
+  107. FLORENCE--Cruet                                                 112
+  108.    "      Bowl                                                  113
+  109. DOCCIA--Teapot                                                  113
+  110.   "     Basin                                                   114
+  111. NAPLES--CAPO DI MONTE--Vase                                     115
+  112.   "           "        Saucer                                   115
+  113.   "           "        Cup and Saucer                           116
+  114.   "           "        Coffee-pot                               116
+  115. TREVISO--Écuelle                                                117
+  116.   "      Cup and Saucer                                         118
+  117. TURIN, VINOVO--Écuelle                                          118
+  118. VENICE--Vase and Cover                                          120
+  119.   "     Vase                                                    121
+  120. NOVE--Jardinière                                                123
+  121.   "   Vase                                                      124
+  122.   "   Vase                                                      125
+  123.   "   Milk-pot                                                  125
+
+  SPAIN
+
+  124. MADRID--BUEN RETIRO--Group                                      127
+  125.   "         "        Vase                                       128
+  126.   "         "        Vase                                       128
+  127. ALCORA--Plaque                                                  129
+
+  GERMANY
+
+  128. DRESDEN--Vase                                                   131
+  129.    "     Sucrier, Cup, and Saucer                               132
+  130.    "     Cup and Saucer                                         132
+  131.    "     Vase and Cover                                         133
+  132.    "     Bust of a Girl                                         134
+  133.    "     Teapot and Saucer                                      134
+  134. BERLIN--Group                                                   135
+  135.   "     Group                                                   136
+  136.   "     Milk-pot, Cup, and Saucer                               137
+  137. HÖCHST--Lamp-stand                                              138
+  138.   "     Tray and Sucrier                                        139
+  139. FRANKENTHAL--Plate                                              140
+  140.     "        Déjeuner Service                                   141
+  141. NYMPHENBURG--Tankard                                            142
+  142.     "        Cup and Saucer                                     143
+  143. ANSPACH--Cup and Saucer                                         143
+  144. BAYREUTH--Cup                                                   144
+  145. KELSTERBACH--Harlequin                                          145
+  146. THURINGIA--Cup and Saucer                                       146
+  147. CLOSTER VEILSDORF--Teapot                                       146
+  148.        "           Tray                                         147
+  149. RUDOLSTADT--Milk-pot, Cup, and Saucer                           147
+  150. FULDA--A Peasant                                                148
+  151.   "    A Peasant                                                148
+  152.   "    Cup and Saucer                                           149
+  153.   "    Coffee-pot                                               149
+  154. FÜRSTENBERG--Bust of Augusta, Duchess of Brunswick              150
+  155.     "        Medallions                                         150
+  156. LUDWIGSBURG--Chocolate-pot                                      151
+  157.     "        Coffee-pot                                         152
+  158. REGENSBURG--Cup and Saucer                                      153
+  159. GROSSBREITENBACH--Milk-pot                                      153
+  160. LIMBACH--Sucrier, Cover, and Stand                              154
+  161. GERA--Sugar Basin                                               155
+  162.   "   Cup, Cover, and Saucer                                    156
+  163. GOTHA--Figure of Bacchus                                        157
+  164. RAUENSTEIN--Cup and Saucer                                      158
+  165. WALLENDORF--Vase                                                159
+
+  AUSTRIA
+
+  166. VIENNA--Cabaret                                                 161
+  167.   "     Milk-pot                                                162
+  168.   "     Plate                                                   163
+  169.   "     Cup and Saucer                                          164
+  170. SCHLAGGENWALD--Cup and Saucer                                   166
+  171. HEREND--Cabaret, portion of a                                   167
+
+  SWITZERLAND
+
+  172. NYON--Cup and Saucer                                            168
+  173.   "        "                                                    169
+  174. ZURICH--Group                                                   169
+
+  HOLLAND
+
+  175. WEESP--Ewer                                                     170
+  176.   "    Coffee-pot                                               170
+  177. OUDE LOOSDRECHT--Vase                                           171
+  178.   "      "       Panel                                          172
+  179. AMSTERDAM--Pair of Bottles                                      172
+  180. OUDE AMSTEL--Teapot and Sucrier                                 173
+  181.   "     "    Sucrier                                            173
+  182. THE HAGUE--Plate                                                174
+
+  BELGIUM AND LUXEMBURG
+
+  183. TOURNAI--Cup and Saucer                                         175
+  184.    "     Plate                                                  176
+  185. TOURNAI--Salt-cellar                                            176
+  186. BRUSSELS--Milk Jug                                              177
+  187.    "      Teapot                                                177
+  188. LUXEMBURG--Two figures of "The Seasons"                         178
+
+  RUSSIA
+
+  189. ST. PETERSBURG--Cup and Saucer                                  179
+  190.  "      "       Verrière                                        179
+  191. MOSCOW--Statuette                                               180
+  192.   "     Cup and Saucer                                          181
+  193. KORZEC--Cup and Saucer                                          182
+  194. BARANOWKA--Milk Jug                                             183
+
+  SWEDEN
+
+  195. MARIEBERG--Custard Cup and Cover                                184
+
+  DENMARK
+
+  196. COPENHAGEN--Cabaret                                             185
+  197.     "       Cabaret                                             186
+
+  FRANCE
+
+  198. ST. CLOUD--Jug                                                  187
+  199.     "      Statuette                                            188
+  200. CHANTILLY--Dish                                                 189
+  201.     "      Pair of Figures                                      190
+  202. MENNECY-VILLEROY--Sugar Basin and Stand                         191
+  203.        "          Group                                         192
+  204. SCEAUX PENTHIÈVRE--Cup and Saucer                               193
+  205.    "       "       Milk-pot                                     193
+  206. ARRAS--Sceau                                                    193
+  207. BOULOGNE-SUR-MER--Plaque                                        194
+  208.    "        "     Sucrier                                       194
+  209. ÉTIOLLES--Cup and Saucer                                        195
+  210. LILLE--Cup and Saucer                                           195
+  211. BOURG-LA-REINE--Custard Pot                                     196
+  212. CLIGNANCOURT--Milk-pot and Cover                                197
+  213.      "        Cup and Dish                                      197
+  214.      "        Milk Jug                                          197
+  215. ORLEANS--Bowl, Cover, and Stand                                 199
+  216. NIDERVILLER--Milk-pot and Cover                                 200
+  217. BOISSETTE--Teapot                                               201
+  218. CAEN--Cup and Saucer                                            201
+  219. VALENCIENNES--Cup and Saucer                                    202
+  220. STRASSBURG--Cup and Saucer                                      203
+  221. PARIS: RUE THIROUX--Sucrier                                     204
+  222.   "    RUE DE BONDY--Ewer and Basin                             204
+  223.   "    RUE FONTAINE AU ROI--Part of a Tea Service               205
+  224.   "    FAUBOURG ST. HONORÉ--Teapot                              206
+  225.   "    PONT-AUX-CHOUX--Teapot                                   206
+  226.   "    RUE DE CRUSSOL--Cup                                      207
+  227.   "    BELLEVILLE--Watch-stand                                  207
+  228.   "    VINCENNES--Cup and Saucer                                208
+  229.   "       "  (Royal Factory)--Vase                              210
+  230.   "       "        "          Cup and Saucer                    211
+  231. SÈVRES--Vase                                                    212
+  232.   "     Écuelle                                                 213
+  233.   "     Group                                                   214
+
+
+  GREAT BRITAIN
+
+  POTTERY
+
+  234. STAFFORDSHIRE--Tyg                                              218
+  235.      "         Mug                                              218
+  236.      "         Plateau                                          219
+  237. ETRURIA--Wedgwood Vase                                          220
+  238.    "        "       "                                           222
+  239.    "        "     The Portland Vase                             223
+  240.    "        "     Teapot, Caddy, and Plate                      224
+  241.    "        "     Six Jasper Cameos                             225
+  242.    "        "     Vase                                          225
+  243.    "        "     Ewer                                          225
+  244. BURSLEM--Obelisk, by Ralph Wood, and Tea Set, by Aaron Wood     226
+  245.    "     Statuette of Chaucer, by Ralph Wood                    227
+  246.    "     Vase, by Moses Steel                                   228
+  247. SHELTON--Bowl, by S. Hollins                                    229
+  248.    "     Basin, by T. & J. Hollins                              229
+  249. NEW HALL CHINA WORKS--Cup and Saucer                            230
+  250. BRADWELL--Teapot, by Elers                                      231
+  251. HANLEY--Barrel, by Miles                                        231
+  252.    "    Vase, by Elijah Mayer                                   232
+  253.    "    Jardinière                                              233
+  254.    "    Vase                                                    233
+  255. TUNSTALL--Jug, by W. Adams                                      234
+  256. LANE END--Sugar Basin                                           235
+  257.    "      Teapot                                                235
+  258. LONGPORT--Cup, Cover, and Saucer                                235
+  259.    "      Dish                                                  235
+  260. LANE DELPH--Cup, Cover, and Saucer                              236
+  261. LIVERPOOL--Mug                                                  237
+  262.    "       Punch Bowl                                           238
+  263.    "       Tiles, by J. Sadler                                  239
+  264.    "       Teapot                                               239
+  265. JACKFIELD--Teapot                                               241
+  266. FULHAM--"Lydia Dwight"                                          242
+  267. LAMBETH--Dish                                                   243
+  268. DON POTTERY--Tea-caddy                                          245
+  269. LEEDS--Chestnut Bowl and Cover                                  246
+  270. CASTLEFORD--Teapot                                              246
+  271. SWINTON--Teapot                                                 247
+  272. NEWCASTLE-ON-TYNE--Dish                                         248
+  273.         "          Mug                                          248
+  274. ST. ANTHONY'S--Jug                                              249
+  275. NOTTINGHAM--Mug                                                 249
+  276.     "       Jug in the form of a Bear                           250
+  277. GREAT YARMOUTH--Plate                                           250
+  278. LOWESBY--Garden Pot                                             251
+  279.    "     Vase                                                   251
+  280. BRISTOL--Tiles                                                  252
+  281. CADBOROUGH--Vessel in the form of a Pig                         253
+  282. SWANSEA--Dish                                                   254
+
+  PORCELAIN
+
+  283. WORCESTER--A Cup and Saucer                                     256
+  284.     "      Portion of a Tea Service (Japan pattern)             258
+  285.     "         "             "       (with coloured transfer)    258
+  286. ROCKINGHAM--Plate                                               259
+  287.     "       Vase                                                259
+  288. DERBY--Group. Chelsea-Derby                                     260
+  289.   "    Pair of Vases  "                                         261
+  290.   "    Plate, by Billingsley                                    261
+  291.   "    Cup, Cover, and Saucer. Crown-Derby                      262
+  292.   "    Scent Vase                   "                           262
+  293.   "    Cup, Cover, and Saucer       "                           263
+  294. BURTON-ON-TRENT--Comport                                        264
+  295. WIRKSWORTH--Cup and Cover                                       264
+  296. PINXTON--Jardinière                                             265
+  297.    "     Sugar Bowl and Cover                                   265
+  298. PLYMOUTH--Coffee-pot                                            266
+  299.    "      Beaker and Cover                                      266
+  300.    "      Centrepiece                                           267
+  301.    "      A Shepherdess                                         268
+  302.    "      A Shepherd                                            268
+  303. BRISTOL--Bowl and Cover                                         269
+  304.    "     Dish                                                   269
+  305. CAUGHLEY--Mug                                                   270
+  306.    "      Plate                                                 270
+  307. COALPORT--Dish                                                  271
+  308. STOKE-ON-TRENT--Spode Cup, Cover, and Saucer                    272
+  309.   "        "      "   Vase                                      273
+  310.   "        "    Minton Bowl                                     274
+  311. LONGTON HALL--Vase                                              275
+  312. BOW--Teapot                                                     274
+  313.  "   Bowl                                                       276
+  314.  "   Plate                                                      276
+  315.  "   Statuette, "Flora"                                         277
+  316.  "   Bust of King George II.                                    278
+  317.  "   Group, "A Tea Party"                                       279
+  318. CHELSEA--Statuette, Marshal Conway                              280
+  319.    "         "      "Shepherd"                                  280
+  320. CHELSEA--Vase                                                   281
+  321. SWANSEA--Plate                                                  282
+  322.    "     Plate                                                  282
+  323. NANTGARW--Plate                                                 283
+  324.    "      Cup and Saucer                                        283
+  325.    "      Vase                                                  284
+
+
+  ORIENTAL
+
+  326. CHINA--Stoneware Vase                                           286
+  327.   "        "       "                                            287
+  328.   "    Porcelain Vase                                           288
+  329.   "        "     Ewer                                           289
+  330.   "    Bottle                                                   290
+  331.   "    Jar                                                      291
+  332.   "    Plate. Eggshell porcelain                                292
+  333.   "      "        "        "                                    293
+  334. JAPAN--Vase. Hizen ware                                         296
+  335.   "  Figure of Fukurokuji                                       297
+  336.   "  Saké Cup and Stand                                         298
+  337.   "  Jar. Ôto ware                                              299
+  338.   "  Vase. Kishin ware                                          300
+  339.   "  Candlestick. Tozan porcelain                               300
+  340.   "  Flask. Satsuma ware                                        301
+  341.   "  Incense Burner. Imari porcelain                            302
+  342. PERSIA--Wall Tile. _13th century_                               305
+  343.   "  Water-bottle. With metallic lustre                         306
+  344.   "  Dish for Rice                                              307
+  345.   "  Rose water Sprinkler                                       308
+  346.   "      "          "                                           309
+  347. DAMASCUS--Plate                                                 310
+  348.    "      Dish                                                  311
+  349. RHODIAN--Plate                                                  312
+
+
+
+
+HANDBOOK TO KERAMICS
+
+
+
+
+MAIOLICA
+
+
+ITALY
+
+The painted pottery of Italy, ever since its introduction into that
+country in the 15th century, has been called by the Italians themselves
+_Maiolica_. In England it was in the 18th century called _Raphael ware_,
+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.
+
+The term _maiolica_ 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 _Maiorica_, and
+subsequently _Maiolica_.
+
+URBINO
+
+Urbino was one of the most celebrated of all the Italian _fabriques_,
+and must have had by far the most 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.)
+
+[Illustration: FIG. 1.--PLATEAU. MARRIAGE OF ALEXANDER AND ROXANA.
+_After Raphael. Signed and dated_ "XANTO, 1533."]
+
+[Illustration: FIG. 2.--PLATEAU, WITH LEDA AND THE SWAN IN CENTRE. _16th
+Century._]
+
+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.
+
+[Illustration: FIG. 3.--PLATEAU. BY ALFONSO PATANAZZI, 1606.]
+
+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.)
+
+[Illustration: FIG. 4.--VASE. APOLLO AND DAPHNE. _Circa_ 1580.]
+
+[Illustration: FIG. 5.--CRUET. _About_ 1570.]
+
+GUBBIO
+
+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.
+
+[Illustration: FIG. 6.--PLATE. "STREAM OF LIFE." _16th Century. Signed
+by_ M{O} GIORGIO. Diam. 7-3/4 in.]
+
+[Illustration: FIG. 7.--VASE. BY M{O} GIORGIO. H. 10-1/2 in. _16th
+Century._]
+
+Another painter in lustre, of the school of M{o} Giorgio, has signed his
+pieces with the letter N., which is supposed by some to be a monogram of
+Vincenzio, the son of M{o} Giorgio; and a painter named Perestino, of
+Gubbio, produced some very beautiful pieces, dated 1533 and 1536.
+
+PESARO
+
+Guido Ubaldo II. della Rovere, who became Duke of Urbino in 1538, was a
+patron of the _fabrique_ 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.
+
+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 _fabrique_, established by Giuseppe Bertolucci of Urbania in
+1757; Pietro Lei, a painter of Sassuolo, was engaged there.
+
+[Illustration: FIG. 8.--DRUG VASE. _17th Century._]
+
+[Illustration: FIG. 9.--BOWL, COVER, AND DISH. _18th Century._]
+
+CASTEL DURANTE
+
+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 _bottega_ for maiolica, at
+Castel Durante, _circa_ 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.
+
+[Illustration: FIG. 10.--VASE. _About_ 1560.]
+
+[Illustration: FIG. 11.--PLATE. _About_ 1530.]
+
+In the year 1635 the name of the _fabrique_ was changed to URBANIA 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.
+
+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.
+
+FAENZA
+
+If not the most ancient, Faenza was one of the most celebrated of the
+manufactories of maiolica in 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 _maiolica_ from Maiorca, and in
+France, _faïence_ 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.
+
+[Illustration: FIG. 12.--PLAQUE. "ANDREA DI BONO, 1491."]
+
+[Illustration: FIG. 13.--PLATE. WITH AN EMBLEM OF TWO HEARTS PIERCED
+WITH ARROWS AND THE MOTTO "EN PIU." _15th Century._]
+
+The products of this _fabrique_ 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.
+
+[Illustration: FIG. 14.--PLAQUE. JOSEPH SOLD BY HIS BRETHREN. _16th
+Century._]
+
+In the 16th century a favourite decoration was grotesques and arabesques
+in blue _camaïeu_ on yellow ground, or alternately on the two colours
+(see Fig. 15). 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.
+
+[Illustration: FIG. 15.--PLATE. ARMS AND ARABESQUES. _16th Century._]
+
+DIRUTA
+
+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 "_In Deruta_" 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.
+
+[Illustration: FIG. 16.--PLATE. BLUE AND WHITE. _16th Century._]
+
+[Illustration: FIG. 17.--PLATE. INSCRIBED "SURA FIORE." _About_ 1520.]
+
+FORLÌ
+
+According to Passeri there were _fabriques_ 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{o}.
+Jeronimo da Forli."
+
+[Illustration: FIG. 18.--PLATE. CHRIST AMONGST THE DOCTORS. Diam. 14 in.
+_16th Century._]
+
+RIMINI is only known by a few specimens, which are actually signed, and
+by the mention made of its _fabriques_ by Piccolpassi. The pieces are
+dated 1535, and as late as 1635.
+
+VITERBO, RAVENNA, AND TREVISO
+
+There were manufactories at these three places in the 16th century, but
+few specimens of their productions now exist. (See Chaffers' _Marks and
+Monograms_, p. 112.) The first named is illustrated (Fig. 19) by a
+plateau; a man at the bottom holds a scroll inscribed "VITERBO DIOMED,
+1544."
+
+[Illustration: FIG. 19.--PLATEAU. DIANA AND ACTÆON. _Dated_ 1544.]
+
+CAFAGGIOLO
+
+This _fabrique_, 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.
+
+[Illustration: FIG. 20.--PLATEAU. ST. GEORGE. _Circa_ 1520.]
+
+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.
+
+Another characteristic of this _fabrique_ is the dark blue background of
+many of the pieces, and the method in which it was coarsely applied by
+the brush.
+
+Fig. 20 represents the St. George of Donatello, from the bronze statue
+in the church of Or San Michele, at Florence.
+
+SIENA
+
+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; the average diameter is 5 inches.
+The plate in blue _camaïeu_ on white ground, in the accompanying
+illustration (Fig. 21) is signed on the reverse "fata in Siena da M{o}.
+Benedetto."
+
+[Illustration: FIG. 21.--PLATE. BY M{O}. BENEDETTO. _About_ 1520.]
+
+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).
+
+[Illustration: FIG. 22.--PLATEAU. WOMAN AND PEACOCKS. _18th Century._]
+
+[Illustration: FIG. 23.--PLATE. VINTAGE. _Signed_ FERDINANDO M{A}
+CAMPANI, SIENA, 1747.]
+
+[Illustration: FIG. 24.--PLATE. GALATEA. _After_ ANNIBALE CARACCI.
+_Early 18th Century._]
+
+PISA
+
+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
+bearing the name "PISA," a large vase of fine form, covered with
+arabesques on white ground, was in the collection of the late Baron
+Alphonse de Rothschild.
+
+VENICE
+
+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 _fabrique_ and not a painter. As an example of Venetian
+maiolica, _circa_ 1700, see Fig. 25, a plate painted with an
+architectural subject.
+
+[Illustration: FIG. 25.--PLATE. _Circa_ 1700.]
+
+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.
+
+NOVE
+
+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 _Fabbrica
+Baroni Nove_. It was prosperous for a short time, and some beautiful
+examples were produced.
+
+[Illustration: FIG. 26.--TUREEN AND COVER. _18th Century._]
+
+_Maiolica fina_ 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.
+
+FLORENCE
+
+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.
+
+[Illustration: FIG. 27.--CUP AND SAUCER.]
+
+PADUA
+
+In a street which still retains the name of _Boccaleri_ (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 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 NICOLETI, the name he usually adopted. The plaque
+is now preserved in the Museum of that city.
+
+[Illustration: FIG. 28.--PLATE. MYRRHA FLEEING FROM HER FATHER.]
+
+Fig. 28, a plate, painted on grey ground, is inscribed on the reverse
+with the name of the place and the date 1548.
+
+CASTELLI
+
+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 Saverio Grue, a man of letters and science, became
+about this time director of this Neapolitan maiolica _fabrique_. 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.
+
+[Illustration: FIG. 29.--BOWL AND COVER. _18th Century._]
+
+[Illustration: FIG. 30.--EWER AND BASIN. _18th Century._]
+
+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."
+
+NAPLES
+
+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.
+
+MONTE LUPO
+
+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.
+
+Fig. 31, is signed on the back "Raffaello Girolamo fecit Monte Lupo
+1639."
+
+[Illustration: FIG. 31.--PLATE. THREE CAVALIERS.]
+
+MILAN
+
+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.)
+
+Some pieces, apparently of a later date, are from the manufactory of
+Pasquale Rubati, and usually signed with his initials.
+
+[Illustration: FIG. 32.--ÉCUELLE AND DISH. _18th Century._]
+
+[Illustration: FIG. 33.--EWER AND DISH. _18th Century._]
+
+[Illustration: FIG. 34.--CUP AND PLATE. _18th Century._]
+
+TURIN
+
+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 Setebre 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).
+
+[Illustration: FIG. 35.--DISH. _Dated_ 1577.]
+
+FERRARA
+
+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 _fabriques_ 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 _impresa_ of the
+Duke, a flame of fire and the motto "ARDET ETERNUM," were produced at
+this _fabrique_, about 1579. At a much later period, probably late in
+the 17th century, there was still a manufactory here.
+
+[Illustration: FIG. 36.--PLATEAU. THE TRIUMPH OF BACCHUS. _First Half of
+the 18th Century._]
+
+BASSANO, NEAR VENICE
+
+A _fabrique_ (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.
+
+GENOA
+
+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 _camaïeu_, sometimes with
+small caricature figures in the style of Callot. 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.
+
+[Illustration: FIG. 37.--BOTTLE. _18th Century._]
+
+Fig. 37, a bottle, painted in blue with birds and scroll ornaments, has
+this mark.
+
+SAVONA
+
+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.
+
+[Illustration: FIG. 38.--BASKET. _18th Century._]
+
+LORETO
+
+Although Santa Casa at Loreto is not strictly speaking a _fabrique_ 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.
+
+[Illustration: FIG. 39.--TWO BOWLS.]
+
+SGRAFFIATO OR INCISED WARE
+
+The earthenware vessels with stanniferous enamel, called in Italy
+_sgraffiato_ ware, have been attributed to CITTÀ DI CASTELLO. They are
+engraved in outline and decorated _en engobe_--that is, the object
+before being glazed is covered with a second coating of coloured slip
+or _engobe_, on which is graved the ornament or design after it has been
+merely dried by the air, leaving a sort of _champ levé_, 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 _sgraffiato_
+ware at LA FRATTA, 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 PAVIA in the 17th century.
+
+[Illustration: FIG. 40.--BOWL OF INCISED WARE. _About_ 1460.]
+
+[Illustration: FIG. 41.--PLATE. Diam., 11-1/2 in. _About_ 1540.]
+
+[Illustration: FIG. 42.--RED GLAZED EARTHENWARE BASKET. _19th Century._]
+
+[Illustration: HISPANO-MORESQUE
+
+FIG. 43.--VASE. Height 20-3/4 in. _15th Century._]
+
+
+SPAIN
+
+The 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.
+
+[Illustration: FIG. 44.--AZULEJO.]
+
+The Hispano-Moresque period, which is best known to us from the numerous
+specimens preserved to our time, commences with the 14th century, when
+the Alhambra of Granada was erected by the Moors.
+
+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.
+
+Fig. 43, a vase, is decorated with leaves and conventional flowers, in
+reddish yellow lustre and blue.
+
+The _azulejos_ 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).
+
+MALAGA. 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.
+
+Figs. 45 and 46 are other specimens of the Spanish lustre ware, with
+shields of arms, of the 15th or 16th century.
+
+MAJORCA 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' Bernardi da
+Uzzano, writing in 1442 about the productions of the Balearic Isles,
+says "_the fayence of Majorca has a very extensive sale in Italy_."
+
+[Illustration: FIG. 45.--PLATEAU.]
+
+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.
+
+VALENCIA 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 _lustred_ 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.
+
+[Illustration: FIG. 46.--PLATEAU.]
+
+[Illustration: FIG. 47.--DISH.]
+
+Valencia has from time immemorial been celebrated for its _azulejos_ 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 extensively made at Valencia
+throughout the 17th and 18th centuries. Fig. 47, a dish, is blue and
+white with a lion in the centre.
+
+MANISES, 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.
+
+[Illustration: FIG. 48.--VASE.]
+
+TRIANA, near Seville. There were several _fabriques_ here, one for the
+manufacture of spires or ornaments of earthenware, with which the gables
+of the buildings were crowned; others for the _azulejos_ 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., _en grande tenue_; inside the _fontange_ or top-knot of the
+headdress, which forms the spout, is written "Victor. I. Viva. Mi. Arno.
+Don. Damian. Sant. [cross]."
+
+[Illustration: FIG. 49.--BOTTLE. Height 14 in.]
+
+[Illustration: FIG. 50.--DISH. _Dated_ 1774.]
+
+ALCORA. There was a very important _fabrique_ of fayence at this place,
+carried on by the Count D'Aranda, in the 18th century.
+
+The usual mark upon this fayence is the letter A in gold or colour.
+
+[Illustration: FIG. 51.--PLAQUE.]
+
+TALAVERA, near Toledo, was one of the most important manufactories in
+Spain in the 17th and 18th centuries, and the word _talavera_ was used
+to indicate all fayence in the same manner as _fayence_ in France and
+_delft_ in England.
+
+[Illustration: FIG. 52.--BOWL. _18th Century._]
+
+Fig. 52, a bowl, is glazed, decorated within and without with a bull
+fight, storks, and trees, in green, orange and manganese.
+
+
+
+
+CONTINENTAL FAYENCE
+
+
+FRANCE
+
+Maiolica 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.
+
+SAINT PORCHAIRE. All the earliest writers on the subject appear to have
+thought that it was made in Touraine, and it was called HENRI DEUX ware.
+
+The ware next became known as FAÏENCE D'OIRON, but in 1888 it was
+affirmed that the factory of this pottery was at Saint Porchaire.
+
+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
+_champ levé_ enamels or niello work in metal.
+
+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, tragic masks, shields of arms of France, and the cipher of
+Henri II.; above are three terminal figures of satyrs; date about 1540.
+
+[Illustration: FIG. 53.--CANDLESTICK.]
+
+Fig. 54, a _biberon_, is inlaid with interlaced bands and scrolls,
+rosettes, guilloches, masks, &c., in a reddish colour; a curved band on
+the neck has a row of ciphers, these being the letters A. M., elegantly
+arranged as a decorative monogram, probably that of the Constable Anne
+de Montmorency.
+
+[Illustration: FIG. 54.--BIBERON. Height 9-1/4 in.]
+
+BEAUVAIS was celebrated for the manufacture of decorative pottery in the
+14th century, and descriptions of cups of the _terre de Beauvais_
+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.
+
+APT. 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.
+
+[Illustration: FIG. 55.--VASE.]
+
+Fig. 55 is a yellow vase with masks and vine leaves.
+
+BLOIS. 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.
+
+[Illustration: FIG. 56.--CANDLESTICK.]
+
+AVIGNON. 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 Italy, sometimes perforated and ornamented with masks and
+flowers in relief, or painted yellow.
+
+[Illustration: FIG. 57.--EWER. _About 1600._]
+
+BERNARD PALISSY, 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 Paris basin; the
+fish are those of the Seine, and the reptiles and plants such as he
+found in the environs of Paris.
+
+[Illustration: FIG. 58.--DISH. _16th Century._]
+
+NEVERS. The earliest evidence of the making of fayence at Nevers is the
+foundation of a _fabrique_ 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 _fabrique_, which was equally
+successful, and seven generations of his family were employed in it.
+Other manufactories were started in the 18th century.
+
+The fayences of the first epoch, 1600 to 1660, have frequently been
+confounded with Italian 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 _bleu de Perse_; 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 _en camaïeu_, sometimes intermixed with a sort of brown lilac.
+
+[Illustration: FIG. 59.--PILGRIM'S BOTTLE. _Bleu de Perse. 2nd half of
+17th Century._ Height 11-1/2 in.]
+
+[Illustration: FIG. 60.--EWER. _Painted with Japanese figures, 2nd half
+of 17th Century._ Height 15-3/8 in.]
+
+[Illustration: FIG. 61.--PILGRIM'S BOTTLE. APOLLO AND DAPHNE; _rev._ A
+BACCHANALIAN SCENE. _In blue and yellow._ Height 12-1/4 in.]
+
+ROUEN. There was a manufactory of pottery at 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 "_à la corne_." 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 _camaïeu_ and in polychrome, some
+in the style of Nevers, with white on _bleu de Perse_, but of paler
+colour. The pieces were frequently of large size, and included
+fountains, consoles, vases, &c.
+
+[Illustration: FIG. 62.--EWER.]
+
+[Illustration: FIG. 63.--EWER.]
+
+[Illustration: FIG. 64.--PLATE.]
+
+Fig. 62 is painted with polychrome decoration of landscapes, &c.; period
+of Louis XIV.; height 26-3/8 in.
+
+Fig. 63 is painted in blue with arabesques and flowers; period of Louis
+XIV.; height 9-3/4 in.
+
+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.
+
+[Illustration: FIG. 65.--COMPOTIER.]
+
+[Illustration: FIG. 66.--COMPOTIER.]
+
+Fig. 65 is painted in polychrome; period of Louis XV.; diam. 9-5/8 in.
+
+Fig. 66 is painted with Chinese figures, &c., in polychrome; period of
+Louis XV.; diam. 10 in.
+
+STRASSBURG[1] and HAGENAU 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.
+
+[Illustration: FIG. 67.--FOUNTAIN.]
+
+[Illustration: FIG. 68.--CLOCK AND BRACKET.]
+
+Fig. 67, polychrome decoration, bears the initials of Paul Hannong;
+about 1750; height 22-1/4 in.
+
+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.
+
+MOUSTIERS. The products of the Moustiers _fabriques_ may be divided into
+three periods:--
+
+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.
+
+[Illustration: FIG. 69.--PLATEAU.]
+
+2nd Epoch. From the commencement of the 18th century to about 1745. The
+specimens of this period are in blue _camaïeu_ 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.
+
+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.
+
+[Illustration: FIG. 70.--COMPOTIER.]
+
+Fig. 69, painted in green _camaïeu_ with a rustic subject in the style
+of Boucher, with polychrome floral border; 1720 to 1760; diam. 11-1/8
+in.
+
+Fig. 70. Compotier, painted with a central hunting subject, after
+Tempesta, surrounded by a floral border, and outer border of garlands,
+in polychrome; 1680 to 1720; diam. 10-3/8 in.
+
+[Illustration: FIG. 71.--PLATE.]
+
+[Illustration: FIG. 72.--BARBER'S BASIN.]
+
+Fig. 71. Plate, octagonal, with curved outline, painted with central
+medallion of Juno standing in a landscape, surrounded by a garland, and
+round the border the busts of divinities within medallions, and
+garlands, in polychrome; 1680 to 1720; diam. 10 in.
+
+Fig. 72. Barber's basin, painted in polychrome with the subject of Diana
+and Actæon; 1680 to 1720; length 15 in.
+
+VARAGES 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. 11-1/2 in.
+
+[Illustration: FIG. 73.--PLATE.]
+
+MARSEILLES. 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 _fabriques_ 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
+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.
+
+[Illustration: FIG. 74.--TUREEN.]
+
+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 _pernettes_ 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.
+
+Fig. 74. Soup tureen, cover, and stand, with polychrome flower
+decoration and gilding, was made by Savy, about 1750; length of tureen,
+15-1/2 in.
+
+SINCENY in Picardy. A manufactory was established here in 1733, by Jean
+Baptiste de Fayard, Gouverneur de Chaunay et Seigneur de Sinceny. Dr.
+Warmont (_Recherches Historiques sur les faïences de Sinceny, &c._,
+Paris, 1864) divides the products of this manufactory into three
+periods:--
+
+    1. Rouennaise, 1734 to 1775.
+    2. Faïence au feu de réverbère, 1775 to 1789.
+    3. Décadence de l'Art, 1789 to 1864.
+
+The earliest pieces were painted in blue; the next in blue touched with
+red or green and yellow, decorated with _lambrequins_ (mantlings), _à la
+corne_ (cornucopiæ), birds, and butterflies. Chinese figures were
+doubtless stencilled by pricked papers and charcoal powder.
+
+[Illustration: FIG. 75.--BOWL AND COVER.]
+
+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 _le feu de réverbère_, in
+contradistinction to the old process _au grand feu_; 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 _camaïeu_;
+delicate wicker baskets, watch stands, &c., were produced; they were
+painted with Chinese figures, rococo scrolls, and other ornaments. From
+1790 the fayence _au feu de réverbère_ 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.
+
+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.
+
+LUNÉVILLE. Founded in 1731 by Jacques Chambrette, it was called _La
+Manufacture Stanislas_; 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.
+
+[Illustration: FIG. 76.--A PAIR OF RUSTIC FIGURES. _With polychrome
+decoration. About 1775._ Height 8-3/4 in.]
+
+[Illustration: FIG. 77.--DISH. _In polychrome. About 1760._ Length
+13-1/4 in.]
+
+APREY, 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.
+
+[Illustration: FIG. 78.--PLATE. _In polychrome._ Diam. 9-3/8 in.]
+
+At MANERBE, near Lisieux in Normandy, and at MALICORNE, INFREVILLE,
+CHÂTEAU-LA-LUNE and ARMENTIÈRES, 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 _figulines rustiques_ of
+Palissy, and have frequently been sold as such.
+
+[Illustration: FIG. 79.--FINIAL. _About 1600._]
+
+ST. CLÉMENT. Established about 1750. Little is known of this _fabrique_.
+There are some specimens of the 18th century in the Sèvres Museum; also
+some others of later date, 1819 and 1823.
+
+[Illustration: FIG. 80.--ÉCUELLE. _With gilt scrolls on white ground._]
+
+TOULOUSE. 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.
+
+NIDERVILLER.[2] 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, 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.
+
+[Illustration: FIG. 81.--VASE.]
+
+Fig. 81. Vase with cover, one of a pair; urn shape, painted to resemble
+deal, with medallions containing landscapes in rose _camaïeu_, and
+borders of bay leaves. It bears the mark of Count Custine; date about
+1774; height 17-3/8 inches.
+
+DOUAI. 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.
+
+VINCENNES. 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.
+
+SARREGUEMINES.[3] 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.
+
+ST. AMAND-LES-EAUX, 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 _fabrique_,
+and advertised that the St. Amand works were in full activity, making
+white fayence in the style of Rouen.
+
+[Illustration: FIG. 82.--INKSTAND.]
+
+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.
+
+SCEAUX PENTHIÈVRE. In 1753, Jacques de 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.
+
+[Illustration: FIG. 83.--PLATE.]
+
+BOURG-LA-REINE. 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.
+
+CREIL. A manufactory of fine fayence, worked in the 18th century by M.
+S{t} Criq, made opaque porcelain and stoneware in the English style, and
+transferred prints on to the ware.
+
+[Illustration: FIG. 84.--PLATE. _With a yellow border and
+transfer-printed landscape._]
+
+MONTEREAU. 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.
+
+LILLE. A manufactory of fayence, was founded in 1696, by Jacques
+Feburier, of Tournai, and Jean Bossu, of Ghent, who made a ware _à la
+façon de Hollande_.
+
+[Illustration: FIG. 85.--DISH.]
+
+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 the same family until 1827. A fourth
+was established in 1744, by M. Chanou, who made a brown earthenware
+called _terre du St. Esprit_, in the English fashion. There were also
+two other factories here in the 18th century.
+
+
+GERMANY
+
+The 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 _Steingut_, and in France
+_grès_ 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.
+
+NUREMBERG (_Nürnberg_). 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 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 _camaïeu_, sometimes
+in other colours.
+
+[Illustration: FIG. 86.--JUG. _15th Century._]
+
+Fig. 86. Jug, of enamelled earthenware, in various colours, with
+figures in low relief; attributed to Veit Hirschvogel; height 13 in.
+
+[Illustration: FIG. 87.--DISH.]
+
+Fig. 87. Dish, painted in the centre with Christ rising from the tomb;
+signed with the painter's name Glüer, 1723.
+
+LEIPZIG. 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., 2-1/2 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 shaded with black; the hair, beard, and eyes of the
+figures are coloured.
+
+STREHLA. 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.
+
+OBERDORF. 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 AUGSBURG, MEMMINGEN, &c.
+
+BAYREUTH. 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
+_camaïeu_. 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 _fabrique_ 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."
+
+[Illustration: FIG. 88.--COFFEE-POT.]
+
+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.
+
+COLOGNE (_Köln_). The stoneware made here in the 16th century is better
+known throughout Europe than any other description of pottery; its
+durability for domestic uses and the elegant character of its
+ornamentation in relief, caused it to be sought for everywhere. The
+_grès de Cologne_ has been confounded with the _grès de Flandres_, 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 _grès_ 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 FRECHEN, and at LAUENSTEIN, where a factory was established in the
+18th century.
+
+There were also factories at SIEGBURG and LIMBURG.
+
+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 RAEREN 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 _grès de Flandres_.
+
+[Illustration: FIG. 89.--LIMBURG CRUCHE. _Grey and blue._ Height 8-3/4
+in.]
+
+[Illustration: FIG. 90.--RAEREN CRUCHE. _Grey and blue._ Height 7-1/4
+in.]
+
+[Illustration: FIG. 91.--SIEGBURG CANETTE. _Cream colour. Dated 1574._
+Height 17-1/4 in.]
+
+GRENZHAUSEN, in Nassau. There was a factory here about 1780, where
+_grès_ or stoneware was made; it is of a fine quality and easily
+mistaken for the more ancient _grès_. 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.
+
+[Illustration: FIG. 92.--JUG.]
+
+Fig. 92, a jug of reticulated pattern, is engine-turned, and enriched
+with brilliant enamel colours, 18th century.
+
+[Illustration: FIG. 93.--FOUNTAIN.]
+
+Fig. 93, a large fountain, is purple blue and white, 16th century;
+height 30 in.
+
+KREUSSEN, a town of Bavaria, has long been noted for its pottery. The
+_grès_ of the 17th century, called _Kreussener Steingut_, 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.
+
+[Illustration: FIG. 94.--TANKARD.]
+
+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.
+
+BUNZLAU, in Silesia. _Grès_ 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.
+
+HARBURG, 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 _en grisaille_, the colours being fixed by heat.
+
+[Illustration: FIG. 95.--CRUCHE.]
+
+Fig. 95, a cruche of fine fayence, painted with a landscape in grey
+_camaïeu_, is signed "_Joh. Schaper_"; it has a white ground with
+flowers and fruit in natural colours; date about 1640; height 8-1/2 in.
+
+SCHERZHEIM, 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.
+
+LAUENSTEIN, near Coblenz. A manufactory was established in 1760; the
+_grès_ 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.
+
+HÖCHST, 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.
+
+DRESDEN. 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 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.
+
+[Illustration: FIG. 96.--BÖTTCHER COFFEE-POT.]
+
+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.
+
+
+TEINITZ (Bohemia). A manufactory was carried on in this small town in
+the 18th century by a potter named Welby.
+
+[Illustration: FIG 97.--PLATE.]
+
+Fig. 97. A plate painted in bistre _camaïeu_ 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.
+
+FRANKENTHAL. 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."
+
+ARNSTADT (Gotha). A factory was established here about the middle of the
+18th century. A fayence jug, painted in blue _camaïeu_, with St. George
+and the Dragon, coloured flowers on the sides, and a purple and green
+check border, is in the British Museum.
+
+KIEL 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.
+
+[Illustration: FIG. 98.--BISHOP'S MITRE BOWL.]
+
+
+HOLLAND AND LUXEMBURG
+
+HOLLAND
+
+Delft, 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.
+
+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{t}. Luc.
+
+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 _camaïeu_; and Albrecht de Keizer, with his two
+sons-in-law, Jacob and Adrian Pynaker, 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.
+
+[Illustration: FIG. 99.--CRUCHE.]
+
+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.
+
+[Illustration: FIG. 100.--TEAPOT.]
+
+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 _camaïeu_, 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.
+
+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.
+
+[Illustration: FIG. 101.--VASE.]
+
+Fig. 99, a cruche, is painted in blue _camaïeu_, with a musical party,
+in the costume of about 1670.
+
+[Illustration: FIG. 102.--PLATE.]
+
+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.
+
+Fig. 101, a vase, is painted in blue with flowers, in imitation of a
+Chinese type. The mark of Ghisbrecht Lambrechtse Kruyk. Later half of
+17th century.
+
+Fig. 102, a plate painted with figures in blue, is one of a set of
+twelve representing the tobacco industry.
+
+UTRECHT. There was a manufactory of tiles here, founded in 1760; they
+were decorated in blue or violet, _en camaïeu_, in imitation of Delft;
+the manufactory was closed in 1855.
+
+AMSTERDAM. 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 _camaïeu_. Fig. 103, a fruit dish, is
+painted in blue, with a man and woman seated.
+
+[Illustration: FIG. 103.--DISH.]
+
+OVERTOOM. 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.
+
+LUXEMBURG
+
+An important _fabrique_ 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.
+
+
+RUSSIA AND SWEDEN
+
+RUSSIA
+
+ST. PETERSBURG. 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 "_Connaissances Politiques_," of
+Beausobre, published at Riga in 1773: "There is also among the porcelain
+manufactories at St. Petersburg a _fabrique_ 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 _fabrique_ of fayence,
+and has obtained painters and potters from Germany."
+
+SWEDEN
+
+RÖRSTRAND, 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.
+
+[Illustration: FIG. 104.--BUTTERBOAT.]
+
+[Illustration: MARIEBERG
+
+FIG. 105.--VASE AND COVER.]
+
+Fig. 104, a butterboat, leaf-shaped, is painted with flowers; dated
+1771.
+
+STOCKHOLM is the same manufactory as Rörstrand, but the mark was altered
+when the latter town was united to the capital.
+
+MARIEBERG, 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.
+
+[Illustration: FIG. 106.--PLATE.]
+
+Fig. 105, a vase and cover, is coloured in relief; date about 1770.
+
+Fig. 106, a plate with pierced border, has a shield of arms and flowers;
+dated 1768.
+
+
+
+
+CONTINENTAL PORCELAIN
+
+
+Porcelain 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.
+
+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 _pâte tendre_ 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.
+
+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 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.
+
+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 (_au grand feu_), 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 _indicia_
+must also be taken into consideration.
+
+
+ITALY
+
+FLORENCE. 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 _kaolin_ and _petuntse_, but was a soft paste and
+_translucent_, 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.
+
+[Illustration: FIG. 107.--CRUET.]
+
+Fig. 107, a cruet for oil and vinegar, has scroll ornament in blue; on
+either spout A and O (Aceto and Olio). About 1600.
+
+Fig. 108, a bowl, is painted inside and out with blue flowers. About
+1600.
+
+[Illustration: FIG. 108.--BOWL.]
+
+DOCCIA. 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.
+
+[Illustration: FIG. 109.--TEAPOT.]
+
+About 1860 the fabrication of the imitative Capo di Monte ware of the
+18th century, in coloured _mezzo-rilievo_, 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.
+
+[Illustration: FIG. 110.--BASIN.]
+
+Fig. 109, a teapot, is painted with flowers and purple border.
+
+Fig. 110, a basin, has a band of flowers in relief. Diameter 5-1/2 in.
+
+NAPLES--CAPO DI MONTE. 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 character 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, _circa_ 1760.
+
+[Illustration: FIG. 111.--VASE.]
+
+[Illustration: FIG. 112.--SAUCER.]
+
+[Illustration: FIG. 113.--CUP AND SAUCER.]
+
+[Illustration: FIG. 114.--COFFEE-POT.]
+
+Fig. 111, a vase, has green ornaments, on gold ground, and medallions of
+figures.
+
+Fig. 112, a saucer, bears a portrait of Ferdinand IV. and legend.
+
+Fig. 113, a cup and saucer, is painted with landscape and figures.
+
+Fig. 114, a coffee-pot, has classical subjects.
+
+TREVISO. 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.
+
+[Illustration: FIG. 115.--ÉCUELLE.]
+
+Fig. 115, an écuelle, with blue ground, has gold fret borders and oval
+medallions of Italian buildings, landscapes, and figures.
+
+[Illustration: FIG. 116.--CUP AND SAUCER.]
+
+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.
+
+TURIN--VINOVO. 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.
+
+[Illustration: FIG. 117.--ÉCUELLE.]
+
+Fig. 117, an écuelle, is ornamented in gold, with initials and the Royal
+Arms.
+
+VENICE. Porcelain of soft paste was made here probably about 1720.
+
+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.
+
+Materials for making porcelain were to be obtained in the Venetian
+dominions, but not such as to produce the _hard_ 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 _hard_ and _soft_ paste.
+
+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.
+
+[Illustration: FIG. 118.--VASE AND COVER.]
+
+[Illustration: FIG. 119.--VASE. _Cozzi period._ Height 17 in.]
+
+A beautiful example of this porcelain is represented in Fig. 118, a vase
+and cover of hard paste painted in lake _camaïeu_, 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.
+
+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 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.
+
+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.
+
+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.
+
+The manufactory ceased to exist in 1812.
+
+NOVE. 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.
+
+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 (_ad uso di Sassonia_), the other two for
+French porcelain (_ad uso di Francia_).
+
+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.
+
+[Illustration: FIG. 120.--JARDINIÈRE. _By_ ANTONIBON.]
+
+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, 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.
+
+[Illustration: FIG. 121.--VASE.]
+
+Pasqual Antonibon and his son Giovanni Battista continued the
+fabrication of porcelain until the 6th February 1781, when they entered
+into partnership with Signor Parolini. The same manufacture, _con sommo
+onore dell'arte_, 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.
+
+[Illustration: FIG. 122.--VASE.]
+
+[Illustration: FIG. 123.--MILK-POT.]
+
+An example of the Baroni _fabrique_, in porcelain, with female figure
+handles, and painted with classical subjects, is given. (See Fig. 121.)
+
+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 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.
+
+
+SPAIN
+
+MADRID--BUEN RETIRO. This manufactory (_Soft Paste_), called "_La
+China_," was founded by Charles III. in 1759, in the gardens attached to
+his palace, EL BUEN RETIRO, 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.
+
+[Illustration: FIG. 124.--GROUP.]
+
+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.
+
+[Illustration: FIG. 125.--VASE. Height 22 in.]
+
+[Illustration: FIG. 126.--VASE. _With scenes from_ "Don Quixote." Height
+17 in.]
+
+Ferdinand VII., on his restoration, recreated _La China_, at La Mancha,
+once a villa of the Alva family on the Manzanares; but this factory
+also has ceased to exist, at least as regards artistic merit.
+
+ALCORA. The Comte de Laborde, in his _View of Spain_, 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, _Viaje de
+España_, in 1793.
+
+[Illustration: FIG. 127.--PLAQUE.]
+
+
+GERMANY
+
+DRESDEN. 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. 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 productions emanated from
+the Dresden manufactory from 1731 to 1756.
+
+[Illustration: FIG. 128.--VASE.]
+
+[Illustration: FIG. 129.--SUCRIER, CUP AND SAUCER. _Etched by_ BUSCH.]
+
+[Illustration: FIG. 130.--CUP AND SAUCER. _Of the Marcolini period, with
+gros bleu ground._]
+
+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
+his vanity, for not only the tailor but his wife were thus immortalised,
+_aere perennius_, 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.
+
+[Illustration: FIG. 131.--VASE AND COVER. _Painted with views of public
+buildings in Dresden._]
+
+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.
+
+[Illustration: FIG. 132.--BUST OF A GIRL. _White porcelain._]
+
+[Illustration: FIG. 133.--TEAPOT AND SAUCER. _Pink ground, painted with
+landscapes and figures._]
+
+BERLIN. This manufactory for _Hard Paste_ 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.
+
+[Illustration: FIG. 134.--GROUP. _In plain white. Wegeli period._ Height
+9 in.]
+
+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.
+
+In 1763, Gottskowski gave up to the king the whole of his factory of
+porcelain, receiving 225,000 dollars, and entering into a contract for
+the sale of his secrets.
+
+[Illustration: FIG. 135.--GROUP. _Wegeli period._ Height 6-3/4 in.]
+
+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 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.
+
+[Illustration: FIG. 136.--MILK-POT, CUP AND SAUCER.]
+
+In 1769 an order was published permitting a lottery company to purchase
+annually to the amount of 90,000 dollars.
+
+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.
+
+HÖCHST, 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 Gottlieb Kuntze was
+another celebrated worker in this _fabrique_. On the invasion of the
+French under General Custine in 1794, all the materials were sold by
+auction.
+
+[Illustration: FIG. 137.--LAMP-STAND.]
+
+[Illustration: FIG. 138.--TRAY AND SUCRIER.]
+
+FRANKENTHAL, 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 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:--
+
+  VARIANTIBVS · FLOSCVLIS · DIVERSI · COLORES ·
+  FABRICÆ · SVB · REVIVISCENTIS · SOLIS · HVIVS ·
+  RADIIS · EXVLTANTIS ·
+  IN·FRANKENTHAL· [star]
+
+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, _en
+camaïeu_, of all the various shades of colour employed in the
+manufactory.
+
+[Illustration: FIG. 139.--PLATE.]
+
+[Illustration: FIG. 140.--A DÉJEUNER SERVICE.]
+
+NEUDECK, on the Au, and NYMPHENBURG. 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, 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.
+
+[Illustration: FIG. 141.--TANKARD.]
+
+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 7-1/4
+in.
+
+Fig. 142, painted in colours; marks, the coat of arms of Bavaria, and A
+incised; diameter 3-1/4 in. and 5-1/4 in.
+
+[Illustration: FIG. 142.--CUP AND SAUCER.]
+
+[Illustration: FIG. 143.--CUP AND SAUCER.]
+
+ANSPACH, a town which belonged to the Margraves of Anspach and is now
+in Bavaria. There was a factory here about 1760.
+
+Fig. 143 is painted with figures in colour; signed "Schelk, pinx."; mark
+A in blue; diameter 3 ins. and 5-1/4 in.
+
+BAYREUTH 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.
+
+[Illustration: FIG. 144.--CUP.]
+
+Fig. 144 is painted in colours, and gilt inside; mark, "Metzsch 1748
+Bayr"; diameter 2-3/4 in.
+
+KELSTERBACH, in Hesse. A manufactory for pottery was founded here about
+1758, where later porcelain was also made. The works only lasted about
+sixteen years.
+
+[Illustration: FIG. 145.--HARLEQUIN.]
+
+Fig. 145 is painted in colours; mark, H. D. under a crown, in blue;
+height 6-3/4 in.
+
+THURINGIA. 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 SITZENRODA, which in 1762 was
+removed to Volkstedt.
+
+[Illustration: FIG. 146.--CUP AND SAUCER. Diam. 2-3/4 in. and 5-3/4 in.]
+
+CLOSTER, or KLOSTER, VEILSDORF, or VOLKSTEDT. 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.
+
+[Illustration: FIG. 147.--TEAPOT.]
+
+[Illustration: FIG. 148.--TRAY.]
+
+Fig. 148 is moulded in rococo style, and painted with flowers; mark,
+shield of Saxe-Meiningen between C. V.; length 12-1/2 in.
+
+RUDOLSTADT. 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.
+
+[Illustration: FIG. 149.--MILK-POT AND CUP AND SAUCER.]
+
+FULDA, 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.
+
+[Illustration: FIG. 150.--A PEASANT.]
+
+[Illustration: FIG. 151.--A PEASANT.]
+
+[Illustration: FIG. 152.--CUP AND SAUCER.]
+
+[Illustration: FIG. 153.--COFFEE-POT.]
+
+FÜRSTENBERG. 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.
+
+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 20-1/2 in.
+
+[Illustration: FIG. 154.--BUST.]
+
+[Illustration: FIG. 155--MEDALLIONS. _In white biscuit._]
+
+Fig. 155. Portraits of O. D. Beckmann and A. L. Schlötzer; marked with a
+running horse and F; length 2-7/8 in.
+
+LUDWIGSBURG, 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.
+
+[Illustration: FIG. 156.--CHOCOLATE-POT.]
+
+Fig. 156 is painted with figures of Hope and Music in panels; mark,
+double C under a crown, in blue; height 5-1/4 in.
+
+[Illustration: FIG. 157.--COFFEE-POT.]
+
+Fig. 157 is painted in lake _camaïeu_, with a landscape and buildings
+after Claude, and has a gilt, arabesque and scroll border.
+
+REGENSBURG, or RATISBON. This factory was established about 1760.
+
+[Illustration: FIG. 158.--CUP AND SAUCER.]
+
+GROSSBREITENBACH. 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.
+
+[Illustration: FIG. 159.--MILK-POT.]
+
+Fig. 159 is grey blue ware in imitation of Wedgwood, 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.
+
+[Illustration: LIMBACH
+
+FIG. 160.--SUCRIER, COVER, AND STAND.]
+
+LIMBACH, Saxe-Meiningen. This manufactory was also under the direction
+of Gotthelf Greiner. It was established about 1762.
+
+Fig. 160 is painted with flowers; mark, two letters L crossed; diameters
+4-7/8 and 8-1/4 in.
+
+GERA. A manufactory was founded here about 1780.
+
+[Illustration: FIG. 161.--SUGAR BASIN.]
+
+Fig. 161 is painted with festoons of pink flowers; mark, G in blue;
+height 6-1/4 in.
+
+[Illustration: FIG. 162.--CUP, COVER, AND SAUCER.]
+
+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 5-1/4 in.
+
+BADEN-BADEN. 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.
+
+[Illustration: GOTHA
+
+FIG. 163.--FIGURE OF BACCHUS. _In white biscuit._ Height 11 in.]
+
+GOTHA. Founded in 1780 by Rothenberg, and afterwards (1802) conducted by
+Henneberg.
+
+RAUENSTEIN, in Saxe-Meiningen. A factory for hard paste was established
+here in 1760.
+
+[Illustration: FIG. 164.--CUP AND SAUCER.]
+
+Fig. 164 is painted with flowers; mark, R--n; diameters 3 and 5 in.
+
+
+WALLENDORF, in Saxe-Coburg. There was also a factory for hard paste
+established by Greiner and Haman here in 1762.
+
+Fig. 165 is painted in dark blue, and with leaves in relief; mark, W, in
+blue; height 10 in.
+
+[Illustration: FIG. 165.--VASE.]
+
+
+AUSTRIA
+
+VIENNA
+
+This manufactory for _hard paste_ 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 (_Adventures of a Bric-à-Brac Hunter_), 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.
+
+[Illustration: FIG. 166.--CABARET.]
+
+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 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.
+
+[Illustration: FIG. 167.--MILK-POT.]
+
+After twenty-five years' labour De Blaquier decided in 1744 to offer the
+works to the Government.
+
+The young Empress Maria Theresa resolved to support the factory, which
+promised to give occupation and profit to her subjects, honour and gain
+to 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.
+
+[Illustration: FIG. 168.--PLATE.]
+
+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.
+
+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 _chefs d'oeuvre_ of the early masters were copied,
+while the gilding was brought to a perfection which has never been
+surpassed.
+
+[Illustration: FIG. 169.--CUP AND "TREMBLEUSE" SAUCER. _18th Century._]
+
+After the death of the Baron in 1805, Neidermayer became Director. The
+manufacture continued 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.
+
+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.
+
+Fig. 166 is painted in _camaïeu_ on purple ground, and gilt; mark,
+shield crowned; length of tray 12 in.
+
+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.
+
+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.
+
+SCHLAGGENWALD, 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."
+
+[Illustration: FIG. 170.--CUP AND SAUCER.]
+
+Fig. 170 is painted in colours, with medallions containing figures of
+Justice; mark, S; diam. 2-1/2 and 5 in.
+
+HEREND, in Hungary. There was a manufactory of porcelain here towards
+the end of the 18th century, but particulars concerning its origin are
+not known.
+
+Fig. 171 is painted in oriental style, with flowers, &c.; late 18th
+century.
+
+[Illustration: FIG. 171.--PORTION OF A CABARET OR BREAKFAST SERVICE.]
+
+
+SWITZERLAND
+
+NYON, 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.
+
+[Illustration: FIG. 172.--CUP AND SAUCER.]
+
+ZÜRICH. 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.
+
+[Illustration: NYON
+
+FIG. 173.--CUP AND SAUCER. _With mark, fish in blue._]
+
+Fig. 174 represents a soldier trampling on a Turk and unveiling a lady,
+martial and love trophies on the ground.
+
+[Illustration: FIG. 174.--A GROUP.]
+
+
+HOLLAND
+
+WEESP. 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.
+
+[Illustration: FIG. 175.--EWER. _With mark, W._]
+
+[Illustration: FIG. 176.--COFFEE-POT. _Mark, a cross and dots._]
+
+OUDE LOOSDRECHT, 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.
+
+[Illustration: FIG. 177.--VASE.]
+
+[Illustration: FIG. 178.--PANEL. _Mark, M : o L. in blue._ Width 12-3/4
+in.]
+
+AMSTERDAM. Fig. 179. Painted in lake _camaïeu_ with birds and trees; the
+mark, lion, in blue.
+
+[Illustration: FIG. 179.--A PAIR OF BOTTLES.]
+
+OUDE AMSTEL. 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.
+
+[Illustration: FIG. 180.--TEAPOT AND SUCRIER.]
+
+[Illustration: FIG. 181.--SUCRIER.]
+
+THE HAGUE. 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.
+
+[Illustration: FIG. 182.--PLATE. _Of soft paste._]
+
+Fig. 182 bears the mark of a stork in blue; diam. 9-1/2 in.
+
+
+BELGIUM AND LUXEMBURG
+
+BELGIUM
+
+TOURNAI. 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 _fabrique_ in France, is still made at both places, and
+they consequently produce the closest imitations of old Sèvres _pâte
+tendre_.
+
+[Illustration: FIG. 183.--CUP AND SAUCER. _With the early mark in
+gold._]
+
+Fig. 184 is painted in blue; mark, crossed swords and three crosses;
+diam. 9-1/2 in.
+
+[Illustration: FIG. 184.--PLATE.]
+
+[Illustration: FIG. 185.--SALT-CELLAR.]
+
+Fig. 185 is painted with birds; mark, crossed swords and four crosses,
+in gold; height 4-3/8 in.
+
+BRUSSELS. There was a manufactory of hard paste porcelain here towards
+the end of the 18th century.
+
+[Illustration: FIG. 186.--MILK JUG. _Signed L. Cretté._]
+
+[Illustration: FIG. 187.--TEAPOT.]
+
+LUXEMBURG
+
+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.
+
+[Illustration: LUXEMBURG
+
+FIG. 188.--TWO FIGURES OF "THE SEASONS." _With mark, B. L._]
+
+
+RUSSIA
+
+At 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 _fabrique_ 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.
+
+[Illustration: FIG. 189.--CUP AND SAUCER. _With the mark of the Emperor
+Paul._]
+
+[Illustration: FIG. 190.--VERRIÈRE.]
+
+MOSCOW, 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.
+
+[Illustration: FIG. 191.--STATUETTE. _Mark, G in blue._ Height 8 in.]
+
+[Illustration: FIG. 192.--CUP AND SAUCER. _With view of Moscow. Mark, A.
+Popoffe's initials._]
+
+A porcelain manufactory was established at TWER, by an Englishman named
+Gardner, in 1787, and another by A. Popoff.
+
+KORZEC, in Volhynia. About 1803, Mérault, a chemist of the Sèvres
+manufactory, went to direct the _fabrique_ 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.
+
+[Illustration: FIG. 193.--_Pâte dure CUP AND SAUCER. Painted with a
+portrait of a lady, en grisaille, with gilt borders. Mark, Eye
+within a triangle._]
+
+BARANOWKA, in Volhynia. A small factory existed here at which the
+porcelain clay found in the neighbourhood was used.
+
+[Illustration: FIG. 194.--MILK JUG. _Mark, the name of the town._]
+
+
+SWEDEN
+
+MARIEBERG. This manufactory produced porcelain (_soft paste_), 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.
+
+[Illustration: FIG. 195.--CUSTARD CUP AND COVER. _Mark, M.B. combined._
+Height 3-1/4 in.]
+
+
+DENMARK
+
+COPENHAGEN. 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.
+
+[Illustration: FIG. 196.--CABARET. _With portraits of Raphael, and other
+celebrated painters._]
+
+[Illustration: FIG. 197.--CABARET.]
+
+
+FRANCE
+
+ST. CLOUD. 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.
+
+[Illustration: FIG. 198.--JUG.]
+
+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.
+
+[Illustration: FIG. 199.--STATUETTE. _Astronomy seated, holding the
+sun._]
+
+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 Chicanneau. In 1742
+another _arrêt_ granted privileges for twenty years to both these
+establishments, and Marie Moreau dying in 1743 left Dominique her
+business.
+
+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.
+
+CHANTILLY. 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.
+
+[Illustration: FIG. 200.--DISH. _Mark, hunting horn and P, in gold._
+Diameter 12 in.]
+
+[Illustration: FIG. 201.--PAIR OF FIGURES.]
+
+ROUEN. Louis Poterat, Sieur de St. Ètienne, of St. Sever, at Rouen,
+obtained letters patent in 1673, 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.
+
+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.
+
+MENNECY-VILLEROY. 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 _porcelaine tendre_ of St. Cloud, of a
+milky translucent appearance.
+
+[Illustration: FIG. 202.--SUGAR BASIN AND STAND.]
+
+Barbin was succeeded about 1748 by Messieurs 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.
+
+[Illustration: FIG. 203.--GROUP OF CHILDREN.]
+
+SCEAUX PENTHIÈVRE, 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, but the production of _pâte tendre_
+ceased before that time.
+
+[Illustration: FIG. 204.--CUP AND SAUCER.]
+
+[Illustration: FIG. 205.--MILK-POT. _Mark, S. X._]
+
+ARRAS. 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.
+
+[Illustration: FIG. 206.--SEAU. _Mark, A. R._]
+
+BOULOGNE-SUR-MER. Established by M. Haffringue, in the 19th century,
+with the kaolin of Limoges.
+
+[Illustration: FIG. 207.--PLAQUE. _White biscuit._]
+
+[Illustration: FIG. 208.--SUCRIER. _White biscuit._]
+
+ÉTIOLLES (Seine-et-Oise), near Corbeil. Established in 1768, by Monnier,
+for soft paste porcelain. The works lasted only a short time.
+
+[Illustration: FIG. 209.--CUP AND SAUCER. _Mark, E. Pellevé_, 1770.
+Diameter 2-1/2 and 5 in.]
+
+LILLE. Established in 1711 by Barthélemy Dorez and Pierre Pelissier, his
+nephew, natives of Lille. The porcelain (_pâte tendre_) 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.
+
+[Illustration: FIG. 210.--CUP AND SAUCER. _With mark, crowned Dolphin._]
+
+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.
+
+BOURG-LA-REINE. 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.
+
+[Illustration: FIG. 211.--CUSTARD CUP. _Mark, B. R._ Height 3-1/4 in.]
+
+CLIGNANCOURT. Established in 1775 by Pierre Deruelle, under the
+patronage of Monsieur le Comte de Provence, brother of the king
+(afterwards Louis XVIII.).
+
+[Illustration: FIG. 212.--MILK-POT AND COVER.
+
+FIG. 213.--CUP AND DISH.
+
+FIG. 214.--MILK JUG.]
+
+LUNÉVILLE. 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.
+
+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 _terre de Lorraine_, and in the
+following year a new privilege was granted for making groups and
+statuettes with his improved paste, under the name of _pâte de marbre_.
+
+ORLEANS. 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 _fils_ about 1788, Piédor, Dubois, and lastly, Le Brun, from
+1808 to 1811.
+
+NIDERVILLER. 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
+_fabrique_, under the direction of M. Lanfray, who paid especial
+attention to the production of fine porcelain; the fabrication of
+statuettes was greatly increased.
+
+[Illustration: ORLEANS
+
+FIG. 215.--BOWL, COVER, AND STAND. _Mark, heraldic label in blue._]
+
+[Illustration: FIG. 216.--MILK-POT AND COVER. _Mark, double C under
+coronet, in blue._ Height 6-1/2 in.]
+
+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 _fabrique_ from the kaolin of St.
+Yrieix prevented him from competing successfully with those of Limoges,
+and this branch was abandoned.
+
+BOISSETTE, near Melun. A factory was established in 1777 by Jacques
+Vermonet père et fils, but it lasted only a short time.
+
+[Illustration: FIG. 217.--TEAPOT.]
+
+CAEN, 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.
+
+[Illustration: FIG. 218.--CUP AND SAUCER. _With "Caen" stencilled in
+red._]
+
+VALENCIENNES (Nord). By an Order of Council, dated 24th May 1785, M.
+Fauquet was permitted to 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.
+
+[Illustration: FIG. 219.--CUP AND SAUCER. _Mark, F. L. V., in cipher, in
+blue._ Diam. 3-3/4 and 6-1/4 in.]
+
+ST. AMAND-LES-EAUX. Founded by M. Maximilien de Bettignies in 1815, for
+the manufacture of _pâte tendre_ 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.
+
+STRASSBURG. About the year 1752, Paul Hannong obtained the secret of
+true porcelain from 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.
+
+[Illustration: Fig. 220.--CUP AND SAUCER. _Mark, J. H._ Diam. 2-5/8 and
+5-5/8 in.]
+
+MARSEILLES. 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.
+
+PARIS. Rue Thiroux. Established in 1778 by André Marie Lebeuf, and the
+ware was called "Porcelaine de la Reine."
+
+[Illustration: FIG. 221.--SUCRIER. _Mark, crowned A._]
+
+PARIS. 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."
+
+[Illustration: FIG. 222.--EWER AND BASIN.]
+
+PARIS. 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.
+
+[Illustration: FIG. 223.--PART OF A TEA SERVICE.]
+
+PARIS. Faubourg St. Honoré. A factory was established here by Veuve
+Chicanneau, _née_ Marie Moreau. The teapot, Fig. 224, was probably made
+at these works.
+
+[Illustration: FIG. 224.--TEAPOT. _Mark, V{e} M. & C._]
+
+PARIS. 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
+_Manufacture de M. le Duc d'Orléans_. They were afterwards established
+in Rue Amelot, _au Pont-aux-Choux_, by which name the porcelain is
+generally known.
+
+[Illustration: FIG. 225.--TEAPOT.]
+
+The former name ceased in 1793, with the condemnation of the Duke of
+Orleans, and the objects subsequently produced were inscribed merely
+"_Fabrique du Pont-aux-Choux_."
+
+PARIS. Rue de Crussol. Established in 1789 by Charles Potter, an
+Englishman, and the ware was called the "Prince of Wales's China."
+
+[Illustration: FIG. 226.--CUP.]
+
+PARIS. 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.
+
+[Illustration: FIG. 227.--WATCH-STAND. _Plain white of rococo form.
+Mark, J. P. in blue._ Height 5 in.]
+
+PARIS. 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.
+
+VINCENNES. 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.
+
+[Illustration: FIG. 228.--CUP AND SAUCER. _Mark, H. L. L., in gold._
+Diam. 2-1/2 and 5 in.]
+
+VINCENNES AND SÈVRES
+
+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.
+
+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 removed to a large edifice at
+SÈVRES built expressly for the company.
+
+A favourite decoration of Vincennes porcelain was flowers and birds, on
+a beautiful _bleu de roi_ ground, and cupids painted in _camaïeu_ of a
+single colour.
+
+[Illustration: FIG. 229.--VASE. _Bleu de roi ground, with panels with
+birds in gold. Mark, double L enclosing a dot, in gold._ Height 9-1/4
+in.]
+
+In 1760 the king became sole proprietor, and M. Boileau was appointed
+director.
+
+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."
+
+[Illustration: FIG. 230.--CUP AND SAUCER. _Bleu de roi ground, with
+white medallions enclosing birds in gold. Mark, double L, in blue._
+Diam. 2-5/8 and 5-3/8 in.]
+
+The principal colours used in decorating the ground of the Sèvres vases
+were:--
+
+1. The _bleu céleste_, or turquoise, invented in 1752 by Hellot.
+
+2. The rich cobalt blue, called _bleu de roi_, of which there were two
+varieties, the darker being designated _gros bleu_.
+
+3. The _violet pensée_, a beautiful violet from a mixture of manganese,
+one of the rarest decorations of the _pâte tendre_.
+
+[Illustration: FIG. 231.--VASE.]
+
+4. The _rose Pompadour_ (called in England _rose Du-Barry_), a charming
+pink or rose colour invented in 1757 by Xhrouet of Sèvres.
+
+5. The clear yellow or _jonquille_, a sort of canary colour.
+
+6. The _vert pré_, or bright grass green.
+
+[Illustration: FIG. 232.--ÉCUELLE. _Dated 1771._]
+
+7. The _vert pomme_, or apple green.
+
+8. The _rouge de fer_, a brilliant red.
+
+9. The _oeil de perdrix_ was at a later period a favourite ornament
+for the grounds of vases.
+
+[Illustration: FIG. 233.--BISCUIT GROUP. CUPID AND PSYCHE.]
+
+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 _Marks and Monograms on
+Pottery and Porcelain_, 10th edition.
+
+The beautiful _pâte tendre_ 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.
+
+
+
+
+GREAT BRITAIN
+
+
+POTTERY
+
+The 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.
+
+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.
+
+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 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.
+
+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."
+
+STAFFORDSHIRE
+
+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 _slip_, diluted to the consistence
+of syrup, so that it could run out through a quill. The 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.
+
+[Illustration: FIG. 234.--TYG. _With four handles. Dated_ 1621.]
+
+[Illustration: FIG. 235.--MUG. _With two handles. Dated_ 1682.]
+
+[Illustration: FIG. 236.--PLATEAU. _With Charles II. and his Queen, in
+relief. By_ RALPH TOFT. 1677.]
+
+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.
+
+BURSLEM. The family of WEDGWOOD 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.
+
+[Illustration: FIG. 237.--VASE. _Pale blue jasper, with subjects in
+relief._]
+
+Next Josiah Wedgwood went into partnership with Thomas Whieldon of
+Fenton Low, one of the most eminent potters of his day, and they
+remained together five years; while here Wedgwood also produced that
+fine green glaze which covered his dessert services, in imitation of
+leaves.
+
+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.
+
+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 ETRURIA in 1769.
+
+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 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.
+
+[Illustration: FIG. 238.--VASE. _Of basaltes ware._]
+
+[Illustration: FIG. 239.--THE PORTLAND VASE. _Of black and white
+jasper._]
+
+In 1785 a "jasper dip" was introduced, in which 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.
+
+[Illustration: FIG. 240.--TEAPOT, CADDY, AND PLATE. _With printed
+transfer._]
+
+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.
+
+Josiah Wedgwood died on the 3rd of January 1795, in his 65th year.
+
+[Illustration: FIG. 241.--SIX JASPER CAMEOS.]
+
+[Illustration: FIG. 242.--VASE. _Granite ground, with gilt festoons and
+handles._]
+
+[Illustration: FIG. 243.--EWER. _Of agate ware._]
+
+[Illustration: FIG. 244.--AN OBELISK, _by_ RALPH WOOD, _and_ A TEA SET,
+_by_ AARON WOOD.]
+
+In 1773 RALPH SHAWE 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.
+
+RALPH WOOD was established at Burslem about 1730, and was succeeded
+about 1750 by his son AARON WOOD, 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 ENOCH WOOD, 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.
+
+[Illustration: FIG. 245.--STATUETTE. _Chaucer, by_ RALPH WOOD.]
+
+MOSES STEEL 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.
+
+[Illustration: FIG. 246.--VASE.]
+
+SHELTON. ASTBURY 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; after gaining their secret, he set up
+in business against them.
+
+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.
+
+SAMUEL HOLLINS 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 J. HOLLINS.
+
+[Illustration: FIG. 247.--GREEN BOWL. _With ornaments in relief. Signed
+"S. Hollins."_]
+
+[Illustration: FIG. 248.--BASIN. _With white ground and blue figures in
+relief. Stamped T. and J. Hollins._]
+
+The NEW HALL CHINA WORKS 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.
+
+[Illustration: FIG. 249.--CUP AND SAUCER. _Painted with flowers._]
+
+BRADWELL. A potter to whom Staffordshire was indebted for great
+improvements in the ware was JOHN PHILIP ELERS, who about 1690 came over
+from Holland and settled at Bradwell. He was descended from a noble
+family of Saxony.
+
+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, 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.
+
+[Illustration: FIG. 250.--TEAPOT. _Of red ware, with flowers in
+relief._]
+
+HANLEY. Shaw mentions a Mr. MILES of Miles's 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).
+
+[Illustration: FIG. 251.--BARREL.]
+
+ELIJAH MAYER 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).
+
+[Illustration: FIG. 252.--VASE.]
+
+He also produced basaltes ware tea services, with animals, &c., in
+relief.
+
+PALMER 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 NEALE. 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.
+
+[Illustration: FIG. 253.--JARDINIÈRE. _Of blue and white jasper._]
+
+[Illustration: FIG. 254.--VASE.]
+
+J. VOYEZ of Hanley was a clever artist; he was employed by Wedgwood and
+afterwards by Neale and Palmer.
+
+FENTON. THOMAS WHIELDON 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.
+
+TUNSTALL. ENOCH BOOTH of Tunstall, and JOHN WARBURTON of COBRIDGE in the
+same county, were extensive potters, and first made cream-coloured
+pottery by the use of fluid glaze introduced by Booth.
+
+WILLIAM ADAMS 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.
+
+[Illustration: FIG. 255.--JUG. _Of blue jasper._]
+
+LANE END. JOHN TURNER 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.
+
+[Illustration: FIG. 256.--SUGAR BASIN. _Of yellow clay, with figures in
+relief._]
+
+[Illustration: FIG. 257.--TEAPOT. _With medallion, figures in relief._]
+
+LONGPORT. The Messrs. DAVENPORT 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.
+
+[Illustration: FIG. 258.--CUP, COVER, AND SAUCER.]
+
+[Illustration: FIG. 259.--DISH.]
+
+LANE DELPH (now Middle Fenton). MILES MASON 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.
+
+[Illustration: FIG. 260.--CUP, COVER, AND SAUCER.]
+
+STOKE-ON-TRENT. THOMAS MINTON 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. 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.
+
+LIVERPOOL. 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 in decorating them, and many
+are still in existence painted with ships, convivial mottoes, and
+inscriptions.
+
+[Illustration: FIG. 261.--MUG.]
+
+Another important establishment was founded by Mr. John Sadler, the son
+of a painter, who had learnt the art of engraving.
+
+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.
+
+[Illustration: FIG. 262.--PUNCH BOWL.]
+
+Wedgwood availed himself of this new mode of decoration, and sent his
+Queen's ware weekly to Messrs. Sadler and Green to be printed.
+
+[Illustration: FIG. 263.--TILES. _By_ J. SADLER.]
+
+[Illustration: FIG. 264.--TEAPOT. _With portrait of Wesley._]
+
+RICHARD CHAFFERS 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).
+
+His porcelain works were established about the same time as those of
+Worcester and Derby, and his productions had a great sale in England.
+
+The Liverpool establishments of PENNINGTON, PHILIP CHRISTIAN and RICHARD
+ABBEY were on an extensive scale, but towards the end of the eighteenth
+century only one of any importance survived, and that belonged to
+Messrs. WORTHINGTON, HUMBLE and HOLLAND, 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.
+
+JACKFIELD, 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 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 COALPORT, on the opposite side of the Severn,
+where the well-known Salopian porcelain was made.
+
+[Illustration: FIG. 265.--TEAPOT.]
+
+Fig. 265. A black glazed teapot inscribed "Richard and Ruth Goodin,
+1769."
+
+FULHAM. The first successful imitation of the _grès de Cologne_ was made
+by JOHN DWIGHT, 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.
+
+Dwight produced a great variety of objects, and 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.
+
+[Illustration: FIG. 266.--"LYDIA DWIGHT. _Dyed March 3, 1673._"]
+
+LAMBETH. The next important pottery in England in the 17th century was
+that of Lambeth. In the _History of Lambeth_ 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.
+
+[Illustration: FIG. 267.--DISH.]
+
+The white bottles or jugs, upon which are written the names of wines
+accompanied by dates, were made here.
+
+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.
+
+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.
+
+YEARSLEY, 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.
+
+There was also a manufactory established at the Manor-house, YORK, 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.
+
+DON POTTERY. 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."
+
+[Illustration: FIG. 268.--TEA CADDY. _Of yellow clay, ornamented with
+chocolate brown appliqué medallions of female figures in relief._]
+
+The Don Pottery was very similar to that of Leeds, frequently producing
+pierced work-baskets, vases, dinner, dessert and tea services, &c.
+
+LEEDS. 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. Important
+centre-pieces with figures were also made here.
+
+[Illustration: FIG. 269.--CHESTNUT BOWL AND COVER.]
+
+CASTLEFORD, 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.
+
+[Illustration: FIG. 270.--TEAPOT. _With ornaments in relief, of white
+ware edged with blue._]
+
+SWINTON, 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.
+
+[Illustration: FIG. 271.--TEAPOT.]
+
+NEWCASTLE-ON-TYNE. 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.
+
+[Illustration: FIG. 272.--DISH. _Of Queen's ware, marked "fell."_]
+
+[Illustration: FIG. 273.--MUG. _With printed monument of Lord Nelson;
+inside is a toad; marked "Fell & Co., Newcastle Pottery."_]
+
+ST. ANTHONY'S, about 2-1/2 miles from 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.
+
+[Illustration: FIG. 274.--JUG. _With cupids in relief, coloured with
+pink metallic lustred clouds._]
+
+NOTTINGHAM. 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.
+
+[Illustration: FIG. 275.--MUG. _Inscribed, "Made at Nottingham, the 17th
+August 1771."_]
+
+[Illustration: FIG. 276.--JUG. _In the form of a Bear._]
+
+GREAT YARMOUTH. 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.
+
+[Illustration: FIG. 277.--PLATE.]
+
+LOWESBY, 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.
+
+[Illustration: FIG. 278.--GARDEN POT.]
+
+[Illustration: FIG. 279.--VASE.]
+
+BRISTOL. At REDCLIFFE BACKS a manufactory of Delft ware was carried on
+in the 18th century by Richard Frank.
+
+At TEMPLE BACKS, 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 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.
+
+[Illustration: BRISTOL (Redcliffe Backs)
+
+FIG. 280.--TILES. _St. Mary Redcliffe Church._]
+
+CADBOROUGH, 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 produced. The
+works are now carried on at Bellevue Pottery, Rye.
+
+[Illustration: FIG. 281.--VESSEL. _In form of a pig._]
+
+SWANSEA. 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 _opaque porcelain_; with the assistance of
+Young, a draughtsman employed in delineating natural history, the ware
+became remarkable for its beautiful and truthful paintings.
+
+The early Swansea ware was elegant in form, and frequently covered with
+a deep blue glaze.
+
+[Illustration: FIG. 282.--DISH. _Mark, Swansea and letter C._]
+
+
+GREAT BRITAIN
+
+PORCELAIN
+
+The 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.
+
+WORCESTER. 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.
+
+[Illustration: FIG. 283.--CUP AND SAUCER.]
+
+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.
+
+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, and their business increased to a great extent, being
+patronised by the royal family.
+
+[Illustration: FIG. 284.--PORTION OF A TEA SERVICE. _Japanese pattern,
+blue, red, and gold._]
+
+[Illustration: FIG. 285.--PORTION OF A TEA SERVICE. _Transfer coloured,
+and partly gilt._]
+
+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.
+
+SWINTON, near Rotherham. The manufacture of porcelain at the
+ROCKINGHAM WORKS 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.
+
+[Illustration: FIG. 286.--PLATE.]
+
+[Illustration: FIG. 287.--VASE. _Centre-piece of the service made for
+King William IV._ Height 14 in.]
+
+DERBY. 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.
+
+[Illustration: FIG. 288.--GROUP. _Chelsea Derby._]
+
+[Illustration: FIG. 289.--PAIR OF VASES. _Chelsea Derby._]
+
+[Illustration: FIG. 290.--PLATE. _With flowers by Billingsley._]
+
+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 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.
+
+[Illustration: FIG. 291.--CUP, COVER, AND SAUCER. _Crown Derby._]
+
+[Illustration: FIG. 292.--SCENT VASE. _Crown Derby._]
+
+[Illustration: FIG. 293.--CUP, COVER, AND SAUCER. _Crown Derby._]
+
+BURTON-ON-TRENT. A manufactory of earthenware was established here early
+in the last century, and from about 1839 porcelain was made for seven
+years.
+
+[Illustration: FIG. 294.--COMPORT.]
+
+WIRKSWORTH. A manufactory of china as well as pottery, established by a
+Mr. Gill, existed here about 1770, and continued for about twenty years.
+
+[Illustration: FIG. 295.--CUP.]
+
+PINXTON 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 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.
+
+[Illustration: FIG. 296.--JARDINIÈRE.]
+
+[Illustration: FIG. 297.--SUGAR BOWL AND COVER.]
+
+LOWESTOFT. According to Gillingham's _History of Lowestoft_, written in
+1790, an attempt was made to manufacture porcelain there in 1756 by Mr.
+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.
+
+PLYMOUTH. 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."
+
+[Illustration: FIG. 298.--COFFEE-POT.]
+
+[Illustration: FIG. 299.--BEAKER AND COVER.]
+
+[Illustration: FIG. 300.--CENTREPIECE.]
+
+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.
+
+[Illustration: FIG. 301.--A SHEPHERDESS.]
+
+[Illustration: FIG. 302.--A SHEPHERD.]
+
+Cookworthy and Lord Camelford continued to work this manufactory until
+1774, when the patent right was sold and transferred to Richard
+Champion.
+
+BRISTOL. A manufactory of _soft paste_ porcelain was founded at Bristol
+about 1750. Later Richard Champion, having in 1774 purchased
+Cookworthy's patent, opened a manufactory for _hard paste_. 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.
+
+[Illustration: FIG. 303.--BOWL AND COVER.]
+
+[Illustration: FIG. 304.--DISH.]
+
+CAUGHLEY, 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.
+
+[Illustration: FIG. 305.--MUG. _Painted in blue._]
+
+[Illustration: FIG. 306.--PLATE. _Blue willow pattern._]
+
+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.
+
+In 1799 Turner retired and John Rose became proprietor; the latter
+removed the works to Coalport about 1814 or 1815.
+
+COALPORT, 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.
+
+[Illustration: FIG. 307.--DISH. _Marked "Coalport improved Feltspar_
+(sic) _Porcelain_."]
+
+COLEBROOK DALE is another name for the Coalport works.
+
+STOKE-ON-TRENT. 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.
+
+[Illustration: FIG. 308.--CUP, COVER, AND SAUCER.]
+
+[Illustration: FIG. 309.--VASE.]
+
+HERBERT MINTON when he succeeded to the business at Stoke-on-Trent (see
+page 236), greatly developed the manufacture of hard and soft
+porcelain, and copies were made of Sèvres porcelain vases.
+
+[Illustration: FIG. 310.--BOWL. _Blue and gold, painted with flowers._]
+
+LONGTON HALL. 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.
+
+[Illustration: LONGTON HALL
+
+FIG. 311.--VASE.]
+
+BOW. 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.
+
+[Illustration: FIG. 312.--TEAPOT. _Printed with King of Prussia._]
+
+[Illustration: FIG. 313.--BOWL.]
+
+[Illustration: FIG. 314.--PLATE. _Printed with Æneas and Anchises._]
+
+[Illustration: FIG. 315.--STATUETTE, "FLORA."]
+
+[Illustration: FIG. 316.--BUST OF GEORGE II.]
+
+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
+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.
+
+[Illustration: FIG. 317.--GROUP: "A TEA PARTY."]
+
+For a more detailed account of the Bow porcelain manufactory, the reader
+is referred to _Marks and Monograms on Pottery and Porcelain_, by W.
+Chaffers.
+
+CHELSEA. 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, were subsequently marked with an
+anchor in gold or red. The period of its greatest excellence was from
+1750 to 1765.
+
+The early pieces were copied principally from the Oriental, being
+decorated with Chinese patterns, and these were marked with an embossed
+anchor.
+
+[Illustration: FIG. 318.--MARSHAL CONWAY.]
+
+[Illustration: FIG. 319.--SHEPHERD.]
+
+The beautiful vases in the French style, in imitation of Sèvres, with
+_gros bleu_, crimson, turquoise, and apple-green grounds were made from
+1760 to 1765.
+
+In 1769, by order of M. Sprimont, the proprietor, the Chelsea porcelain
+manufactory was sold by auction.
+
+[Illustration: FIG. 320.--VASE. "DEATH OF CLEOPATRA."]
+
+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 vases made when M. Sprimont had the works under his direction.
+
+WALES
+
+SWANSEA. 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.
+
+[Illustration: FIG. 321.--PLATE.]
+
+[Illustration: FIG. 322.--PLATE.]
+
+NANTGARW. 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.
+
+[Illustration: FIG. 323.--PLATE.]
+
+[Illustration: FIG. 324.--CUP AND SAUCER.]
+
+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.
+
+[Illustration: FIG. 325.--VASE.]
+
+
+
+
+ORIENTAL POTTERY AND PORCELAIN
+
+
+CHINA
+
+The porcelain of China is composed of two earths, the one a decomposed
+felspathic rock called _kaolin_, and the other a rock of the same
+geological origin, mixed with quartz, called _petuntse_. They both
+harmonise so completely that they have an equally resisting power when
+placed in the kiln. The _kaolin_ used in making porcelain is much softer
+than _petuntse_ when dug out of the quarry, yet it is this which, by its
+mixture with the other, gives strength and firmness to the work.
+
+Chinese porcelain was classified by the late Dr. S. W. Bushell, C.M.G.,
+under the following periods:--
+
+1. Primitive period, including the _Sung_ dynasty (960-1279) and the
+_Yuan_ dynasty (1280-1367).
+
+2. Ming period, comprising the whole of the _Ming_ dynasty (1368-1643).
+
+3. K'ang Hsi period, extending from the fall of the Ming dynasty to the
+close of the reign of _K'ang Hsi_ (1662-1722).
+
+4. Yung Chêng and Chiên Lung period (1723-1795), the two reigns being
+conjoined.
+
+5. Modern period, from the beginning of the reign of _Chia Ch'ing_ to
+the present day.
+
+[Illustration: FIG. 326.--STONEWARE VASE. _With Céladon green glaze.
+Ming dynasty._]
+
+The most ancient mode of decoration was the blue _camaïeu_, and it is
+still much esteemed in China; it was executed on the ware, simply dried
+before the glaze was applied, and then placed in the kiln. Being all
+completed in one baking, _au grand feu_, the painting thus executed
+became imperishable.
+
+[Illustration: FIG. 327.--STONEWARE VASE. _With Céladon crackle glaze._]
+
+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 _Siouen-te_ and _Ching-hoa_ periods, which are now much 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.
+
+[Illustration: FIG. 328.--PORCELAIN VASE. _Painted in enamel colours._]
+
+The Père d'Entrecolles tells us the manner of painting vases in China,
+and how the different parts 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."
+
+[Illustration: FIG. 329.--PORCELAIN EWER. _Painted in enamel colours,
+and mounted with Florentine copper gilt. 17th century._]
+
+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 _céladon_ 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 _crackle_. This crackle china is the most esteemed
+of Oriental porcelain, although it arises from a _defective_ cause.
+
+[Illustration: FIG. 330.--BOTTLE. _Powder blue porcelain. Ming
+dynasty._]
+
+[Illustration: FIG. 331.--JAR. _Painted with plum blossoms. Ming
+dynasty._]
+
+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
+_kaolin_; the cover or glaze comes also from a felspathic rock, slightly
+crystallised; these melt and assimilate together 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.
+
+[Illustration: FIG. 332.--PLATE. _Egg shell porcelain._]
+
+Hence the crackle, at the option of the potter, is made of large,
+middling, or small size.
+
+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 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.
+
+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.
+
+[Illustration: FIG. 333.--PLATE. _Egg shell porcelain._]
+
+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 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.
+
+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.
+
+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.
+
+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.
+
+
+JAPAN
+
+The 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 B.C., 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 _Nomino Sukuné_, 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. _Nomino_ received as a recompense authorisation to take the
+name of _Fazi_, in the Koræan language _Patzi_, artist-workman.
+
+Under _Sei-wa_ (859-876 A.D.) the number of fabriques increased
+considerably.
+
+Under _Syun-tok_ (1211-1221), a Japanese potter named _Katosiro-uye-mon_
+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, _Katosiro_,
+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.
+
+[Illustration: FIG. 334.--PORCELAIN VASE. _Hizen ware. About 1690._]
+
+[Illustration: FIG. 335.--FUKUROKUJI. _The god of longevity._]
+
+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.
+
+[Illustration: FIG. 336.--SAKÉ CUP AND STAND. _Porcelain gold ornament
+on red ground._]
+
+[Illustration: FIG. 337.--STONEWARE JAR. _Ôto ware._]
+
+[Illustration: FIG. 338.--PORCELAIN VASE. _Kishin ware._]
+
+[Illustration: FIG. 339.--CANDLESTICK. _Tozan porcelain. Painted in
+blue._]
+
+Perhaps the most beautiful of all the porcelain made in Japan is the
+_egg shell_, 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.
+
+The small cups without saucers, which are usually placed upon
+_présentoirs_ of lac, are seldom painted on 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.
+
+[Illustration: FIG. 340.--FLASK. _Satsuma ware._]
+
+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.
+
+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
+manufactories are established, but as many as twenty-four or
+twenty-five are situated near the mountain of _Idsumi-yama_, whence the
+kaolin is obtained of which the vessels are made.
+
+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.
+
+[Illustration: FIG. 341.--INCENSE-BURNER. _Imari porcelain. 18th
+century._]
+
+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, generally ornamented simply by scoring
+and glazing the surface; (2) a cream-coloured _faïence_, with a glaze,
+often crackled and delicately painted in colours; (3) hard porcelain.
+
+"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."
+
+
+PERSIA, SYRIA, AND TURKEY
+
+PERSIA
+
+Siliceous-glazed wares were produced in Persia at a very early period,
+and the late Mr. C. Drury E. Fortnum, in his _Historical Treatise on
+Majolica_, 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.
+
+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 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."
+
+[Illustration: FIG. 342.--WALL TILE. _Glazed earthenware. 13th
+century._]
+
+The Persian fayence was probably the same as 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.
+
+[Illustration: FIG. 343.--WATER-BOTTLE. _With metallic lustre. 15th or
+16th century._]
+
+It has long been a _vexata quæstio_ 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
+(_Les Merveilles de la Céramique_).
+
+[Illustration: FIG. 344.--DISH FOR RICE.]
+
+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 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.
+
+[Illustration: FIG. 345.--ROSE-WATER SPRINKLER.]
+
+[Illustration: FIG. 346.--ROSE-WATER SPRINKLER.]
+
+SYRIA AND TURKEY
+
+Dr. Fortnum was of opinion that what is generally known as DAMASCUS 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.
+
+[Illustration: FIG. 347.--DAMASCUS PLATE. _Painted in colours._]
+
+Remains of potteries are stated to have been found at Lindus on the
+Island of Rhodes, and at 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.
+
+[Illustration: FIG. 348.--DAMASCUS DISH.]
+
+[Illustration: FIG. 349.--RHODIAN PLATE.]
+
+
+
+
+INDEX
+
+
+  _Adams, William_, 234
+
+  Alcora, 47, 129
+
+  Amstel, Oude, 173
+
+  Amsterdam, 105, 172
+
+  Anspach, 143
+
+  Aprey, 74
+
+  Apt, 53
+
+  Armentières, 74
+
+  Arnstadt, 98
+
+  Arras, 193
+
+  Asia Minor, 310
+
+  _Astbury_, 228
+
+  Avignon, 54
+
+
+  Baden-Baden, 156
+
+  Baranowka, 182
+
+  Bassano, 35
+
+  Bayreuth, 87, 144
+
+  Beauvais, 53
+
+  Berlin, 135
+
+  Blois, 54
+
+  Boissette, 200
+
+  _Booth, Enoch_, 234
+
+  Boulogne-sur-Mer, 194
+
+  Bourg-la-Reine, 80, 196
+
+  Bow, 274
+
+  Bradwell, 230
+
+  Bristol, 251, 269
+
+  Broussa, 310
+
+  Brussels, 177
+
+  Buen Retiro, 127
+
+  Bunzlau, 95
+
+  Burslem, 220
+
+  Burton-on-Trent, 264
+
+
+  Cadborough, 252
+
+  Caen, 201
+
+  Cafaggiolo, 19
+
+  Capo di Monte, 114
+
+  Castel Durante, 10
+
+  Castelli, 27
+
+  Castleford, 246
+
+  Caughley, 270
+
+  _Chaffers, Richard_, 240
+
+  Chantilly, 189
+
+  Château-la-Lune, 74
+
+  Chelsea, 279
+
+  China, 285
+
+  Città di Castello, 37
+
+  Clignancourt, 197
+
+  Closter Veilsdorf, 146
+
+  Coalport, 241, 271
+
+  Cobridge, 234
+
+  Colebrook Dale, 272
+
+  Cologne (Köln), 88
+
+  Constantinople, 312
+
+  Copenhagen, 185
+
+  Creil, 80
+
+
+  Damascus, 310
+
+  _Davenport, Messrs._, 235
+
+  Delft, 100
+
+  Derby, 260
+
+  Diruta, 15
+
+  Doccia, 113
+
+  Don Pottery, 245
+
+  Douai, 78
+
+  Dresden, 96, 130
+
+  _Dwight, John_, 241
+
+
+  _Elers, John Philip_, 230
+
+  Étiolles, 195
+
+  Etruria, 221
+
+
+  Faenza, 12
+
+  Faïence d'Oiron, 50
+
+  Fenton, 234
+
+  Ferrara, 34
+
+  Florence, 26, 112
+
+  Fontainebleau, 207
+
+  Forlì, 17
+
+  Frankenthal, 98, 139
+
+  Frechen, 89
+
+  Fulda, 148
+
+  Fulham, 241
+
+  Fürstenberg, 149
+
+
+  Genoa, 35
+
+  Gera, 155
+
+  Gotha, 158
+
+  Great Yarmouth, 250
+
+  Grenzhausen, 92
+
+  Grossbreitenbach, 153
+
+  Gubbio, 6
+
+
+  Hagenau, 63
+
+  Hague, The, 174
+
+  Hanley, 231
+
+  Harburg, 95
+
+  Henri Deux ware, 50
+
+  Herend, 166
+
+  Hispano-Moresque ware, 41
+
+  Höchst, 96, 138
+
+  _Hollins, Samuel_, 229
+
+
+  Infreville, 74
+
+
+  Jackfield, 240
+
+  Japan, 295
+
+
+  Kelsterbach, 144
+
+  Kiel, 99
+
+  Kloster Veilsdorf, 146
+
+  Korzec, 182
+
+  Kreussen, 94
+
+
+  La Fratta, 39
+
+  Lambeth, 243
+
+  Lane Delph, 236
+
+  Lane End, 235
+
+  Lauenstein, 89, 96
+
+  Leeds, 245
+
+  Leipzig, 86
+
+  Lille, 81, 195
+
+  Limbach, 155
+
+  Limburg, 89
+
+  Liverpool, 237
+
+  Longton Hall, 274
+
+  Longport, 235
+
+  Loosdrecht, Oude, 171
+
+  Loreto, 37
+
+  Lowesby, 251
+
+  Lowestoft, 265
+
+  Ludwigsburg, 151
+
+  Lunéville, 72, 198
+
+  Luxemburg, 106, 177
+
+
+  Madrid, 127
+
+  Majorca, 42
+
+  Malaga, 42
+
+  Malicorne, 74
+
+  Manerbe, 74
+
+  Manises, 46
+
+  Marieberg, 109, 184
+
+  Marseilles, 69, 202
+
+  _Mason, Miles_, 236
+
+  _Mayer, Elijah_, 232
+
+  Meissen, 130
+
+  Mennecy-Villeroy, 191
+
+  Milan, 31
+
+  _Minton, Herbert_, 236, 273
+
+  _Minton, Thomas_, 236
+
+  Monte Lupo, 30
+
+  Montereau, 81
+
+  Moscow, 180
+
+  Moustiers, 65
+
+  Murano, 25
+
+
+  Nantgarw, 283
+
+  Naples, 30, 114
+
+  _Neale_, 233
+
+  Neudeck, 141
+
+  Nevers, 56
+
+  Newcastle-on-Tyne, 248
+
+  New Hall China Works, 230
+
+  Niderviller, 76, 198
+
+  Nottingham, 249
+
+  Nove, 25, 122
+
+  Nuremberg (Nürnberg), 84
+
+  Nymphenburg, 141
+
+  Nyon, 168
+
+
+  Oberdorf, 87
+
+  Oiron, Faïence d', 50
+
+  Orleans, 198
+
+  Overtoom, 106
+
+  Oude Amstel, 173
+
+  Oude Loosdrecht, 171
+
+
+  Padua, 26
+
+  _Palissy, Bernard_, 55
+
+  _Palmer_, 233
+
+  Paris, 203
+
+    "    Belleville, 207
+
+    "    Faubourg St. Honoré, 205
+
+    "    Pont-aux-Choux, 206
+
+    "    Rue de Bondy, 204
+
+    "    Rue de Crussol, 207
+
+    "    Rue Fontaine au Roi, 205
+
+    "    Rue du Faubourg St. Denis, 208
+
+    "    Rue Thiroux, 203
+
+  Pavia, 39
+
+  Persia, 304
+
+  Pesaro, 8
+
+  Pinxton, 264
+
+  Pisa, 23
+
+  Plymouth, 266
+
+
+  Raeren, 89
+
+  Ratisbon, 153
+
+  Rauenstein, 158
+
+  Ravenna, 18
+
+  Regensburg, 153
+
+  Rhodes, Island of, 310
+
+  Rimini, 18
+
+  Rockingham, 247, 260
+
+  Rörstrand, 107
+
+  Rouen, 59, 190
+
+  Rudolstadt, 147
+
+
+  St. Anthony's, 248
+
+  St. Armand-les-Eaux, 79, 202
+
+  St. Clément, 76
+
+  St. Cloud, 187
+
+  St. Petersburg, 107, 179
+
+  St. Porchaire, 50
+
+  Salopian, 270
+
+  Sarreguemines (Saargemünd), 78
+
+  Savona, 36
+
+  Sceaux Penthièvre, 79, 192
+
+  Scherzheim, 96
+
+  Schlaggenwald, 166
+
+  Sèvres, 209
+
+  Sgraffiato, 37
+
+  _Shawe, Ralph_, 227
+
+  Shelton, 228
+
+  Siegburg, 89
+
+  Siena, 20
+
+  Sinceny, 70
+
+  _Spode, Josiah_, 272
+
+  Staffordshire, 217
+
+  _Steel, Moses_, 228
+
+  Stockholm, 109
+
+  Stoke-on-Trent, 236, 272
+
+  Strassburg, 63, 202
+
+  Strehla, 87
+
+  Swansea, 253, 282
+
+  Swinton, 247, 258
+
+  Syria, 310
+
+
+  Talavera, 48
+
+  Teinitz, 98
+
+  Thuringia, 145
+
+  _Toft, Ralph_, 219
+
+  _Toft, Thomas_, 219
+
+  Toulouse, 76
+
+  Tournai, 175
+
+  Treviso, 18, 117
+
+  Triana, 46
+
+  Tunstall, 234
+
+  Turkey, 310
+
+  Turin, 33, 118
+
+  _Turner, John_, 235
+
+
+  Urbino, 1
+
+  Utrecht, 105
+
+
+  Valencia, 44
+
+  Valenciennes, 201
+
+  Varages, 68
+
+  Venice, 24, 119
+
+  Vienna, 160
+
+  Vincennes, 78, 208, 209
+
+  Vineuf, 118
+
+  Vinovo, 118
+
+  Viterbo, 18
+
+  Volkstedt, 146
+
+  _Voyez, J._, 233
+
+
+  Wallendorf, 158
+
+  _Warburton, J._, 234
+
+  Wedgwood, 220
+
+  Weesp, 170
+
+  _Whieldon, Thomas_, 234
+
+  Wirksworth, 264
+
+  _Wood, Aaron_, 227
+
+  _Wood, Enoch_, 228
+
+  _Wood, Ralph_, 227
+
+  Worcester, 255
+
+
+  Yarmouth, Great, 250
+
+  Yearsley, 244
+
+  York, 245
+
+
+  Zürich, 168
+
+
+
+Printed by BALLANTYNE, HANSON & CO.
+
+Edinburgh & London
+
+
+
+
+Footnotes:
+
+[1] As Strassburg and Hagenau belonged to France at this period, they
+are included in the French section.
+
+[2] Now Niederweiler, in Germany.
+
+[3] Now Saargemünd, belonging to Germany.
+
+
+
+
+Transcriber's Notes:
+
+Passages in italics are indicated by _italics_.
+
+Superscripted letters are shown in {superscript}.
+
+Punctuation has been corrected without note.
+
+The misprint "propuctions" has been corrected to "productions" (page 132).
+
+The original text contains two images that could not be reproduced in this
+text version. An eight-pointed star has been replaced with [star] and a
+Maltese Cross has been replaced with [cross].
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Collector's Handbook to Keramics, by 
+William Chaffers
+
+*** END OF THIS PROJECT GUTENBERG EBOOK COLLECTOR'S HANDBOOK TO KERAMICS ***
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+    <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;}
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+
+    hr {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: auto; margin-right: auto; clear: both;}
+
+    table {margin-left: auto; margin-right: auto;}
+
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+    .note {margin-left: 20%; margin-right: 20%;}
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+<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>&nbsp;</p>
+<div class="figcenter"><img src="images/cover.jpg" alt="" /></div>
+<p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</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>&nbsp;</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>&nbsp;</p>
+<p class="center">Royal 8vo, cloth extra, top edge gilt, to range with the same author&#8217;s<br />
+&#8220;Marks and Monograms on Pottery&#8221;</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&#8217;s &#8220;Marks and Monograms on Pottery and
+Porcelain.&#8221;</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 &#8220;Marks and Monograms,&#8221; 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>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>
+<h2>HANDBOOK TO KERAMICS</h2>
+<p>&nbsp;</p><p><a name="front" id="front"></a>&nbsp;</p>
+<div class="figcenter"><img src="images/i004.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Chelsea Statuette, &#8220;Melpomene&#8221;</span></p>
+
+<p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>
+<h3>THE COLLECTOR&#8217;S HANDBOOK</h3>
+<h4>TO</h4>
+<h1>Keramics</h1>
+<h3><i>Of the Renaissance and Modern Periods</i></h3>
+<p>&nbsp;</p>
+<p class="center">SELECTED FROM HIS LARGER WORK, ENTITLED</p>
+<h3>&#8220;The Keramic Gallery&#8221;</h3>
+<p>&nbsp;</p>
+<p class="center">WITH 350 ILLUSTRATIONS</p>
+<p>&nbsp;</p>
+<h4>BY</h4>
+<h3>WILLIAM CHAFFERS</h3>
+<p class="center"><small>AUTHOR OF &#8220;MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN&#8221;<br />
+&#8220;HALL MARKS ON GOLD AND SILVER PLATE,&#8221; ETC. ETC.</small></p>
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">LONDON<br />
+GIBBINGS AND COMPANY, LIMITED<br />
+NEW YORK: CHARLES SCRIBNER&#8217;S SONS<br />
+1909</p>
+<p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">Printed by <span class="smcap">Ballantyne, Hanson &amp; Co.</span><br />
+At the Ballantyne Press, Edinburgh</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</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> &#8220;<span class="smcap">The Keramic Gallery</span>&#8221; by the late William Chaffers forms a pictorial
+supplement to his book &#8220;<span class="smcap">Marks and Monograms on Pottery and Porcelain</span>,&#8221;
+so likewise this work, &#8220;<span class="smcap">Handbook to Keramics</span>,&#8221; which is an abridged
+edition of &#8220;<span class="smcap">The Keramic Gallery</span>,&#8221; is intended to form a companion volume
+of illustrations to &#8220;<span class="smcap">The Collector&#8217;s Handbook of Marks and Monograms on
+Pottery and Porcelain</span>.&#8221;</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 &#8220;<span class="smcap">The
+Keramic Gallery</span>,&#8221; 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>&nbsp;</p><p>&nbsp;</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>&nbsp;</td><td><span class="spacer">&nbsp;</span></td><td align="right"><span class="smcaplc">PAGE</span></td></tr>
+<tr><td>MAIOLICA&mdash;</td></tr>
+<tr><td><span style="margin-left: 1em;"><span class="smcap">Italy</span></span></td><td>&nbsp;</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>&nbsp;</td><td align="right"><a href="#Page_41">41</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>CONTINENTAL FAYENCE&mdash;</td></tr>
+<tr><td><span style="margin-left: 1em;"><span class="smcap">France</span></span></td><td>&nbsp;</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>&nbsp;</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>&nbsp;</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>&nbsp;</td><td align="right"><a href="#Page_107">107</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>CONTINENTAL PORCELAIN&mdash;</td><td>&nbsp;</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>&nbsp;</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>&nbsp;</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>&nbsp;</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>&nbsp;</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>&nbsp;</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>&nbsp;</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>&nbsp;</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>&nbsp;</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>&nbsp;</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>&nbsp;</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>&nbsp;</td><td align="right"><a href="#Page_187">187</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>GREAT BRITAIN&mdash;</td></tr>
+<tr><td><span style="margin-left: 1em;"><span class="smcap">Pottery</span></span></td><td>&nbsp;</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>&nbsp;</td><td align="right"><a href="#Page_255">255</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>ORIENTAL POTTERY AND PORCELAIN&mdash;</td></tr>
+<tr><td><span style="margin-left: 1em;"><span class="smcap">China</span></span></td><td>&nbsp;</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>&nbsp;</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>&nbsp;</td><td align="right"><a href="#Page_304">304</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>INDEX</td><td>&nbsp;</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>&nbsp;</p><p>&nbsp;</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, &#8220;Melpomene&#8221;</span></td><td colspan="2" align="right"><a href="#front"><i>Frontispiece</i></a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">MAIOLICA</td></tr>
+<tr><td>&nbsp;</td></tr><tr><td>&nbsp;</td><td align="center">ITALY</td></tr>
+<tr><td><span class="smcaplc">FIG.</span></td><td>&nbsp;</td><td align="right"><span class="smcaplc">PAGE</span></td></tr>
+<tr><td align="right">1.</td>
+   <td><span class="smcap">Urbino</span>&mdash;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. &#8220;The Stream of Life;&#8221; 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>&mdash;Drug Vase, inscribed &#8220;Sir di Cedro.&#8221; <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>&mdash;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>&mdash;Plaque; inscribed &#8220;Andrea di Bono, 1491&#8221;</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 &#8220;En Piu.&#8221; <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>&mdash;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 &#8220;Sura Fiore.&#8221; <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">Forl&igrave;</span>&mdash;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>&mdash;Plateau. Diana and Act&aelig;on. <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>&mdash;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>&mdash;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 &#8220;Ferdinando M<sup>a</sup>. Campani, 1747&#8221;</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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;&Eacute;cuelle 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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">SPAIN</td></tr>
+<tr><td align="right">43.</td>
+   <td><span class="smcap">Hispano-Moresque</span>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;Bowl</td>
+   <td align="right"><a href="#Page_49">49</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">CONTINENTAL FAYENCE</td></tr>
+<tr><td>&nbsp;</td></tr><tr><td>&nbsp;</td><td align="center">FRANCE</td></tr>
+<tr><td align="right">53.</td>
+   <td><span class="smcap">Saint Porchaire</span>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;Dish, with Reptiles, Fish, &amp;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>&mdash;Pilgrim&#8217;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&#8217;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>&mdash;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>&mdash;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>&mdash;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&#8217;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>&mdash;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>&mdash;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>&mdash;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">Lun&eacute;ville</span>&mdash;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>&mdash;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>&mdash;Finial</td>
+   <td align="right"><a href="#Page_75">75</a></td></tr>
+<tr><td align="right">80.</td>
+   <td><span class="smcap">St. Cl&eacute;ment</span>&mdash;&Eacute;cuelle</td>
+   <td align="right"><a href="#Page_76">76</a></td></tr>
+<tr><td align="right">81.</td>
+   <td><span class="smcap">Niderviller</span>&mdash;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>&mdash;Inkstand</td>
+   <td align="right"><a href="#Page_79">79</a></td></tr>
+<tr><td align="right">83.</td>
+   <td><span class="smcap">Sceaux Penthi&egrave;vre</span>&mdash;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>&mdash;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>&mdash;Dish</td>
+   <td align="right"><a href="#Page_82">82</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">GERMANY</td></tr>
+<tr><td align="right">86.</td>
+   <td><span class="smcap">Nuremberg</span>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;B&ouml;ttcher 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>&mdash;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>&mdash;Bishop Mitre Bowl</td>
+   <td align="right"><a href="#Page_99">99</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">HOLLAND</td></tr>
+<tr><td align="right">99.</td>
+   <td><span class="smcap">Delft</span>&mdash;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>&mdash;Dish</td>
+   <td align="right"><a href="#Page_105">105</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">SWEDEN</td></tr>
+<tr><td align="right">104.</td>
+   <td><span class="smcap">R&ouml;rstrand</span>&mdash;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>&mdash;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>&nbsp;</td></tr><tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">CONTINENTAL PORCELAIN</td></tr>
+<tr><td>&nbsp;</td></tr><tr><td>&nbsp;</td><td align="center">ITALY</td></tr>
+<tr><td align="right">107.</td>
+   <td><span class="smcap">Florence</span>&mdash;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>&mdash;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&mdash;Capo di Monte</span>&mdash;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>&mdash;&Eacute;cuelle</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>&mdash;&Eacute;cuelle</td>
+   <td align="right"><a href="#Page_118">118</a></td></tr>
+<tr><td align="right">118.</td>
+   <td><span class="smcap">Venice</span>&mdash;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>&mdash;Jardini&egrave;re</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>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">SPAIN</td></tr>
+<tr><td align="right">124.</td>
+   <td><span class="smcap">Madrid&mdash;Buen Retiro</span>&mdash;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>&mdash;Plaque</td>
+   <td align="right"><a href="#Page_129">129</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">GERMANY</td></tr>
+<tr><td align="right">128.</td>
+   <td><span class="smcap">Dresden</span>&mdash;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>&mdash;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">H&ouml;chst</span>&mdash;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>&mdash;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;">D&eacute;jeuner 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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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">F&uuml;rstenberg</span>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;Vase</td>
+   <td align="right"><a href="#Page_159">159</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">AUSTRIA</td></tr>
+<tr><td align="right">166.</td>
+   <td><span class="smcap">Vienna</span>&mdash;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>&mdash;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>&mdash;Cabaret, portion of a</td>
+   <td align="right"><a href="#Page_167">167</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">SWITZERLAND</td></tr>
+<tr><td align="right">172.</td>
+   <td><span class="smcap">Nyon</span>&mdash;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>&mdash;Group</td>
+   <td align="right"><a href="#Page_169">169</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">HOLLAND</td></tr>
+<tr><td align="right">175.</td>
+   <td><span class="smcap">Weesp</span>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;Plate</td>
+   <td align="right"><a href="#Page_174">174</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">BELGIUM AND LUXEMBURG</td></tr>
+<tr><td align="right">183.</td>
+   <td><span class="smcap">Tournai</span>&mdash;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>&mdash;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>&mdash;Two figures of &#8220;The Seasons&#8221;</td>
+   <td align="right"><a href="#Page_178">178</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">RUSSIA</td></tr>
+<tr><td align="right">189.</td>
+   <td><span class="smcap">St. Petersburg</span>&mdash;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;">Verri&egrave;re</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>&mdash;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>&mdash;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>&mdash;Milk Jug</td>
+   <td align="right"><a href="#Page_183">183</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">SWEDEN</td></tr>
+<tr><td align="right">195.</td>
+   <td><span class="smcap">Marieberg</span>&mdash;Custard Cup and Cover</td>
+   <td align="right"><a href="#Page_184">184</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">DENMARK</td></tr>
+<tr><td align="right">196.</td>
+   <td><span class="smcap">Copenhagen</span>&mdash;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>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">FRANCE</td></tr>
+<tr><td align="right">198.</td>
+   <td><span class="smcap">St. Cloud</span>&mdash;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>&mdash;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>&mdash;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 Penthi&egrave;vre</span>&mdash;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>&mdash;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>&mdash;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">&Eacute;tiolles</span>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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. Honor&eacute;</span>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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)&mdash;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">S&egrave;vres</span>&mdash;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;">&Eacute;cuelle</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>&nbsp;</td></tr><tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">GREAT BRITAIN</td></tr>
+<tr><td>&nbsp;</td></tr><tr><td>&nbsp;</td><td align="center">POTTERY</td></tr>
+<tr><td align="right">234.</td>
+   <td><span class="smcap">Staffordshire</span>&mdash;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>&mdash;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>&mdash;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>&mdash;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. &amp; 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>&mdash;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>&mdash;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>&mdash;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;">Jardini&egrave;re</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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;&#8220;Lydia Dwight&#8221;</td>
+   <td align="right"><a href="#Page_242">242</a></td></tr>
+<tr><td align="right">267.</td>
+   <td><span class="smcap">Lambeth</span>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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&#8217;s</span>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;Dish</td>
+   <td align="right"><a href="#Page_254">254</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">PORCELAIN</td></tr>
+<tr><td align="right">283.</td>
+   <td><span class="smcap">Worcester</span>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;Jardini&egrave;re</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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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, &#8220;Flora&#8221;</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, &#8220;A Tea Party&#8221;</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>&mdash;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;">&#8220;Shepherd&#8221;</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>&mdash;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>&mdash;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>&mdash;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>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td align="center">ORIENTAL</td></tr>
+<tr><td align="right">326.</td>
+   <td><span class="smcap">China</span>&mdash;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>&mdash;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;">Sak&eacute; 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. &Ocirc;to 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>&mdash;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>&mdash;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>&mdash;Plate</td>
+   <td align="right"><a href="#Page_312">312</a></td></tr></table>
+
+
+<p>&nbsp;</p><p>&nbsp;</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>&nbsp;</p>
+<h3>MAIOLICA</h3>
+
+<p>&nbsp;</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>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i024.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 1.&mdash;Plateau. Marriage of Alexander and Roxana.</span><br />
+<i>After Raphael. Signed and dated</i> &#8220;<span class="smcap">Xanto</span>, 1533.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i025.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 2.&mdash;Plateau, with Leda and the Swan in Centre.</span><br /><i>16th Century.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i026.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 3.&mdash;Plateau. By Alfonso Patanazzi, 1606.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i027.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 4.&mdash;Vase. Apollo and Daphne.</span> <i>Circa</i> 1580.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i028.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 5.&mdash;Cruet.</span> <i>About</i> 1570.</p>
+
+<p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i029a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 6.&mdash;Plate. &#8220;Stream of Life.&#8221;</span> <i>16th Century.<br />
+Signed by</i> <span class="smcap">M<sup>o</sup> Giorgio</span>. Diam. 7&#190; in.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i029b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 7.&mdash;Vase. By M<sup>o</sup> Giorgio</span>.<br />H. 10&#189; in. <i>16th Century.</i></p>
+<p>&nbsp;</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>&nbsp;</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&mdash;Filippo Antonio
+Callegari and Antonio Casali&mdash;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i031.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 8.&mdash;Drug Vase.</span><br /><i>17th Century.</i></p>
+
+<p>&nbsp;<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.&mdash;Bowl, Cover, and Dish.</span><br /><i>18th Century.</i></p>
+
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i033a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 10.&mdash;Vase.</span> <i>About</i> 1560.</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i033b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 11.&mdash;Plate.</span> <i>About</i> 1530.</p>
+<p>&nbsp;</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, cornucopi&aelig;, &amp;c., designed and shaded with
+light blue, touched with yellow, orange, brown and green, the patterns
+being mostly in a bold style.</p>
+
+<p>&nbsp;</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>fa&iuml;ence</i> from Faenza. The earliest dated piece now extant is
+probably a plate in the Mus&eacute;e de Cluny, dated 1475, made by Nicolaus de
+Ragnolis. Another specimen, in the S&egrave;vres Museum, is inscribed &#8220;Nicolaus
+Orsini, 1477&#8221;; and in the same collection is a plate, signed &#8220;Don
+Giorgio, 1485,&#8221; probably by Maestro Giorgio.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i034.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 12.&mdash;Plaque. &#8220;Andrea di Bono, 1491.&#8221;</span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i035.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 13.&mdash;Plate. With an Emblem of Two Hearts pierced</span><br />
+<span class="smcap">with Arrows and the Motto &#8220;En Piu.&#8221;</span><br /><i>15th Century.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i036.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 14.&mdash;Plaque. Joseph sold by his Brethren.</span><br /><i>16th Century.</i></p>
+<p>&nbsp;</p>
+
+<p>In the 16th century a favourite decoration was grotesques and arabesques
+in blue <i>cama&iuml;eu</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i037.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 15.&mdash;Plate. Arms and Arabesques.</span><br /><i>16th Century.</i></p>
+
+<p>&nbsp;</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 Pourtal&egrave;s Collection&mdash;subject, one of Ovid&#8217;s Metamorphoses,
+being similarly decorated with the yellow lustre, and signed by El Frate
+of Diruta, 1541. Some specimens have &#8220;<i>In Deruta</i>&#8221; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i038a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 16.&mdash;Plate. Blue and White.</span><br /><i>16th Century.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i038b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 17.&mdash;Plate. Inscribed &#8220;Sura Fiore.&#8221;</span><br /><i>About</i> 1520.</p>
+
+
+<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>&nbsp;</p>
+<h3>FORL&Igrave;</h3>
+
+<p>According to Passeri there were <i>fabriques</i> of maiolica at Forl&igrave; 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 &#8220;In la botega di M<sup>o</sup>.
+Jeronimo da Forli.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i039.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 18.&mdash;Plate. Christ amongst the Doctors.</span><br />Diam. 14 in. <i>16th Century.</i></p>
+<p>&nbsp;</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>&nbsp;</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&#8217; <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 &#8220;<span class="smcaplc">VITERBO DIOMED</span>,
+1544.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i040.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 19.&mdash;Plateau. Diana and Act&aelig;on.</span><br /><i>Dated</i> 1544.</p>
+
+<p><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i041.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 20.&mdash;Plateau. St. George.</span><br /><i>Circa</i> 1520.</p>
+<p>&nbsp;</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 &#8220;Semper,&#8221; adopted by Pietro
+de&#8217; Medici in 1470, and continued by Lorenzo il Magnifico. The device of
+a triangle and the word &#8220;Glovis,&#8221; meaning when read backwards &#8220;si volge&#8221;
+(it turns), was used by Giuliano de&#8217; 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>&nbsp;</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 chimer&aelig;, dragons,
+amorini, masks, birds, &amp;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>cama&iuml;eu</i> on white ground, in the accompanying
+illustration (Fig. 21) is signed on the reverse &#8220;fata in Siena da M<sup>o</sup>.
+Benedetto.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i043.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 21.&mdash;Plate. By M<sup>o</sup>. Benedetto</span>.<br /><i>About</i> 1520.</p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i044a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 22.&mdash;Plateau. Woman and Peacocks.</span><br /><i>18th Century.</i></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i044b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 23.&mdash;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i045.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 24.&mdash;Plate. Galatea.</span><br /><i>After</i> <span class="smcap">Annibale Caracci</span>.<br /><i>Early 18th Century.</i></p>
+
+<p>&nbsp;</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 &#8220;<span class="smcaplc">PISA</span>,&#8221; 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>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i046.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 25.&mdash;Plate.</span> <i>Circa</i> 1700.</p>
+<p>&nbsp;</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>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i047.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 26.&mdash;Tureen and Cover.</span><br /><i>18th Century.</i></p>
+<p>&nbsp;</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>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i048.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 27.&mdash;Cup and Saucer.</span></p>
+
+<p>&nbsp;</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&#8217; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i049.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 28.&mdash;Plate. Myrrha fleeing from her Father.</span></p>
+<p>&nbsp;</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>&nbsp;</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&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i050.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 29.&mdash;Bowl and Cover.</span><br /><i>18th Century.</i></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i051.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 30.&mdash;Ewer and Basin.</span><br /><i>18th Century.</i></p>
+<p>&nbsp;</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
+&#8220;Liborius Grue P.&#8221;</p>
+
+<p>&nbsp;</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&mdash;F. del Vecchio; Giustiniani; the letter
+N crowned, and sometimes the letters H.F.</p>
+
+<p>&nbsp;</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 &#8220;Raffaello Girolamo fecit Monte Lupo
+1639.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i053.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 31.&mdash;Plate. Three Cavaliers.</span></p>
+
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i054a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 32.&mdash;&Eacute;cuelle and Dish.</span><br /><i>18th Century.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i054b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 33.&mdash;Ewer and Dish.</span><br /><i>18th Century.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i054c.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 34.&mdash;Cup and Plate.</span><br /><i>18th Century.</i></p>
+
+
+<p>&nbsp;<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&mdash;Fatta in
+Torino adi 12 di Set&#275;bre 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&#8217;Azeglio is inscribed on the back of the rim: &#8220;Fabrica Reale di Torino
+GR 1737.&#8221; In the centre of the reverse is a monogram composed of F. R.
+T. (Fabbrica Reale Torino).</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i055.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 35.&mdash;Dish.</span><br /><i>Dated</i> 1577.</p>
+
+<p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>&nbsp;</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 &#8220;<span class="smcaplc">ARDET ETERNUM</span>,&#8221; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i056.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 36.&mdash;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>&nbsp;</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>&nbsp;</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&mdash;arabesques, leaves, landscapes,
+&amp;c.&mdash;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>cama&iuml;eu</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&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i057.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 37.&mdash;Bottle.</span><br /><i>18th Century.</i></p>
+<p>&nbsp;</p>
+
+<p>Fig. 37, a bottle, painted in blue with birds and scroll ornaments, has
+this mark.</p>
+
+<p>&nbsp;</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 &#8220;knot of Solomon&#8221;
+(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>&nbsp;</p>
+<div class="figcenter"><img src="images/i058.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 38.&mdash;Basket.</span><br /><i>18th Century.</i></p>
+
+<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i059.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 39.&mdash;Two Bowls.</span></p>
+
+<p>&nbsp;</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">Citt&agrave; di Castello</span>. They are
+engraved in outline and decorated <i>en engobe</i>&mdash;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 lev&eacute;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i060a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 40.&mdash;Bowl of Incised Ware.</span><br /><i>About</i> 1460.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i060b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 41.&mdash;Plate.</span><br />Diam., 11&#189; in. <i>About</i> 1540.</p>
+
+<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span>&nbsp;</p>
+<div class="figcenter"><img src="images/i061.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 42.&mdash;Red Glazed Earthenware Basket.</span><br /><i>19th Century.</i></p>
+
+<p>&nbsp;<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.&mdash;Vase.</span><br />Height 20&#190; in. <i>15th Century.</i></p>
+
+
+<p>&nbsp;</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 &#8220;golden&#8221; pottery at Calatayud, in Aragon, is testified to by the
+Mohammedan geographer Edrisi in the 12th century.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i063.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 44.&mdash;Azulejo.</span></p>
+<p>&nbsp;</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, &amp;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&#8217;<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 &#8220;<i>the fayence of Majorca has a very extensive sale in Italy</i>.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i065.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 45.&mdash;Plateau.</span></p>
+<p>&nbsp;</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, &#8220;In principio erat Verbum
+et Verbum erat apud Deum,&#8221; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i066.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 46.&mdash;Plateau.</span></p>
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>&nbsp;</p>
+<div class="figcenter"><img src="images/i067.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 47.&mdash;Dish.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i068.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 48.&mdash;Vase.</span></p>
+<p>&nbsp;</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 &#8220;Victor. I. Viva. Mi. Arno.
+Don. Damian. Sant. <big>&#10016;</big>.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i069a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 49.&mdash;Bottle.</span><br />Height 14 in.</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i069b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 50.&mdash;Dish.</span><br /><i>Dated</i> 1774.</p>
+<p>&nbsp;</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&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i070.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 51.&mdash;Plaque.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i071.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 52.&mdash;Bowl.</span><br /><i>18th Century.</i></p>
+<p>&nbsp;</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>&nbsp;</p><p>&nbsp;</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>&nbsp;</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">Fa&iuml;ence d&#8217;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 lev&eacute;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i073.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 53.&mdash;Candlestick.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 54, a <i>biberon</i>, is inlaid with interlaced bands and scrolls,
+rosettes, guilloches, masks, &amp;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i074.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 54.&mdash;Biberon.</span><br />Height 9&#188; in.</p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i075.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 55.&mdash;Vase.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i076.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 56.&mdash;Candlestick.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i077.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 57.&mdash;Ewer.</span><br /><i>About 1600.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i078.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 58.&mdash;Dish.</span><br /><i>16th Century.</i></p>
+<p>&nbsp;</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 cama&iuml;eu</i>, sometimes intermixed with a sort of brown lilac.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i079.png" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 59.&mdash;Pilgrim&#8217;s Bottle.</span> <i>Bleu de Perse.<br />2nd half of 17th Century.</i> Height 11&#189; in.</p>
+<p>&nbsp;<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.&mdash;Ewer.</span> <i>Painted with Japanese figures,<br />2nd half of 17th Century.</i> Height 15&#8540; in.</p>
+<p>&nbsp;<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.&mdash;Pilgrim&#8217;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 12&#188; in.</p>
+<p>&nbsp;</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, &amp;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 cornucopi&aelig; and rococo ornaments; this sort of style
+is called in France &#8220;<i>&agrave; la corne</i>.&#8221; 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>cama&iuml;eu</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, &amp;c.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i082.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 62.&mdash;Ewer.</span></p>
+
+<p>&nbsp;<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.&mdash;Ewer.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i083b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 64.&mdash;Plate.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 62 is painted with polychrome decoration of landscapes, &amp;c.; period
+of Louis XIV.; height 26&#8540; in.</p>
+
+<p>Fig. 63 is painted in blue with arabesques and flowers; period of Louis
+XIV.; height 9&#190; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i084a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 65.&mdash;Compotier.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i084b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 66.&mdash;Compotier.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 65 is painted in polychrome; period of Louis XV.; diam. 9&#8541; in.</p>
+
+<p>Fig. 66 is painted with Chinese figures, &amp;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 Fran&ccedil;ois Hannong about 1709. It was called in
+France &#8220;poterie du Rhin,&#8221; 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>&nbsp;<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.&mdash;Fountain.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i086.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 68.&mdash;Clock and Bracket.</span></p>
+<p>&nbsp;</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 22&#188; 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:&mdash;</p>
+
+<p>1st Epoch. Towards the end of the 17th century. The subjects are hunting
+scenes, &amp;c., painted in blue; champ&ecirc;tre 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i087.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 69.&mdash;Plateau.</span></p>
+<p>&nbsp;</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>cama&iuml;eu</i> with highly finished and
+graceful interlaced patterns, among which are cupids, satyrs, nymphs,
+terminal figures, flowers, masks, &amp;c.; canopies with draperies resting
+upon consoles, vases, fountains, &amp;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i088.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 70.&mdash;Compotier.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 69, painted in green <i>cama&iuml;eu</i> with a rustic subject in the style
+of Boucher, with polychrome floral border; 1720 to 1760; diam. 11&#8539;
+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. 10&#8540; in.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i089a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 71.&mdash;Plate.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i089b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 72.&mdash;Barber&#8217;s Basin.</span></p>
+<p>&nbsp;</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&#8217;s basin, painted in polychrome with the subject of Diana
+and Act&aelig;on; 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 &#8220;Fa&iuml;ence &agrave;
+la Croix.&#8221; Fig. 73 is painted with rustic figures in landscape, after
+Wouverman; crimson and green flower border, and marked with a cross.
+18th century. Diam. 11&#189; in.</p>
+
+<p>&nbsp;<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.&mdash;Plate.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i091.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 74.&mdash;Tureen.</span></p>
+<p>&nbsp;</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,
+15&#189; 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 fa&iuml;ences de Sinceny, &amp;c.</i>,
+Paris, 1864) divides the products of this manufactory into three
+periods:&mdash;</p>
+
+<p class="blockquot">1. Rouennaise, 1734 to 1775.<br />
+2. Fa&iuml;ence au feu de r&eacute;verb&egrave;re, 1775 to 1789.<br />
+3. D&eacute;cadence de l&#8217;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>&agrave; la
+corne</i> (cornucopi&aelig;), birds, and butterflies. Chinese figures were
+doubtless stencilled by pricked papers and charcoal powder.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i093.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 75.&mdash;Bowl and Cover.</span></p>
+<p>&nbsp;</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 r&eacute;verb&egrave;re</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>cama&iuml;eu</i>;
+delicate wicker baskets, watch stands, &amp;c., were produced; they were
+painted with Chinese figures, rococo scrolls, and other ornaments. From
+1790 the fayence <i>au feu de r&eacute;verb&egrave;re</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">Lun&eacute;ville.</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i095a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 76.&mdash;A Pair of Rustic Figures.</span> <i>With polychrome decoration.</i><br /><i>About 1775.</i> Height 8&#190; in.</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i095b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 77.&mdash;Dish.</span> <i>In polychrome.</i><br /><i>About 1760.</i> Length 13&#188; in.</p>
+<p>&nbsp;</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&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i096.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 78.&mdash;Plate.</span> <i>In polychrome.</i><br />Diam. 9&#8540; in.</p>
+<p>&nbsp;</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">Ch&acirc;teau-la-Lune</span> and <span class="smcap">Armenti&egrave;res</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i097.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 79.&mdash;Finial.</span><br /><i>About 1600.</i></p>
+<p>&nbsp;</p>
+
+<p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span><span class="smcap">St. Cl&eacute;ment.</span> Established about 1750. Little is known of this <i>fabrique</i>.
+There are some specimens of the 18th century in the S&egrave;vres Museum; also
+some others of later date, 1819 and 1823.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i098.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 80.&mdash;&Eacute;cuelle.</span><br /><i>With gilt scrolls on white ground.</i></p>
+<p>&nbsp;</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 &#8220;Laurens Basso a Toulousa Le 14 Ma&yuml; 1756,&#8221; 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 Beyerl&eacute;. 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 Beyerl&eacute;&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i099.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 81.&mdash;Vase.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 81. Vase with cover, one of a pair; urn shape, painted to resemble
+deal, with medallions containing landscapes in rose <i>cama&iuml;eu</i>, and
+borders of bay leaves. It bears the mark of Count Custine; date about
+1774; height 17&#8540; 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 Ch&acirc;teau 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&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i101.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 82.&mdash;Inkstand.</span></p>
+<p>&nbsp;</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 Penthi&egrave;vre.</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i102.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 83.&mdash;Plate.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i103.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 84.&mdash;Plate.</span><br /><i>With a yellow border and transfer-printed landscape.</i></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Montereau.</span> In 1775, Messrs. Clark, Shaw, &amp; Co., obtained letters patent
+to carry on a manufactory of English fayence, called Queen&#8217;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>&agrave; la
+fa&ccedil;on de Hollande</i>.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i104.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 85.&mdash;Dish.</span></p>
+<p>&nbsp;</p>
+
+<p>Another important manufactory of fayence was established in 1711, by
+Barth&eacute;lemy 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>&nbsp;</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>gr&egrave;s</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&mdash;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>N&uuml;rnberg</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>cama&iuml;eu</i>, sometimes in other colours.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i107.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 86.&mdash;Jug.</span><br /><i>15th Century.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i108.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 87.&mdash;Dish.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 87. Dish, painted in the centre with Christ rising from the tomb;
+signed with the painter&#8217;s name Gl&uuml;er, 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., 2&#189; 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 F&uuml;ssen, 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>, &amp;c.</p>
+
+<p><span class="smcap">Bayreuth.</span> The manufacture of a brown stoneware with Renaissance
+medallions, arabesques, &amp;c., in relief flourished here in the 16th
+century. At a later period, fine fayence was produced, painted in blue
+<i>cama&iuml;eu</i>. The designs are delicately traced with a brush on a fine
+paste; the forms are canettes, jardini&egrave;res, &amp;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 S&egrave;vres
+Museum bearing the counterfeit mark of &#8220;Wedgwood.&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span>&nbsp;</p>
+<div class="figcenter"><img src="images/i110.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 88.&mdash;Coffee-pot.</span></p>
+<p>&nbsp;</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>K&ouml;ln</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>gr&egrave;s de Cologne</i> has been confounded with the <i>gr&egrave;s 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>gr&egrave;s</i> or stoneware cruches were
+undoubtedly made in Germany, if not at Cologne. The clay for making the
+Cologne ware came from Langerwehe between D&uuml;ren 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>gr&egrave;s de Flandres</i>.</p>
+
+<p>&nbsp;<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.&mdash;Limburg Cruche.</span><br /><i>Grey and blue.</i> Height 8&#190; in.</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i112b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 90.&mdash;Raeren Cruche.</span><br /><i>Grey and blue.</i> Height 7&#188; in.</p>
+
+<p>&nbsp;<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.&mdash;Siegburg Canette.</span><br /><i>Cream colour. Dated 1574.</i><br />Height 17&#188; in.</p>
+<p>&nbsp;</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>gr&egrave;s</i> or stoneware was made; it is of a fine quality and easily
+mistaken for the more ancient <i>gr&egrave;s</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i114.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 92.&mdash;Jug.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i115.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 93.&mdash;Fountain.</span></p>
+<p>&nbsp;</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>gr&egrave;s</i> of the 17th century, called <i>Kreussener Steingut</i>, is of a dark
+brown colour, in the forms of cylindrical mugs, tankards, &amp;c., with
+figures in relief round them, painted in bright coloured enamel.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i116.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 94.&mdash;Tankard.</span></p>
+<p>&nbsp;</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>Gr&egrave;s</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, &amp;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i117.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 95.&mdash;Cruche.</span></p>
+<p>&nbsp;</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>cama&iuml;eu</i>, is signed &#8220;<i>Joh. Schaper</i>&#8221;; it has a white ground with
+flowers and fruit in natural colours; date about 1640; height 8&#189; in.</p>
+
+<p><span class="smcap">Scherzheim</span>, in W&uuml;rtemberg. 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>gr&egrave;s</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">H&ouml;chst</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 B&ouml;ttcher 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 B&ouml;ttcher, was a fine
+stoneware, having opacity, grain, and toughness.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i119.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 96.&mdash;B&ouml;ttcher Coffee-Pot.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i120.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig 97.&mdash;Plate.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 97. A plate painted in bistre <i>cama&iuml;eu</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 &#8220;Poterie du Rhin.&#8221;</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>cama&iuml;eu</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i121.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 98.&mdash;Bishop&#8217;s Mitre Bowl.</span></p>
+
+
+<p>&nbsp;</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>&nbsp;</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 &#8220;The
+Metal Pot&#8221;; Abram de Kooge of &#8220;The Old Moor&#8217;s Head,&#8221; who decorated
+landscapes in blue <i>cama&iuml;eu</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 &#8220;The Three Porcelain
+Bottles,&#8221; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i123.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 99.&mdash;Cruche.</span></p>
+<p>&nbsp;</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,
+&#8220;The Old Porcelain Bottle,&#8221; remains.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i124.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 100.&mdash;Teapot.</span></p>
+<p>&nbsp;</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>cama&iuml;eu</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, &amp;c., about 1580.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i125.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 101.&mdash;Vase.</span></p>
+<p>&nbsp;</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>cama&iuml;eu</i>, with a musical party,
+in the costume of about 1670.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i126.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 102.&mdash;Plate.</span></p>
+<p>&nbsp;</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 cama&iuml;eu</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>cama&iuml;eu</i>. Fig. 103, a fruit dish, is
+painted in blue, with a man and woman seated.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i127.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 103.&mdash;Dish.</span></p>
+<p>&nbsp;</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, &amp;c., were made.</p>
+
+<p>&nbsp;</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&#8217;s ware.</p>
+
+
+<p>&nbsp;</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>&nbsp;</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 &#8220;<i>Connaissances Politiques</i>,&#8221; of
+Beausobre, published at Riga in 1773: &#8220;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.&#8221;</p>
+
+<p>&nbsp;</p>
+<h3>SWEDEN</h3>
+
+<p><span class="smcap">R&ouml;rstrand</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. H&uuml;nger. 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i130a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 104.&mdash;Butterboat.</span></p>
+<p>&nbsp;</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.&mdash;Vase and Cover.</span></p>
+<p>&nbsp;</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 R&ouml;rstrand, 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 R&ouml;rstrand, 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i131.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 106.&mdash;Plate.</span></p>
+<p>&nbsp;</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>&nbsp;</p><p>&nbsp;</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>p&acirc;te 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 S&egrave;vres, 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>&nbsp;</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&#8217; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i134.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 107.&mdash;Cruet.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i135a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 108.&mdash;Bowl.</span></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Doccia.</span> The manufactory was founded in 1735 by the Marquis Carlo Ginori,
+contemporaneously with the manufactory at S&egrave;vres. 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i135b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 109.&mdash;Teapot.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i136.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 110.&mdash;Basin.</span></p>
+<p>&nbsp;</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 5&#189; in.</p>
+
+<p><span class="smcap">Naples&mdash;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i137a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 111.&mdash;Vase.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i137b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 112.&mdash;Saucer.</span></p>
+
+<p>&nbsp;<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.&mdash;Cup and Saucer.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i138b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 114.&mdash;Coffee-pot.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i139.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 115.&mdash;&Eacute;cuelle.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 115, an &eacute;cuelle, 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i140a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 116.&mdash;Cup and Saucer.</span></p>
+<p>&nbsp;</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&mdash;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i140b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 117.&mdash;&Eacute;cuelle.</span></p>
+<p>&nbsp;</p>
+
+<p><span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>Fig. 117, an &eacute;cuelle, 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 &#8220;Casa eccellentissima Vezzi&#8221; 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&#8217;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 &#8220;Casa
+eccellentissima Vezzi&#8221; 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, &amp;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, &amp;c.</p>
+
+<p>&nbsp;<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.&mdash;Vase and Cover.</span></p>
+
+<p>&nbsp;<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.&mdash;Vase.</span> <i>Cozzi period.</i><br />Height 17 in.</p>
+<p>&nbsp;</p>
+
+<p>A beautiful example of this porcelain is represented in Fig. 118, a vase
+and cover of hard paste painted in lake <i>cama&iuml;eu</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 &amp; 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&#8217; 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&#8217;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, &amp;c. The gilding on
+Cozzi&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i145.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 120.&mdash;Jardini&egrave;re.</span><br /><i>By</i> <span class="smcap">Antonibon</span>.</p>
+<p>&nbsp;</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&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i146.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 121.&mdash;Vase.</span></p>
+<p>&nbsp;</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&#8217;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 &#8220;Fabbrica Baroni,&#8221; however, lingered on for more than
+twenty years.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i147a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 122.&mdash;Vase.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i147b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 123.&mdash;Milk-pot.</span></p>
+<p>&nbsp;</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 &#8220;Pasqual Antonibon and Sons&#8221; 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>&nbsp;</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>&mdash;<span class="smcap">Buen Retiro.</span> This manufactory (<i>Soft Paste</i>), called &#8220;<i>La
+China</i>,&#8221; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i149.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 124.&mdash;Group.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i150a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 125.&mdash;Vase.</span><br />Height 22 in.</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i150b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 126.&mdash;Vase.</span><br /><i>With scenes from</i> &#8220;Don Quixote.&#8221;<br />Height 17 in.</p>
+<p>&nbsp;</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, &#8220;On
+ne fait de Porcelaine (en Espagne) qu&#8217;&agrave; Alcora et &agrave; Madrid: celle
+d&#8217;Alcora est tr&egrave;s commune, on en fait tr&egrave;s peu.&#8221; 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: &#8220;Modele de four pour
+la porselene naturele, fait par Haly pour M. le Comte d&#8217;Aranda Alcora,
+29 Juin 1756.&#8221; The works are also noticed by Don Antonio Ponz, <i>Viaje de
+Espa&ntilde;a</i>, in 1793.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i151.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 127.&mdash;Plaque.</span></p>
+
+
+<p>&nbsp;</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 B&ouml;ttcher 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, B&ouml;ttcher 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 B&ouml;ttcher 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&#8217;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, K&auml;ndler,
+a sculptor, superintended the modelling of animals, groups, vases, &amp;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i153.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 128.&mdash;Vase.</span></p>
+
+<p>&nbsp;<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.&mdash;Sucrier, Cup and Saucer.</span><br /><i>Etched by</i> <span class="smcap">Busch</span>.</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i154b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 130.&mdash;Cup and Saucer.</span><br /><i>Of the Marcolini period, with gros bleu ground.</i></p>
+<p>&nbsp;</p>
+
+<p>K&auml;ndler 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, K&auml;ndler, at Meissen was
+Count Bruhl&#8217;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&mdash;the penalty being death, or
+perpetual imprisonment in the Castle of K&ouml;nigstein&mdash;some workmen escaped to reveal it elsewhere.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i155.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 131.&mdash;Vase and Cover.</span><br /><i>Painted with views of public buildings in Dresden.</i></p>
+<p>&nbsp;</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>&nbsp;<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.&mdash;Bust of a Girl.</span><br /><i>White porcelain.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i156.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 133.&mdash;Teapot and Saucer.</span><br /><i>Pink ground, painted with landscapes and figures.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i157.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 134.&mdash;Group.</span><br /><i>In plain white. Wegeli period.</i><br />Height 9 in.</p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i158.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 135.&mdash;Group.</span><br /><i>Wegeli period.</i><br />Height 6&#190; in.</p>
+<p>&nbsp;</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&#8217; 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> B&ouml;hme.
+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>&nbsp;</p>
+<div class="figcenter"><img src="images/i159.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 136.&mdash;Milk-pot, Cup and Saucer.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i160.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 137.&mdash;Lamp-stand.</span></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">H&ouml;chst</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. G&ouml;ltz and
+J. F. Clarus, two merchants of Frankfort, assisted by A. von L&ouml;wenfinck,
+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, &amp;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 &#8220;thick-head&#8221; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i161.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 138.&mdash;Tray and Sucrier.</span></p>
+<p>&nbsp;</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 S&egrave;vres, but the authorities not agreeing as to the price,
+the offer was declined, and they commenced persecuting him&mdash;for in that
+year a decree forbade the making of translucent ware in France except at
+S&egrave;vres&mdash;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:&mdash;</p>
+
+<p class="center"><span class="smcap">VarIantIbVs &middot; fLosCVLIs &middot; DIVersI &middot; CoLores &middot;<br />
+fabrIC&aelig; &middot; sVb &middot; reVIVIsCentIs &middot; soLIs &middot; hVIVs &middot;<br />
+raDIIs &middot; eXVLtantIs &middot;<br />
+In&middot;frankenthaL&middot;</span> &#10036;</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
+cama&iuml;eu</i>, of all the various shades of colour employed in the
+manufactory.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i162.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 139.&mdash;Plate.</span></p>
+
+<p>&nbsp;<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.&mdash;A D&eacute;jeuner Service.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i164.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 141.&mdash;Tankard.</span></p>
+<p>&nbsp;</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 7&#188;
+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 3&#188; in. and 5&#188; in.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i165a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 142.&mdash;Cup and Saucer.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i165b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 143.&mdash;Cup and Saucer.</span></p>
+<p>&nbsp;</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 &#8220;Schelk, pinx.&#8221;; mark
+A in blue; diameter 3 ins. and 5&#188; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i166.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 144.&mdash;Cup.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 144 is painted in colours, and gilt inside; mark, &#8220;Metzsch 1748
+Bayr&#8221;; diameter 2&#190; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i167.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 145.&mdash;Harlequin.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 145 is painted in colours; mark, H. D. under a crown, in blue;
+height 6&#190; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i168a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 146.&mdash;Cup and Saucer.</span><br />Diam. 2&#190; in. and 5&#190; in.</p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i168b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 147.&mdash;Teapot.</span></p>
+
+<p>&nbsp;<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.&mdash;Tray.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 148 is moulded in rococo style, and painted with flowers; mark,
+shield of Saxe-Meiningen between C. V.; length 12&#189; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i169b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 149.&mdash;Milk-pot and Cup and Saucer.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i170a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 150.&mdash;A Peasant.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i170b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 151.&mdash;A Peasant.</span></p>
+<p>&nbsp;</p>
+
+<p>&nbsp;<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.&mdash;Cup and Saucer.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i171b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 153.&mdash;Coffee-pot.</span></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">F&uuml;rstenberg.</span> In Brunswick, established in 1750, by the help of Bengraf,
+who came from H&ouml;chst; 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 20&#189; in.</p>
+
+<p>&nbsp;<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.&mdash;Bust.</span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i172b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 155&mdash;Medallions.</span><br /><i>In white biscuit.</i></p>
+<p>&nbsp;</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. Schl&ouml;tzer; marked with a
+running horse and F; length 2&#8542; in.</p>
+
+<p><span class="smcap">Ludwigsburg</span>, in W&uuml;rtemberg. 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i173.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 156.&mdash;Chocolate-pot.</span></p>
+<p>&nbsp;</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 5&#188; in.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i174.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 157.&mdash;Coffee-pot.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 157 is painted in lake <i>cama&iuml;eu</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i175a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 158.&mdash;Cup and Saucer.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i175b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 159.&mdash;Milk-pot.</span></p>
+<p>&nbsp;</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, &#8220;Breitenbach et Limbach,&#8221; and &#8220;Gruber&#8221;; height 4 in.</p>
+
+<p>&nbsp;</p>
+<p class="center">LIMBACH</p>
+<div class="figcenter"><img src="images/i176.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 160.&mdash;Sucrier, Cover, and Stand.</span></p>
+<p>&nbsp;</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
+4&#8542; and 8&#188; in.</p>
+
+<p><span class="smcap">Gera.</span> A manufactory was founded here about 1780.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i177.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 161.&mdash;Sugar Basin.</span></p>
+<p>&nbsp;</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 6&#188; in.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i178.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 162.&mdash;Cup, Cover, and Saucer.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 162 is grained in imitation of oak, with medallions painted with
+views, &#8220;Schloss aus dem Kohlenhofe&#8221; on cup, and &#8220;Lauchstaedt vor dem
+Brunnen&#8221; on saucer; signed, &#8220;R&uuml;hlig Fec&#8221;; mark, G in blue; diameters 3
+and 5&#188; in.</p>
+
+<p><span class="smcap">Baden-Baden.</span> A porcelain manufactory was established in 1753 by the
+widow Sperl and workmen from H&ouml;chst, with the patronage of the reigning
+Margrave, under Pf&auml;lzer. It ceased in 1778.</p>
+
+<p>&nbsp;<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.&mdash;Figure of Bacchus.</span><br /><i>In white biscuit.</i><br />Height 11 in.</p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i180.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 164.&mdash;Cup and Saucer.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 164 is painted with flowers; mark, R&mdash;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i181.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 165.&mdash;Vase.</span></p>
+
+
+<p>&nbsp;</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>&nbsp;</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 H&uuml;nger, 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 St&ouml;lzel 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-&agrave;-Brac Hunter</i>), however, says that it was
+established in 1718 by Claude Innocenz de Blaquier, who engaged one
+Stenzel or St&ouml;lzel 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>&nbsp;<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.&mdash;Cabaret.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i184.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 167.&mdash;Milk-pot.</span></p>
+<p>&nbsp;</p>
+
+<p>After twenty-five years&#8217; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i185.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 168.&mdash;Plate.</span></p>
+<p>&nbsp;</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&#8217;&oelig;uvre</i> of the early masters were copied,
+while the gilding was brought to a perfection which has never been
+surpassed.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i186.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 169.&mdash;Cup and &#8220;Trembleuse&#8221; Saucer.</span><br /><i>18th Century.</i></p>
+<p>&nbsp;</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&mdash;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>cama&iuml;eu</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
+&#8220;L&#8217;H&eacute;risson&#8221; and &#8220;Fantaisie Moderne&#8221;; 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 F&uuml;rstler.</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 &#8220;Lippert &amp; Haas.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i188.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 170.&mdash;Cup and Saucer.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 170 is painted in colours, with medallions containing figures of
+Justice; mark, S; diam. 2&#189; 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, &amp;c.; late 18th
+century.<span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i189.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 171.&mdash;Portion of a Cabaret or Breakfast Service.</span></p>
+
+
+<p>&nbsp;</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 Maubr&eacute;e, and several Genevese artists
+painted on the porcelain, occasionally marking it with a &#8220;G&#8221; or &#8220;Geneva&#8221;
+in full; but there never was a manufactory of china at Geneva itself.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i190.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 172.&mdash;Cup and Saucer.</span></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Z&uuml;rich.</span> Established here in 1763 by a few Z&uuml;rich gentlemen, with the aid
+of a workman, named Spengler, from H&ouml;chst. 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>&nbsp;</p>
+<p class="center">NYON</p>
+<div class="figcenter"><img src="images/i191a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 173.&mdash;Cup and Saucer.</span><br /><i>With mark, fish in blue.</i></p>
+<p>&nbsp;</p>
+
+<p>Fig. 174 represents a soldier trampling on a Turk and unveiling a lady,
+martial and love trophies on the ground.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i191b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 174.&mdash;A Group.</span></p>
+
+
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i192a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 175.&mdash;Ewer.</span><br /><i>With mark, W.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i192b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 176.&mdash;Coffee-pot.</span><br /><i>Mark, a cross and dots.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i193.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 177.&mdash;Vase.</span></p>
+
+<p>&nbsp;<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.&mdash;Panel.</span><br /><i>Mark, M : o L. in blue.</i><br />Width 12&#190; in.</p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Amsterdam.</span> Fig. 179. Painted in lake <i>cama&iuml;eu</i> with birds and trees; the
+mark, lion, in blue.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i194b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 179.&mdash;A Pair of Bottles.</span></p>
+<p>&nbsp;</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 D&auml;uber, 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 D&auml;uber&#8217;s
+direction, but it was entirely demolished at the close of the 18th
+century.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i195a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 180.&mdash;Teapot and Sucrier.</span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i195b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 181.&mdash;Sucrier.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i196.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 182.&mdash;Plate.</span><br /><i>Of soft paste.</i></p>
+<p>&nbsp;</p>
+
+<p>Fig. 182 bears the mark of a stork in blue; diam. 9&#189; in.</p>
+
+
+<p>&nbsp;</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>&nbsp;</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 S&egrave;vres <i>p&acirc;te
+tendre</i>.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i197.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 183.&mdash;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. 9&#189; in.</p>
+
+<p>&nbsp;<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.&mdash;Plate.</span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i198b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 185.&mdash;Salt-cellar.</span></p>
+<p>&nbsp;</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 4&#8540; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i199a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 186.&mdash;Milk Jug.</span><br /><i>Signed L. Crett&eacute;.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i199b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 187.&mdash;Teapot.</span></p>
+
+
+<p>&nbsp;</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, &amp;c.</p>
+
+<p>&nbsp;<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.&mdash;Two Figures of &#8220;The Seasons.&#8221;</span><br /><i>With mark, B. L.</i></p>
+
+
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i201a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 189.&mdash;Cup and Saucer.</span><br /><i>With the mark of the Emperor Paul.</i></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i201b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 190.&mdash;Verri&egrave;re.</span></p>
+<p>&nbsp;</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 B&ouml;ttcher, 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i202.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 191.&mdash;Statuette.</span><br /><i>Mark, G in blue.</i><br />Height 8 in.</p>
+
+<p>&nbsp;<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.&mdash;Cup and Saucer.</span><br /><i>With view of Moscow. Mark, A. Popoffe&#8217;s initials.</i></p>
+<p>&nbsp;</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, M&eacute;rault, a chemist of the S&egrave;vres
+manufactory, went to direct the <i>fabrique</i> at Korzec, taking with him a
+laboratory assistant named P&eacute;tion. After carrying it on for a few years,
+M&eacute;rault abandoned the direction, and returned to France.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i204.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig.</span> 193.&mdash;<i>P&acirc;te 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>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i205.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 194.&mdash;Milk Jug.</span><br /><i>Mark, the name of the town.</i></p>
+
+
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i206.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 195.&mdash;Custard Cup and Cover.</span><br /><i>Mark, M.B. combined.</i><br />Height 3&#188; in.</p>
+
+
+<p>&nbsp;</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 M&uuml;ller, in 1772, and Baron von Lang, from the F&uuml;rstenberg
+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>&nbsp;</p>
+<div class="figcenter"><img src="images/i207.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 196.&mdash;Cabaret.</span><br /><i>With portraits of Raphael, and other celebrated painters.</i></p>
+
+<p>&nbsp;<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.&mdash;Cabaret.</span></p>
+
+
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i209.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 198.&mdash;Jug.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i210.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 199.&mdash;Statuette.</span><br /><i>Astronomy seated, holding the sun.</i></p>
+<p>&nbsp;</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&#8217;&Eacute;v&ecirc;que,
+Faubourg St. Honor&eacute;, directed by Dominique Fran&ccedil;ois<span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span> Chicanneau. In 1742
+another <i>arr&ecirc;t</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 Cond&eacute;, 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
+&#8220;Barbeau,&#8221; and consisted of a small blue flower running over the white
+paste.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i211.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 200.&mdash;Dish.</span><br /><i>Mark, hunting horn and P, in gold.</i><br />Diameter 12 in.</p>
+
+<p>&nbsp;<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.&mdash;Pair of Figures.</span></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Rouen.</span> Louis Poterat, Sieur de St. &Egrave;tienne, 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
+Fran&ccedil;ois 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i213.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 202.&mdash;Sugar Basin and Stand.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i214.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 203.&mdash;Group of Children.</span></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Sceaux Penthi&egrave;vre</span>, near Paris. Established in 1750 by Jacques Chapelle;
+it was situated opposite the Petit Ch&acirc;telet, and was under the patronage
+of the Duc de Penthi&egrave;vre. 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>p&acirc;te tendre</i>
+ceased before that time.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i215a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 204.&mdash;Cup and Saucer.</span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i215b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 205.&mdash;Milk-pot.</span><br /><i>Mark, S. X.</i></p>
+<p>&nbsp;</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&#8217;Artois; it only
+lasted a few years.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i215c.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 206.&mdash;Seau.</span><br /><i>Mark, A. R.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i216a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 207.&mdash;Plaque.</span><br /><i>White biscuit.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i216b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 208.&mdash;Sucrier.</span><br /><i>White biscuit.</i></p>
+<p>&nbsp;</p>
+
+<p><span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span><span class="smcap">&Eacute;tiolles</span> (Seine-et-Oise), near Corbeil. Established in 1768, by Monnier,
+for soft paste porcelain. The works lasted only a short time.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i217a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 209.&mdash;Cup and Saucer.</span><br /><i>Mark, E. Pellev&eacute;</i>, 1770.<br />Diameter 2&#189; and 5 in.</p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Lille.</span> Established in 1711 by Barth&eacute;lemy 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>p&acirc;te 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 &#8220;Manufacture Royale de
+Monseigneur le Dauphin.&#8221; The porcelain of Leperre Durot is richly
+adorned with gold and with carefully painted bouquets of flowers.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i217b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 210.&mdash;Cup and Saucer.</span><br /><i>With mark, crowned Dolphin.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i218.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 211.&mdash;Custard Cup.</span><br /><i>Mark, B. R.</i><br />Height 3&#188; in.</p>
+<p>&nbsp;</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>&nbsp;</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i219.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 212.&mdash;Milk-pot and Cover.</span><br />
+<span class="smcap">Fig. 213.&mdash;Cup and Dish.</span><span class="spacer">&nbsp;</span><span class="smcap">Fig. 214.&mdash;Milk Jug.</span></p>
+<p>&nbsp;</p>
+
+<p><span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span><span class="smcap">Lun&eacute;ville.</span> A factory called &#8220;Manufacture Stanislas&#8221; 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 Cyffl&eacute;, 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>p&acirc;te de marbre</i>.</p>
+
+<p><span class="smcap">Orleans.</span> Established by M. Gerr&eacute;ault in 1753, under the protection of
+the Duc de Penthi&egrave;vre; the porcelain first made here was of the soft
+paste, but hard paste was subsequently produced. Gerr&eacute;ault was succeeded
+by Bourdon <i>fils</i> about 1788, Pi&eacute;dor, Dubois, and lastly, Le Brun, from
+1808 to 1811.</p>
+
+<p><span class="smcap">Niderviller.</span> Established about 1760 by Baron de Beyerl&eacute;. 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>&nbsp;<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.&mdash;Bowl, Cover, and Stand.</span><br /><i>Mark, heraldic label in blue.</i></p>
+
+<p>&nbsp;<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.&mdash;Milk-pot and Cover.</span><br /><i>Mark, double C under coronet, in blue.</i><br />Height 6&#189; in.</p>
+<p>&nbsp;</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 Saarbr&uuml;cken. 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 p&egrave;re et fils, but it lasted only a short time.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i223a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 217.&mdash;Teapot.</span></p>
+<p>&nbsp;</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 S&egrave;vres 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 S&egrave;vres, and of the same forms.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i223b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 218.&mdash;Cup and Saucer.</span><br /><i>With &#8220;Caen&#8221; stencilled in red.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i224.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 219.&mdash;Cup and Saucer.</span><br /><i>Mark, F. L. V., in cipher, in
+blue.</i><br />Diam. 3&#190; and 6&#188; in.</p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">St. Amand-les-eaux.</span> Founded by M. Maximilien de Bettignies in 1815, for
+the manufacture of <i>p&acirc;te tendre</i> porcelain like the old S&egrave;vres. 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 S&egrave;vres 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i225.jpg" alt="" /></div>
+<p class="center">Fig. 220.&mdash;<span class="smcap">Cup and Saucer.</span><br /><i>Mark, J. H.</i><br />Diam. 2&#8541; and 5&#8541; in.</p>
+<p>&nbsp;</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 Honor&eacute;
+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> Andr&eacute; Marie Lebeuf, and the
+ware was called &#8220;Porcelaine de la Reine.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i226a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 221.&mdash;Sucrier.</span><br /><i>Mark, crowned A.</i></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Paris.</span> Rue de Bondy. Opened in 1780 by Dihl and Guerhard, under the
+patronage of the Duc d&#8217;Angoul&ecirc;me, and the ware was called &#8220;Porcelaine
+d&#8217;Angoul&ecirc;me.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i226b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 222.&mdash;Ewer and Basin.</span></p>
+<p>&nbsp;</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 &#8220;De la Courtille,&#8221; was
+established in 1773 by Jean Baptiste Locr&eacute;, who was afterwards joined by
+Russinger in 1784. The latter during the Revolution became sole
+director.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i227.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 223.&mdash;Part of a Tea Service.</span></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Paris.</span> Faubourg St. Honor&eacute;. A factory was established here by Veuve
+Chicanneau, <i>n&eacute;e</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i228a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 224.&mdash;Teapot.</span><br /><i>Mark, V<sup>e</sup> M. &amp; C.</i></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Paris.</span> Pont-aux-Choux. In 1784, Louis Honor&eacute; 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 Edm&eacute; Toulouse, who in 1786 obtained a
+br&ecirc;vet 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&#8217;Orl&eacute;ans</i>. They were afterwards established
+in Rue Amelot, <i>au Pont-aux-Choux</i>, by which name the porcelain is
+generally known.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i228b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 225.&mdash;Teapot.</span></p>
+<p>&nbsp;</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
+&#8220;<i>Fabrique du Pont-aux-Choux</i>.&#8221;</p>
+
+<p><span class="smcap">Paris.</span> Rue de Crussol. Established in 1789 by Charles Potter, an
+Englishman, and the ware was called the &#8220;Prince of Wales&#8217;s China.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i229a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 226.&mdash;Cup.</span></p>
+<p>&nbsp;</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&#8217;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&#8217; nests, flowers, &amp;c.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i229b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 227.&mdash;Watch-stand.</span><br /><i>Plain white of rococo form.<br />Mark, J. P. in blue.</i> Height 5 in.</p>
+<p>&nbsp;</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&#8217;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&#8217;Artois, it was called by his name. The factory belonged actually to
+Bourdon des Planches, who continued the manufacture of hard porcelain,
+&amp;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 S&egrave;vres; the second by
+Maurin des Aubiez, in 1767; the third by Pierre Antoine Hannong; and the
+fourth that described above.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i230.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 228.&mdash;Cup and Saucer.</span><br /><i>Mark, H. L. L., in gold .</i><br />Diam. 2&#189; and 5 in.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span></p>
+<h3>VINCENNES AND S&Egrave;VRES</h3>
+
+<p>The history of the celebrated manufactory at S&egrave;vres 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 Ch&acirc;teau 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
+S&Egrave;VRES 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>cama&iuml;eu</i> of a
+single colour.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i232.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 229.&mdash;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 9&#188; in.</p>
+<p>&nbsp;</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 S&egrave;vres, and
+both descriptions of china continued to be made until 1804, when,
+Brongniart being director, soft paste was altogether discontinued, and
+declared to be &#8220;useless in art, of expensive manipulation, dangerous to
+the workmen, subject to great risk in the furnace, &amp;c.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i233.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 230.&mdash;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. 2&#8541; and 5&#8540; in.</p>
+<p>&nbsp;</p>
+
+<p>The principal colours used in decorating the ground of the S&egrave;vres vases
+were:&mdash;</p>
+
+<p>1. The <i>bleu c&eacute;leste</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 pens&eacute;e</i>, a beautiful violet from a mixture of manganese,
+one of the rarest decorations of the <i>p&acirc;te tendre</i>.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i234.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 231.&mdash;Vase.</span></p>
+<p>&nbsp;</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 S&egrave;vres.</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 pr&eacute;</i>, or bright grass green.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i235.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 232.&mdash;&Eacute;cuelle.</span><br /><i>Dated 1771.</i></p>
+<p>&nbsp;</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>&oelig;il de perdrix</i> was at a later period a favourite ornament
+for the grounds of vases.</p>
+
+<p>&nbsp;<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.&mdash;Biscuit Group. Cupid and Psyche.</span></p>
+<p>&nbsp;</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>p&acirc;te tendre</i> ware of S&egrave;vres 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>&nbsp;</p><p>&nbsp;</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>&nbsp;</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 medi&aelig;val 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 &#8220;the drinking stone pottes made
+at Culloin&#8221; 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 &#8220;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.&#8221;</p>
+
+<p>&nbsp;</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: &#8220;The greatest pottery
+they have in this country is carried on at Burslem, near
+Newcastle-under-Lyme.&#8221; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i240a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 234.&mdash;Tyg.</span> <i>With four handles.<br />Dated</i> 1621.</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i240b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 235.&mdash;Mug.</span> <i>With two handles.<br />Dated</i> 1682.</p>
+
+<p>&nbsp;<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.&mdash;Plateau.</span> <i>With Charles II. and his Queen, in relief.<br />
+By</i> <span class="smcap">Ralph Toft</span>. 1677.</p>
+<p>&nbsp;</p>
+
+<p>The forms of these vessels were tygs or mugs, with two or more handles
+for passing round a table, candlesticks, dishes, &amp;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&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i242.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 237.&mdash;Vase.</span><br /><i>Pale blue jasper, with subjects in relief.</i></p>
+<p>&nbsp;</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 &#8220;Churchyard&#8221;
+works. He soon became so successful that he was compelled to enlarge his
+establishment, and to take over the &#8220;Ivy House&#8221; 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&#8217;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 &#8220;a fine white terra-cotta of great beauty and delicacy,
+suitable for cameos, portraits, and bas-reliefs&#8221;; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i244.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 238.&mdash;Vase.</span><br /><i>Of basaltes ware.</i></p>
+
+<p>&nbsp;<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.&mdash;The Portland Vase.</span> <br /><i>Of black and white jasper.</i></p>
+<p>&nbsp;</p>
+
+<p>In 1785 a &#8220;jasper dip&#8221; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i246.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 240.&mdash;Teapot, Caddy, and Plate.</span><br /><i>With printed transfer.</i></p>
+<p>&nbsp;</p>
+
+<p>Flaxman was engaged by Wedgwood and Bentley as early as 1775, and he
+furnished them with drawings and models. After Bentley&#8217;s death in 1780
+Flaxman&#8217;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>&nbsp;<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.&mdash;Six Jasper Cameos.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i247b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 242.&mdash;Vase.</span><br /><i>Granite ground, with gilt festoons and handles.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i247c.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 243.&mdash;Ewer.</span><br /><i>Of agate ware.</i></p>
+
+<p>&nbsp;<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.&mdash;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>&nbsp;</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, &amp;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i249.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 245.&mdash;Statuette.</span><br /><i>Chaucer, by</i> <span class="smcap">Ralph Wood</span>.</p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i250.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 246.&mdash;Vase.</span></p>
+<p>&nbsp;</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&#8217; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i251a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 247.&mdash;Green Bowl.</span><br /><i>With ornaments in relief.<br />Signed &#8220;S. Hollins.&#8221;</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i251b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 248.&mdash;Basin.</span><br /><i>With white ground and blue figures in relief.<br />Stamped T. and J. Hollins.</i></p>
+<p>&nbsp;</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&#8217;s (Cookworthy&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i252.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 249.&mdash;Cup and Saucer.</span><br /><i>Painted with flowers.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i253a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 250.&mdash;Teapot.</span><br /><i>Of red ware, with flowers in relief.</i></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Hanley.</span> Shaw mentions a Mr. <span class="smcap">Miles</span> of Miles&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i253b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 251.&mdash;Barrel.</span></p>
+<p>&nbsp;</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, &amp;c., in
+relief, coloured (see Fig. 252).</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i254.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 252.&mdash;Vase.</span></p>
+<p>&nbsp;</p>
+
+<p>He also produced basaltes ware tea services, with animals, &amp;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&#8217;s inventions, and Mrs.
+Palmer, who seems to have been the active manager of her husband&#8217;s
+business, engaged persons surreptitiously to obtain Wedgwood and
+Bentley&#8217;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&#8217;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 &amp; Co., who by some
+means discovered the secret of the jasper body. They became formidable
+rivals of Wedgwood.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i255a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 253.&mdash;Jardini&egrave;re.</span> <br /><i>Of blue and white jasper.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i255b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig.254.&mdash;Vase.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i256.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 255.&mdash;Jug.</span><br /><i>Of blue jasper.</i></p>
+<p>&nbsp;</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&#8217;s jasper,
+with ornaments in relief, and only second to the latter&#8217;s in excellence;
+he also made a fine white stoneware.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i257a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 256.&mdash;Sugar Basin.</span><br /><i>Of yellow clay, with figures in relief.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i257b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 257.&mdash;Teapot.</span><br /><i>With medallion, figures in relief.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i257c.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 258.&mdash;Cup, Cover, and Saucer.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i257d.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 259.&mdash;Dish.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i258.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 260.&mdash;Cup, Cover, and Saucer.</span></p>
+<p>&nbsp;</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&#8217;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&#8217;s grandsons afterwards succeeded to the
+business; the firm of Messrs. Minton &amp; Co. still exists, but there are
+no members of the family now connected with it.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i259.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 261.&mdash;Mug.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i260.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 262.&mdash;Punch Bowl.</span></p>
+<p>&nbsp;</p>
+
+<p>Wedgwood availed himself of this new mode of decoration, and sent his
+Queen&#8217;s ware weekly to Messrs. Sadler and Green to be printed.</p>
+
+<p>&nbsp;<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.&mdash;Tiles.</span><br /><i>By</i> <span class="smcap">J. Sadler</span>.</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i261b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 264.&mdash;Teapot.</span><br /><i>With portrait of Wesley.</i></p>
+<p>&nbsp;</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&#8217;s and blue printed ware. About 1800 the
+production of porcelain was commenced, the mark used being
+&#8220;Herculaneum,&#8221; or &#8220;Herculaneum Pottery.&#8221; About 1836, when the factory
+came into possession of Messrs. Case, Mort &amp; 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 &#8220;black
+decanters.&#8221; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i263.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 265.&mdash;Teapot.</span></p>
+<p>&nbsp;</p>
+
+<p>Fig. 265. A black glazed teapot inscribed &#8220;Richard and Ruth Goodin,
+1769.&#8221;</p>
+
+<p><span class="smcap">Fulham.</span> The first successful imitation of the <i>gr&egrave;s 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&#8217;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&#8217;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&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i264.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 266.&mdash;&#8220;Lydia Dwight.</span><br /><i>Dyed March 3, 1673.</i>&#8221;</p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i265.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 267.&mdash;Dish.</span></p>
+<p>&nbsp;</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 &#8220;Greens, Clark, &amp; Co.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i267.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 268.&mdash;Tea Caddy.</span><br /><i>Of yellow clay, ornamented with
+chocolate brown appliqu&eacute;<br />medallions of female figures in relief.</i></p>
+<p>&nbsp;</p>
+<p>The Don Pottery was very similar to that of Leeds, frequently producing
+pierced work-baskets, vases, dinner, dessert and tea services, &amp;c.</p>
+
+<p><span class="smcap">Leeds.</span> This ware was made by Messrs. Hartley, Greens, &amp; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i268a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 269.&mdash;Chestnut Bowl and Cover.</span></p>
+<p>&nbsp;</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&#8217;s ware and the black Egyptian.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i268b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 270.&mdash;Teapot.</span><br /><i>With ornaments in relief, of white
+ware edged with blue.</i></p>
+<p>&nbsp;</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, &amp; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i269.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 271.&mdash;Teapot.</span></p>
+<p>&nbsp;</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&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i270a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 272.&mdash;Dish.</span><br /><i>Of Queen&#8217;s ware, marked &#8220;fell.&#8221;</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i270b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 273.&mdash;Mug.</span><br /><i>With printed monument of Lord Nelson;
+inside is a toad;<br />marked &#8220;Fell &amp; Co., Newcastle Pottery.&#8221;</i></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">St. Anthony&#8217;s</span>, about 2&#189; miles from <span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span>Newcastle-upon-Tyne. Established
+by Sewell &amp; Donkin in 1780. Queen&#8217;s ware and pink metallic lustre, also
+printed subjects, were produced; pierced wicker baskets, like that of
+Leeds, were also made.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i271a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 274.&mdash;Jug.</span><br /><i>With cupids in relief, coloured with
+pink metallic lustred clouds.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i271b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 275.&mdash;Mug.</span><br /><i>Inscribed, &#8220;Made at Nottingham, the 17th
+August 1771.&#8221;</i></p>
+
+<p>&nbsp;<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.&mdash;Jug.</span><br /><i>In the form of a Bear.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i272b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 277.&mdash;Plate.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i273a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 278.&mdash;Garden Pot.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i273b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 279.&mdash;Vase.</span></p>
+<p>&nbsp;</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 &#8220;Bristol Pottery.&#8221; 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 &amp; Allies. The articles
+produced were similar to those of the superior potteries in
+Staffordshire.</p>
+
+<p>&nbsp;</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.&mdash;Tiles.</span><br /><i>St. Mary Redcliffe Church.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i275.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 281.&mdash;Vessel.</span><br /><i>In form of a pig.</i></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Swansea.</span> Established about 1750; it was greatly enlarged by George
+Haynes in 1780, who styled it the &#8220;Cambrian Pottery.&#8221; 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>&nbsp;<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.&mdash;Dish.</span><br /><i>Mark, Swansea and letter C.</i></p>
+
+
+<p>&nbsp;</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>&nbsp;</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 &#8220;Worcester Porcelain
+Company.&#8221; 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>&nbsp;<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.&mdash;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 &amp; Barr until 1840, when
+the two principal manufactories of Worcester&mdash;that of Flight &amp; 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 &amp; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i280a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 284.&mdash;Portion of a Tea Service.</span><br /><i>Japanese pattern, blue, red, and gold.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i280b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 285.&mdash;Portion of a Tea Service.</span><br /><i>Transfer coloured, and partly gilt.</i></p>
+<p>&nbsp;</p>
+
+<p>These two works which were united in 1840, remained so until 1852, when
+Messrs. Kerr &amp; 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>&nbsp;<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.&mdash;Plate.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i281b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 287.&mdash;Vase.</span><br /><i>Centre-piece of the service made for King William IV.</i><br />Height 14 in.</p>
+
+<p>&nbsp;</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 &#8220;The Derby Pot Works,&#8221; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i282.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 288.&mdash;Group.</span><br /><i>Chelsea Derby.</i></p>
+
+<p>&nbsp;<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.&mdash;Pair of Vases.</span><br /><i>Chelsea Derby.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i283b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 290.&mdash;Plate.</span><br /><i>With flowers by Billingsley.</i></p>
+<p>&nbsp;</p>
+
+<p>The &#8220;Derby Porcelain Manufactory&#8221; 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i284a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 291.&mdash;Cup, Cover, and Saucer.</span><br /><i>Crown Derby.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i284b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 292.&mdash;Scent Vase.</span><br /><i>Crown Derby.</i></p>
+<p>&nbsp;</p>
+
+<p>&nbsp;<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.&mdash;Cup, Cover, and Saucer.</span><br /><i>Crown Derby.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i286a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 294.&mdash;Comport.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i286b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 295.&mdash;Cup.</span></p>
+<p>&nbsp;</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 &#8220;Chantilly,&#8221; being an imitation of the
+Angoul&ecirc;me china.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i287a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 296.&mdash;Jardini&egrave;re.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i287b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 297.&mdash;Sugar Bowl and Cover.</span></p>
+<p>&nbsp;</p>
+
+<p><span class="smcap">Lowestoft.</span> According to Gillingham&#8217;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&#8217;s, Cornwall, &#8220;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.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i288a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 298.&mdash;Coffee-pot.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i288b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 299.&mdash;Beaker and Cover.</span></p>
+<p>&nbsp;</p>
+
+<p>&nbsp;<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.&mdash;Centrepiece.</span></p>
+<p>&nbsp;</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, &amp;c., all well modelled in
+hard paste, were favourites for the table.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i290a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 301.&mdash;A Shepherdess.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i290b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 302.&mdash;A Shepherd.</span></p>
+<p>&nbsp;</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&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i291a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 303.&mdash;Bowl and Cover.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i291b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 304.&mdash;Dish.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i292a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 305.&mdash;Mug.</span><br /><i>Painted in blue.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i292b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 306.&mdash;Plate.</span><br /><i>Blue willow pattern.</i></p>
+<p>&nbsp;</p>
+
+<p>The excellence of Turner&#8217;s porcelain gained him great patronage. In 1780
+he produced the celebrated &#8220;willow pattern,&#8221; 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 &#8220;worm sprig&#8221; and the &#8220;Tournay sprig&#8221; were much made at Coalport.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i293.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 307.&mdash;Dish.</span><br /><i>Marked &#8220;Coalport improved Feltspar</i> (sic) <i>Porcelain</i>.&#8221;</p>
+<p>&nbsp;</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 &amp; Sons.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i294.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 308.&mdash;Cup, Cover, and Saucer.</span></p>
+<p>&nbsp;<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.&mdash;Vase.</span></p>
+<p>&nbsp;</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 S&egrave;vres porcelain vases.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i296a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 310.&mdash;Bowl.</span><br /><i>Blue and gold, painted with flowers.</i></p>
+<p>&nbsp;</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, &amp;c., are believed to have been
+purchased by Duesbury of Derby.</p>
+
+<p>&nbsp;<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.&mdash;Vase.</span></p>
+<p>&nbsp;</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 &amp; Crowther.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i296b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 312.&mdash;Teapot.</span><br /><i>Printed with King of Prussia.</i></p>
+<p>&nbsp;<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.&mdash;Bowl.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i298b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 314.&mdash;Plate.</span><br /><i>Printed with &AElig;neas and Anchises.</i></p>
+<p>&nbsp;<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.&mdash;Statuette, &#8220;Flora.&#8221;</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i300.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 316.&mdash;Bust of George II.</span></p>
+<p>&nbsp;</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, &amp;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i301.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 317.&mdash;Group: &#8220;A Tea Party.&#8221;</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i302a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 318.&mdash;Marshal Conway.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i302b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 319.&mdash;Shepherd.</span></p>
+<p>&nbsp;</p>
+
+<p>The beautiful vases in the French style, in imitation of S&egrave;vres, 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>&nbsp;</p>
+<div class="figcenter"><img src="images/i303.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 320.&mdash;Vase. &#8220;Death of Cleopatra.&#8221;</span></p>
+<p>&nbsp;</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>&nbsp;</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&#8217;s attention, and
+conceiving that the kilns used by Billingsley &amp; 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&#8217;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i304a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 321.&mdash;Plate.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i304b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 322.&mdash;Plate.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i305a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 323.&mdash;Plate.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i305b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 324.&mdash;Cup and Saucer.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i306.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 325.&mdash;Vase.</span></p>
+
+
+<p>&nbsp;</p><p>&nbsp;</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>&nbsp;</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:&mdash;</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&#8217;ang Hsi period, extending from the fall of the Ming dynasty to the
+close of the reign of <i>K&#8217;ang Hsi</i> (1662-1722).</p>
+
+<p>4. Yung Ch&ecirc;ng and Chi&ecirc;n 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&#8217;ing</i> to
+the present day.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i308.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 326.&mdash;Stoneware Vase.</span><br /><i>With C&eacute;ladon green glaze.<br />Ming dynasty.</i></p>
+<p>&nbsp;</p>
+
+<p>The most ancient mode of decoration was the blue <i>cama&iuml;eu</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i309.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 327.&mdash;Stoneware Vase.</span><br /><i>With C&eacute;ladon crackle glaze.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i310.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 328.&mdash;Porcelain Vase.</span><br /><i>Painted in enamel colours.</i></p>
+<p>&nbsp;</p>
+
+<p>The P&egrave;re d&#8217;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: &#8220;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.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i311.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 329.&mdash;Porcelain Ewer.</span><br /><i>Painted in enamel colours,
+and mounted with Florentine copper gilt.<br />17th century.</i></p>
+<p>&nbsp;</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>c&eacute;ladon</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i312.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 330.&mdash;Bottle.</span><br /><i>Powder blue porcelain.<br />Ming dynasty.</i></p>
+<p>&nbsp;<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.&mdash;Jar.</span><br /><i>Painted with plum blossoms.<br />Ming dynasty.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i314.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 332.&mdash;Plate.</span><br /><i>Egg shell porcelain.</i></p>
+<p>&nbsp;</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&mdash;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>&nbsp;</p>
+<div class="figcenter"><img src="images/i315.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 333.&mdash;Plate.</span><br /><i>Egg shell porcelain.</i></p>
+<p>&nbsp;</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, &amp;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&mdash;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>&nbsp;</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&#8217;s account of those of China: it was a translation from a Japanese
+work. He says it was to a colony of Kor&aelig;ans 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 Sukun&eacute;</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 Kor&aelig;an 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>&nbsp;<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.&mdash;Porcelain Vase.</span><br /><i>Hizen ware.<br />About 1690.</i></p>
+<p>&nbsp;<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.&mdash;Fukurokuji.</span><br /><i>The god of longevity.</i></p>
+<p>&nbsp;</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, &amp;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>&nbsp;<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.&mdash;Sak&eacute; Cup and Stand.</span><br /><i>Porcelain gold ornament on red ground.</i></p>
+<p>&nbsp;<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.&mdash;Stoneware Jar.</span><br /><i>&Ocirc;to ware.</i></p>
+
+<p>&nbsp;<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.&mdash;Porcelain Vase.</span><br /><i>Kishin ware.</i></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i322b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 339.&mdash;Candlestick.</span><br /><i>Tozan porcelain.<br />Painted in blue.</i></p>
+<p>&nbsp;</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>pr&eacute;sentoirs</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i323.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 340.&mdash;Flask.</span><br /><i>Satsuma ware.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i324.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 341.&mdash;Incense-burner.</span><br /><i>Imari porcelain. 18th century.</i></p>
+<p>&nbsp;</p>
+
+<p>According to the late Sir Augustus W. Franks, K.C.B., &#8220;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>fa&iuml;ence</i>, with a glaze,
+often crackled and delicately painted in colours; (3) hard porcelain.</p>
+
+<p>&#8220;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 &Ocirc;ta 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 Ki&ocirc;to.&#8221;</p>
+
+
+<p>&nbsp;</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>&nbsp;</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, &amp;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, &#8220;In truth,
+nothing can be seen more lively or more brilliant than this sort of
+work, nor of equally fine design.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i327.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 342.&mdash;Wall Tile.</span><br /><i>Glazed earthenware.<br />13th century.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i328.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 343.&mdash;Water-bottle.</span><br /><i>With metallic lustre.<br />15th or 16th century.</i></p>
+<p>&nbsp;</p>
+
+<p><span class="pagenum"><a name="Page_307" id="Page_307">[Pg 307]</a></span>It has long been a <i>vexata qu&aelig;stio</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 C&eacute;ramique</i>).</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i329.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 344.&mdash;Dish for Rice.</span></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i330.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 345.&mdash;Rose-water Sprinkler.</span></p>
+
+<p>&nbsp;<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.&mdash;Rose-water Sprinkler.</span></p>
+
+<p>&nbsp;<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,
+&amp;c., and the best specimens were probably produced during the first half
+of the 16th century.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i332.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 347.&mdash;Damascus Plate.</span><br /><i>Painted in colours.</i></p>
+<p>&nbsp;</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>&nbsp;</p>
+<div class="figcenter"><img src="images/i333.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fig. 348.&mdash;Damascus Dish.</span></p>
+
+<p>&nbsp;<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.&mdash;Rhodian Plate.</span></p>
+
+
+<p>&nbsp;</p><p>&nbsp;</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 />
+Armenti&egrave;res, <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 />
+Ch&acirc;teau-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 />
+Citt&agrave; 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 (K&ouml;ln), <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 />
+&Eacute;tiolles, <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 />
+Fa&iuml;ence d&#8217;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 />
+Forl&igrave;, <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 />
+F&uuml;rstenberg, <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 />
+H&ouml;chst, <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 />
+Lun&eacute;ville, <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 (N&uuml;rnberg), <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, Fa&iuml;ence d&#8217;, <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;">"&nbsp; &nbsp; Belleville, <a href="#Page_207">207</a></span><br />
+<br />
+<span style="margin-left: 1em;">"&nbsp; &nbsp; Faubourg St. Honor&eacute;, <a href="#Page_205">205</a></span><br />
+<br />
+<span style="margin-left: 1em;">"&nbsp; &nbsp; Pont-aux-Choux, <a href="#Page_206">206</a></span><br />
+<br />
+<span style="margin-left: 1em;">"&nbsp; &nbsp; Rue de Bondy, <a href="#Page_204">204</a></span><br />
+<br />
+<span style="margin-left: 1em;">"&nbsp; &nbsp; Rue de Crussol, <a href="#Page_207">207</a></span><br />
+<br />
+<span style="margin-left: 1em;">"&nbsp; &nbsp; Rue Fontaine au Roi, <a href="#Page_205">205</a></span><br />
+<br />
+<span style="margin-left: 1em;">"&nbsp; &nbsp; Rue du Faubourg St. Denis, <a href="#Page_208">208</a></span><br />
+<br />
+<span style="margin-left: 1em;">"&nbsp; &nbsp; 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 />
+R&ouml;rstrand, <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&#8217;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. Cl&eacute;ment, <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 (Saargem&uuml;nd), <a href="#Page_78">78</a><br />
+<br />
+Savona, <a href="#Page_36">36</a><br />
+<br />
+Sceaux Penthi&egrave;vre, <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 />
+S&egrave;vres, <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 />
+Z&uuml;rich, <a href="#Page_168">168</a></p></div>
+
+<p>&nbsp;</p>
+<p class="center">Printed by <span class="smcap">Ballantyne, Hanson &amp; Co.</span><br />
+Edinburgh &amp; London</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</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 Saargem&uuml;nd, belonging to Germany.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><b>Transcriber&#8217;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&#8217;s loaction in this document.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Collector's Handbook to Keramics
+of the Renaissance and Modern Periods, by William Chaffers
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+</body>
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+
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@@ -0,0 +1,5620 @@
+Project Gutenberg's Collector's Handbook to Keramics, 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: Collector's Handbook to Keramics
+
+Author: William Chaffers
+
+Release Date: November 30, 2010 [EBook #34508]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** 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
+
+
+
+
+
+
+
+
+
+_The Complete Work from which this Handbook is extracted_
+
+The Keramic Gallery
+
+BY WILLIAM CHAFFERS
+
+Containing several hundred illustrations, some in colour, of rare,
+curious, and choice examples of Pottery and Porcelain from the earliest
+times to the beginning of the nineteenth century
+
+NEW EDITION, REVISED AND EDITED BY H. M. CUNDALL, I.S.O., F.S.A.
+
+Royal 8vo, cloth extra, top edge gilt, to range with the same author's
+"Marks and Monograms on Pottery"
+
+This important book, which was long out of print and scarce, is not
+reprinted because of its rarity, but because it is an _indispensable_
+companion to the same author's "Marks and Monograms on Pottery and
+Porcelain."
+
+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.
+
+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.
+
+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.
+
+
+
+
+HANDBOOK TO KERAMICS
+
+
+
+
+[Illustration: CHELSEA STATUETTE, "MELPOMENE"]
+
+
+
+
+  THE COLLECTOR'S HANDBOOK TO
+  Keramics
+  _Of the Renaissance and Modern Periods_
+
+  SELECTED FROM HIS LARGER WORK, ENTITLED
+  "The Keramic Gallery"
+
+
+  WITH 350 ILLUSTRATIONS
+
+
+  BY
+  WILLIAM CHAFFERS
+
+  AUTHOR OF "MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN"
+  "HALL MARKS ON GOLD AND SILVER PLATE," ETC. ETC.
+
+
+  LONDON
+  GIBBINGS AND COMPANY, LIMITED
+  NEW YORK: CHARLES SCRIBNER'S SONS
+  1909
+
+
+
+  Printed by BALLANTYNE, HANSON & CO.
+  At the Ballantyne Press, Edinburgh
+
+
+
+
+PREFACE
+
+
+As "THE KERAMIC GALLERY" by the late William Chaffers forms a pictorial
+supplement to his book "MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN,"
+so likewise this work, "HANDBOOK TO KERAMICS," which is an abridged
+edition of "THE KERAMIC GALLERY," is intended to form a companion volume
+of illustrations to "THE COLLECTOR'S HANDBOOK OF MARKS AND MONOGRAMS ON
+POTTERY AND PORCELAIN."
+
+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 "THE
+KERAMIC GALLERY," 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.
+
+Brief accounts, extracted from the larger volume, of the various
+manufactories are also given, with a view to help in establishing the
+period to which any specimen may belong.
+
+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.
+
+H. M. C.
+
+
+
+
+CONTENTS
+
+
+                                            PAGE
+  MAIOLICA--
+    ITALY                                      1
+    SPAIN                                     41
+
+  CONTINENTAL FAYENCE--
+    FRANCE                                    50
+    GERMANY                                   84
+    HOLLAND AND LUXEMBURG                    100
+    RUSSIA AND SWEDEN                        107
+
+  CONTINENTAL PORCELAIN--                    110
+    ITALY                                    112
+    SPAIN                                    127
+    GERMANY                                  130
+    AUSTRIA                                  160
+    SWITZERLAND                              168
+    HOLLAND                                  170
+    BELGIUM AND LUXEMBURG                    175
+    RUSSIA                                   179
+    SWEDEN                                   184
+    DENMARK                                  185
+    FRANCE                                   187
+
+  GREAT BRITAIN--
+    POTTERY                                  216
+    PORCELAIN                                255
+
+  ORIENTAL POTTERY AND PORCELAIN--
+    CHINA                                    285
+    JAPAN                                    295
+    PERSIA, SYRIA, AND TURKEY                304
+
+  INDEX                                      313
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  CHELSEA STATUETTE, "MELPOMENE"                            _Frontispiece_
+
+
+  MAIOLICA
+
+  ITALY
+
+  FIG.                                                                PAGE
+
+    1. URBINO--Plateau. Marriage of Alexander and Roxana                 2
+    2.   "     Plateau, with Leda and the Swan in the centre             3
+    3.   "     Plateau. By Alfonso Patanazzi, 1606                       4
+    4.   "     Vase. Apollo and Daphne. _Circa_ 1580                     5
+    5.   "     Cruet. _Circa_ 1570                                       6
+    6.   "     Plate. "The Stream of Life;" signed M{o}. Giorgio         7
+    7.   "     Vase, with Shield of Arms, by M{o}. Giorgio. _16th
+               century_                                                  7
+    8. PESARO--Drug Vase, inscribed "Sir di Cedro." _17th century_       9
+    9.   "     Bowl, Cover, and Dish, _18th century_                    10
+   10. CASTEL DURANTE--Vase. _Circa_ 1560                               11
+   11.       "         Plate. _Circa_ 1530                              11
+   12. FAENZA--Plaque; inscribed "Andrea di Bono, 1491"                 12
+   13.    "    Plate, with motto "En Piu." _15th century_               13
+   14.    "    Plaque. Joseph Sold by His Brethren. _16th century_      14
+   15.    "    Plate, with Arms and Arabesques, _16th century_          15
+   16. DIRUTA--Plate. _Circa_ 1520                                      16
+   17.    "    Plate; inscribed "Sura Fiore." _Circa_ 1520              16
+   18. FORLI--Plate. Christ among the Doctors. _16th century_           17
+   19. VITERBO--Plateau. Diana and Actaeon. _Dated_ 1544                 18
+   20. CAFAGGIOLO--Plateau. St. George. _Circa_ 1520                    19
+   21. SIENA--Plate. By M{o}. Benedetto. _Circa_ 1520                   21
+   22.   "    Plate. Woman and Two Peacocks. _18th century_             22
+   23.   "    Plate. Vintage; signed "Ferdinando M{a}. Campani, 1747"   22
+   24.   "    Plate. Galatea. _Early 18th century_                      23
+   25. VENICE--Plate. Architectural Subject. _Circa_ 1700               24
+   26. NOVE--Tureen and Cover. _18th century_                           25
+   27. FLORENCE--Cup and Saucer                                         26
+   28. PADUA--Plate. Myrrha Fleeing from her Father                     27
+   29. CASTELLI--Bowl and Cover. _18th century_                         28
+   30.    "      Ewer and Basin. _18th century_                         29
+   31. MONTE LUPO--Plate. Three Cavaliers                               31
+   32. MILAN--Ecuelle and Dish. _18th century_                          32
+   33.   "    Ewer and Dish. _18th century_                             32
+   34.   "    Cup and Plate. _18th century_                             32
+   35. TURIN--Dish with pierced Border. _Dated_ 1577                    33
+   36. FERRARA--Plateau. Triumph of Bacchus. _First half of 18th
+                century_                                                34
+   37. GENOA--Bottle. _18th century_                                    35
+   38. SAVONA--Basket. _18th century_                                   36
+   39. LORETO--Two Bowls                                                37
+   40. SGRAFFIATO or INCISED WARE--Bowl. _About_ 1460                   38
+   41.      "             "        Plate. _About_ 1540                  38
+   42.      "             "        Basket. _19th century_               39
+
+  SPAIN
+
+   43. HISPANO-MORESQUE--Vase. _15th century_                           40
+   44.        "          Azulejo. _14th century_                        41
+   45.        "          Plateau. _15th or 16th century_                43
+   46.        "          Plateau. _15th or 16th century_                44
+   47. VALENCIA--Dish                                                   45
+   48. MANISES--Vase                                                    46
+   49. TRIANA--Bottle in Form of a Lady                                 47
+   50.   "     Dish. _Dated_ 1774                                       47
+   51. ALCORA--Plaque with Rococo Frame                                 48
+   52. TALAVERA--Bowl                                                   49
+
+
+  CONTINENTAL FAYENCE
+
+  FRANCE
+
+   53. SAINT PORCHAIRE--Candlestick                                     51
+   54.        "         Biberon                                         52
+   55. APT--Vase                                                        53
+   56. BLOIS--Candlestick                                               54
+   57. AVIGNON--Ewer. _About_ 1600                                      55
+   58. PALISSY WARE--Dish, with Reptiles, Fish, &c. _16th century_      56
+   59. NEVERS--Pilgrim's Bottle. _Second half of 17th century_          57
+   60.   "     Ewer. _Second half of 17th century_                      58
+   61.   "     Pilgrim's Bottle                                         59
+   62. ROUEN--Ewer                                                      60
+   63.   "    Ewer                                                      61
+   64.   "    Plate                                                     61
+   65.   "    Compotier                                                 62
+   66.   "    Compotier                                                 62
+   67. STRASSBURG--Fountain                                             63
+   68.    "        Clock and Bracket                                    64
+   69. MOUSTIERS--Plateau                                               65
+   70.    "       Compotier                                             66
+   71.    "       Plate                                                 67
+   72.    "       Barber's Basin                                        67
+   73. VARAGES--Plate                                                   68
+   74. MARSEILLES--Tureen                                               69
+   75. SINCENY--Bowl and Cover                                          71
+   76. LUNEVILLE--Pair of Rustic Figures                                73
+   77.    "       Dish                                                  73
+   78. APREY--Plate                                                     74
+   79. MANERBE--Finial                                                  75
+   80. ST. CLEMENT--Ecuelle                                             76
+   81. NIDERVILLER--Vase                                                77
+   82. ST. ARMAND-LES-EAUX--Inkstand                                    79
+   83. SCEAUX PENTHIEVRE--Plate                                         80
+   84. CREIL--Plate                                                     81
+   85. LILLE--Dish                                                      82
+
+  GERMANY
+
+   86. NUREMBERG--Jug. _15th century_                                   85
+   87.    "       Dish                                                  86
+   88. BAYREUTH--Coffee-pot                                             88
+   89. LIMBURG--Cruche                                                  90
+   90. RAEREN--Cruche                                                   90
+   91. SEIGBURG--Canette                                                91
+   92. GRENZHAUSEN--Jug                                                 92
+   93.     "        Fountain                                            93
+   94. KREUSSEN--Tankard                                                94
+   95. HARBURG--Cruche                                                  95
+   96. DRESDEN--Boettcher Coffee-pot                                     97
+   97. TEINITZ--Plate                                                   98
+   98. KIEL--Bishop Mitre Bowl                                          99
+
+  HOLLAND
+
+   99. DELFT--Cruche                                                   101
+  100.   "    Teapot                                                   102
+  101.   "    Vase                                                     103
+  102.   "    Plate                                                    104
+  103. AMSTERDAM--Dish                                                 105
+
+  SWEDEN
+
+  104. ROeRSTRAND--Butterboat                                           108
+  105. MARIEBERG--Vase and Cover                                       108
+  106.    "       Plate                                                109
+
+
+  CONTINENTAL PORCELAIN
+
+  ITALY
+
+  107. FLORENCE--Cruet                                                 112
+  108.    "      Bowl                                                  113
+  109. DOCCIA--Teapot                                                  113
+  110.   "     Basin                                                   114
+  111. NAPLES--CAPO DI MONTE--Vase                                     115
+  112.   "           "        Saucer                                   115
+  113.   "           "        Cup and Saucer                           116
+  114.   "           "        Coffee-pot                               116
+  115. TREVISO--Ecuelle                                                117
+  116.   "      Cup and Saucer                                         118
+  117. TURIN, VINOVO--Ecuelle                                          118
+  118. VENICE--Vase and Cover                                          120
+  119.   "     Vase                                                    121
+  120. NOVE--Jardiniere                                                123
+  121.   "   Vase                                                      124
+  122.   "   Vase                                                      125
+  123.   "   Milk-pot                                                  125
+
+  SPAIN
+
+  124. MADRID--BUEN RETIRO--Group                                      127
+  125.   "         "        Vase                                       128
+  126.   "         "        Vase                                       128
+  127. ALCORA--Plaque                                                  129
+
+  GERMANY
+
+  128. DRESDEN--Vase                                                   131
+  129.    "     Sucrier, Cup, and Saucer                               132
+  130.    "     Cup and Saucer                                         132
+  131.    "     Vase and Cover                                         133
+  132.    "     Bust of a Girl                                         134
+  133.    "     Teapot and Saucer                                      134
+  134. BERLIN--Group                                                   135
+  135.   "     Group                                                   136
+  136.   "     Milk-pot, Cup, and Saucer                               137
+  137. HOeCHST--Lamp-stand                                              138
+  138.   "     Tray and Sucrier                                        139
+  139. FRANKENTHAL--Plate                                              140
+  140.     "        Dejeuner Service                                   141
+  141. NYMPHENBURG--Tankard                                            142
+  142.     "        Cup and Saucer                                     143
+  143. ANSPACH--Cup and Saucer                                         143
+  144. BAYREUTH--Cup                                                   144
+  145. KELSTERBACH--Harlequin                                          145
+  146. THURINGIA--Cup and Saucer                                       146
+  147. CLOSTER VEILSDORF--Teapot                                       146
+  148.        "           Tray                                         147
+  149. RUDOLSTADT--Milk-pot, Cup, and Saucer                           147
+  150. FULDA--A Peasant                                                148
+  151.   "    A Peasant                                                148
+  152.   "    Cup and Saucer                                           149
+  153.   "    Coffee-pot                                               149
+  154. FUeRSTENBERG--Bust of Augusta, Duchess of Brunswick              150
+  155.     "        Medallions                                         150
+  156. LUDWIGSBURG--Chocolate-pot                                      151
+  157.     "        Coffee-pot                                         152
+  158. REGENSBURG--Cup and Saucer                                      153
+  159. GROSSBREITENBACH--Milk-pot                                      153
+  160. LIMBACH--Sucrier, Cover, and Stand                              154
+  161. GERA--Sugar Basin                                               155
+  162.   "   Cup, Cover, and Saucer                                    156
+  163. GOTHA--Figure of Bacchus                                        157
+  164. RAUENSTEIN--Cup and Saucer                                      158
+  165. WALLENDORF--Vase                                                159
+
+  AUSTRIA
+
+  166. VIENNA--Cabaret                                                 161
+  167.   "     Milk-pot                                                162
+  168.   "     Plate                                                   163
+  169.   "     Cup and Saucer                                          164
+  170. SCHLAGGENWALD--Cup and Saucer                                   166
+  171. HEREND--Cabaret, portion of a                                   167
+
+  SWITZERLAND
+
+  172. NYON--Cup and Saucer                                            168
+  173.   "        "                                                    169
+  174. ZURICH--Group                                                   169
+
+  HOLLAND
+
+  175. WEESP--Ewer                                                     170
+  176.   "    Coffee-pot                                               170
+  177. OUDE LOOSDRECHT--Vase                                           171
+  178.   "      "       Panel                                          172
+  179. AMSTERDAM--Pair of Bottles                                      172
+  180. OUDE AMSTEL--Teapot and Sucrier                                 173
+  181.   "     "    Sucrier                                            173
+  182. THE HAGUE--Plate                                                174
+
+  BELGIUM AND LUXEMBURG
+
+  183. TOURNAI--Cup and Saucer                                         175
+  184.    "     Plate                                                  176
+  185. TOURNAI--Salt-cellar                                            176
+  186. BRUSSELS--Milk Jug                                              177
+  187.    "      Teapot                                                177
+  188. LUXEMBURG--Two figures of "The Seasons"                         178
+
+  RUSSIA
+
+  189. ST. PETERSBURG--Cup and Saucer                                  179
+  190.  "      "       Verriere                                        179
+  191. MOSCOW--Statuette                                               180
+  192.   "     Cup and Saucer                                          181
+  193. KORZEC--Cup and Saucer                                          182
+  194. BARANOWKA--Milk Jug                                             183
+
+  SWEDEN
+
+  195. MARIEBERG--Custard Cup and Cover                                184
+
+  DENMARK
+
+  196. COPENHAGEN--Cabaret                                             185
+  197.     "       Cabaret                                             186
+
+  FRANCE
+
+  198. ST. CLOUD--Jug                                                  187
+  199.     "      Statuette                                            188
+  200. CHANTILLY--Dish                                                 189
+  201.     "      Pair of Figures                                      190
+  202. MENNECY-VILLEROY--Sugar Basin and Stand                         191
+  203.        "          Group                                         192
+  204. SCEAUX PENTHIEVRE--Cup and Saucer                               193
+  205.    "       "       Milk-pot                                     193
+  206. ARRAS--Sceau                                                    193
+  207. BOULOGNE-SUR-MER--Plaque                                        194
+  208.    "        "     Sucrier                                       194
+  209. ETIOLLES--Cup and Saucer                                        195
+  210. LILLE--Cup and Saucer                                           195
+  211. BOURG-LA-REINE--Custard Pot                                     196
+  212. CLIGNANCOURT--Milk-pot and Cover                                197
+  213.      "        Cup and Dish                                      197
+  214.      "        Milk Jug                                          197
+  215. ORLEANS--Bowl, Cover, and Stand                                 199
+  216. NIDERVILLER--Milk-pot and Cover                                 200
+  217. BOISSETTE--Teapot                                               201
+  218. CAEN--Cup and Saucer                                            201
+  219. VALENCIENNES--Cup and Saucer                                    202
+  220. STRASSBURG--Cup and Saucer                                      203
+  221. PARIS: RUE THIROUX--Sucrier                                     204
+  222.   "    RUE DE BONDY--Ewer and Basin                             204
+  223.   "    RUE FONTAINE AU ROI--Part of a Tea Service               205
+  224.   "    FAUBOURG ST. HONORE--Teapot                              206
+  225.   "    PONT-AUX-CHOUX--Teapot                                   206
+  226.   "    RUE DE CRUSSOL--Cup                                      207
+  227.   "    BELLEVILLE--Watch-stand                                  207
+  228.   "    VINCENNES--Cup and Saucer                                208
+  229.   "       "  (Royal Factory)--Vase                              210
+  230.   "       "        "          Cup and Saucer                    211
+  231. SEVRES--Vase                                                    212
+  232.   "     Ecuelle                                                 213
+  233.   "     Group                                                   214
+
+
+  GREAT BRITAIN
+
+  POTTERY
+
+  234. STAFFORDSHIRE--Tyg                                              218
+  235.      "         Mug                                              218
+  236.      "         Plateau                                          219
+  237. ETRURIA--Wedgwood Vase                                          220
+  238.    "        "       "                                           222
+  239.    "        "     The Portland Vase                             223
+  240.    "        "     Teapot, Caddy, and Plate                      224
+  241.    "        "     Six Jasper Cameos                             225
+  242.    "        "     Vase                                          225
+  243.    "        "     Ewer                                          225
+  244. BURSLEM--Obelisk, by Ralph Wood, and Tea Set, by Aaron Wood     226
+  245.    "     Statuette of Chaucer, by Ralph Wood                    227
+  246.    "     Vase, by Moses Steel                                   228
+  247. SHELTON--Bowl, by S. Hollins                                    229
+  248.    "     Basin, by T. & J. Hollins                              229
+  249. NEW HALL CHINA WORKS--Cup and Saucer                            230
+  250. BRADWELL--Teapot, by Elers                                      231
+  251. HANLEY--Barrel, by Miles                                        231
+  252.    "    Vase, by Elijah Mayer                                   232
+  253.    "    Jardiniere                                              233
+  254.    "    Vase                                                    233
+  255. TUNSTALL--Jug, by W. Adams                                      234
+  256. LANE END--Sugar Basin                                           235
+  257.    "      Teapot                                                235
+  258. LONGPORT--Cup, Cover, and Saucer                                235
+  259.    "      Dish                                                  235
+  260. LANE DELPH--Cup, Cover, and Saucer                              236
+  261. LIVERPOOL--Mug                                                  237
+  262.    "       Punch Bowl                                           238
+  263.    "       Tiles, by J. Sadler                                  239
+  264.    "       Teapot                                               239
+  265. JACKFIELD--Teapot                                               241
+  266. FULHAM--"Lydia Dwight"                                          242
+  267. LAMBETH--Dish                                                   243
+  268. DON POTTERY--Tea-caddy                                          245
+  269. LEEDS--Chestnut Bowl and Cover                                  246
+  270. CASTLEFORD--Teapot                                              246
+  271. SWINTON--Teapot                                                 247
+  272. NEWCASTLE-ON-TYNE--Dish                                         248
+  273.         "          Mug                                          248
+  274. ST. ANTHONY'S--Jug                                              249
+  275. NOTTINGHAM--Mug                                                 249
+  276.     "       Jug in the form of a Bear                           250
+  277. GREAT YARMOUTH--Plate                                           250
+  278. LOWESBY--Garden Pot                                             251
+  279.    "     Vase                                                   251
+  280. BRISTOL--Tiles                                                  252
+  281. CADBOROUGH--Vessel in the form of a Pig                         253
+  282. SWANSEA--Dish                                                   254
+
+  PORCELAIN
+
+  283. WORCESTER--A Cup and Saucer                                     256
+  284.     "      Portion of a Tea Service (Japan pattern)             258
+  285.     "         "             "       (with coloured transfer)    258
+  286. ROCKINGHAM--Plate                                               259
+  287.     "       Vase                                                259
+  288. DERBY--Group. Chelsea-Derby                                     260
+  289.   "    Pair of Vases  "                                         261
+  290.   "    Plate, by Billingsley                                    261
+  291.   "    Cup, Cover, and Saucer. Crown-Derby                      262
+  292.   "    Scent Vase                   "                           262
+  293.   "    Cup, Cover, and Saucer       "                           263
+  294. BURTON-ON-TRENT--Comport                                        264
+  295. WIRKSWORTH--Cup and Cover                                       264
+  296. PINXTON--Jardiniere                                             265
+  297.    "     Sugar Bowl and Cover                                   265
+  298. PLYMOUTH--Coffee-pot                                            266
+  299.    "      Beaker and Cover                                      266
+  300.    "      Centrepiece                                           267
+  301.    "      A Shepherdess                                         268
+  302.    "      A Shepherd                                            268
+  303. BRISTOL--Bowl and Cover                                         269
+  304.    "     Dish                                                   269
+  305. CAUGHLEY--Mug                                                   270
+  306.    "      Plate                                                 270
+  307. COALPORT--Dish                                                  271
+  308. STOKE-ON-TRENT--Spode Cup, Cover, and Saucer                    272
+  309.   "        "      "   Vase                                      273
+  310.   "        "    Minton Bowl                                     274
+  311. LONGTON HALL--Vase                                              275
+  312. BOW--Teapot                                                     274
+  313.  "   Bowl                                                       276
+  314.  "   Plate                                                      276
+  315.  "   Statuette, "Flora"                                         277
+  316.  "   Bust of King George II.                                    278
+  317.  "   Group, "A Tea Party"                                       279
+  318. CHELSEA--Statuette, Marshal Conway                              280
+  319.    "         "      "Shepherd"                                  280
+  320. CHELSEA--Vase                                                   281
+  321. SWANSEA--Plate                                                  282
+  322.    "     Plate                                                  282
+  323. NANTGARW--Plate                                                 283
+  324.    "      Cup and Saucer                                        283
+  325.    "      Vase                                                  284
+
+
+  ORIENTAL
+
+  326. CHINA--Stoneware Vase                                           286
+  327.   "        "       "                                            287
+  328.   "    Porcelain Vase                                           288
+  329.   "        "     Ewer                                           289
+  330.   "    Bottle                                                   290
+  331.   "    Jar                                                      291
+  332.   "    Plate. Eggshell porcelain                                292
+  333.   "      "        "        "                                    293
+  334. JAPAN--Vase. Hizen ware                                         296
+  335.   "  Figure of Fukurokuji                                       297
+  336.   "  Sake Cup and Stand                                         298
+  337.   "  Jar. Oto ware                                              299
+  338.   "  Vase. Kishin ware                                          300
+  339.   "  Candlestick. Tozan porcelain                               300
+  340.   "  Flask. Satsuma ware                                        301
+  341.   "  Incense Burner. Imari porcelain                            302
+  342. PERSIA--Wall Tile. _13th century_                               305
+  343.   "  Water-bottle. With metallic lustre                         306
+  344.   "  Dish for Rice                                              307
+  345.   "  Rose water Sprinkler                                       308
+  346.   "      "          "                                           309
+  347. DAMASCUS--Plate                                                 310
+  348.    "      Dish                                                  311
+  349. RHODIAN--Plate                                                  312
+
+
+
+
+HANDBOOK TO KERAMICS
+
+
+
+
+MAIOLICA
+
+
+ITALY
+
+The painted pottery of Italy, ever since its introduction into that
+country in the 15th century, has been called by the Italians themselves
+_Maiolica_. In England it was in the 18th century called _Raphael ware_,
+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.
+
+The term _maiolica_ 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 _Maiorica_, and
+subsequently _Maiolica_.
+
+URBINO
+
+Urbino was one of the most celebrated of all the Italian _fabriques_,
+and must have had by far the most 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.)
+
+[Illustration: FIG. 1.--PLATEAU. MARRIAGE OF ALEXANDER AND ROXANA.
+_After Raphael. Signed and dated_ "XANTO, 1533."]
+
+[Illustration: FIG. 2.--PLATEAU, WITH LEDA AND THE SWAN IN CENTRE. _16th
+Century._]
+
+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.
+
+[Illustration: FIG. 3.--PLATEAU. BY ALFONSO PATANAZZI, 1606.]
+
+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.)
+
+[Illustration: FIG. 4.--VASE. APOLLO AND DAPHNE. _Circa_ 1580.]
+
+[Illustration: FIG. 5.--CRUET. _About_ 1570.]
+
+GUBBIO
+
+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.
+
+[Illustration: FIG. 6.--PLATE. "STREAM OF LIFE." _16th Century. Signed
+by_ M{O} GIORGIO. Diam. 7-3/4 in.]
+
+[Illustration: FIG. 7.--VASE. BY M{O} GIORGIO. H. 10-1/2 in. _16th
+Century._]
+
+Another painter in lustre, of the school of M{o} Giorgio, has signed his
+pieces with the letter N., which is supposed by some to be a monogram of
+Vincenzio, the son of M{o} Giorgio; and a painter named Perestino, of
+Gubbio, produced some very beautiful pieces, dated 1533 and 1536.
+
+PESARO
+
+Guido Ubaldo II. della Rovere, who became Duke of Urbino in 1538, was a
+patron of the _fabrique_ 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.
+
+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 _fabrique_, established by Giuseppe Bertolucci of Urbania in
+1757; Pietro Lei, a painter of Sassuolo, was engaged there.
+
+[Illustration: FIG. 8.--DRUG VASE. _17th Century._]
+
+[Illustration: FIG. 9.--BOWL, COVER, AND DISH. _18th Century._]
+
+CASTEL DURANTE
+
+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 _bottega_ for maiolica, at
+Castel Durante, _circa_ 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.
+
+[Illustration: FIG. 10.--VASE. _About_ 1560.]
+
+[Illustration: FIG. 11.--PLATE. _About_ 1530.]
+
+In the year 1635 the name of the _fabrique_ was changed to URBANIA 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.
+
+A great trade was carried on in pharmacy vases or Vasi da Spezieria,
+covered with grotesque heads, cornucopiae, &c., designed and shaded with
+light blue, touched with yellow, orange, brown and green, the patterns
+being mostly in a bold style.
+
+FAENZA
+
+If not the most ancient, Faenza was one of the most celebrated of the
+manufactories of maiolica in 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 _maiolica_ from Maiorca, and in
+France, _faience_ from Faenza. The earliest dated piece now extant is
+probably a plate in the Musee de Cluny, dated 1475, made by Nicolaus de
+Ragnolis. Another specimen, in the Sevres Museum, is inscribed "Nicolaus
+Orsini, 1477"; and in the same collection is a plate, signed "Don
+Giorgio, 1485," probably by Maestro Giorgio.
+
+[Illustration: FIG. 12.--PLAQUE. "ANDREA DI BONO, 1491."]
+
+[Illustration: FIG. 13.--PLATE. WITH AN EMBLEM OF TWO HEARTS PIERCED
+WITH ARROWS AND THE MOTTO "EN PIU." _15th Century._]
+
+The products of this _fabrique_ 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.
+
+[Illustration: FIG. 14.--PLAQUE. JOSEPH SOLD BY HIS BRETHREN. _16th
+Century._]
+
+In the 16th century a favourite decoration was grotesques and arabesques
+in blue _camaieu_ on yellow ground, or alternately on the two colours
+(see Fig. 15). 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.
+
+[Illustration: FIG. 15.--PLATE. ARMS AND ARABESQUES. _16th Century._]
+
+DIRUTA
+
+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 Pourtales 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 "_In Deruta_" 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.
+
+[Illustration: FIG. 16.--PLATE. BLUE AND WHITE. _16th Century._]
+
+[Illustration: FIG. 17.--PLATE. INSCRIBED "SURA FIORE." _About_ 1520.]
+
+FORLI
+
+According to Passeri there were _fabriques_ of maiolica at Forli 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{o}.
+Jeronimo da Forli."
+
+[Illustration: FIG. 18.--PLATE. CHRIST AMONGST THE DOCTORS. Diam. 14 in.
+_16th Century._]
+
+RIMINI is only known by a few specimens, which are actually signed, and
+by the mention made of its _fabriques_ by Piccolpassi. The pieces are
+dated 1535, and as late as 1635.
+
+VITERBO, RAVENNA, AND TREVISO
+
+There were manufactories at these three places in the 16th century, but
+few specimens of their productions now exist. (See Chaffers' _Marks and
+Monograms_, p. 112.) The first named is illustrated (Fig. 19) by a
+plateau; a man at the bottom holds a scroll inscribed "VITERBO DIOMED,
+1544."
+
+[Illustration: FIG. 19.--PLATEAU. DIANA AND ACTAEON. _Dated_ 1544.]
+
+CAFAGGIOLO
+
+This _fabrique_, 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.
+
+[Illustration: FIG. 20.--PLATEAU. ST. GEORGE. _Circa_ 1520.]
+
+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.
+
+Another characteristic of this _fabrique_ is the dark blue background of
+many of the pieces, and the method in which it was coarsely applied by
+the brush.
+
+Fig. 20 represents the St. George of Donatello, from the bronze statue
+in the church of Or San Michele, at Florence.
+
+SIENA
+
+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 chimerae, 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; the average diameter is 5 inches.
+The plate in blue _camaieu_ on white ground, in the accompanying
+illustration (Fig. 21) is signed on the reverse "fata in Siena da M{o}.
+Benedetto."
+
+[Illustration: FIG. 21.--PLATE. BY M{O}. BENEDETTO. _About_ 1520.]
+
+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).
+
+[Illustration: FIG. 22.--PLATEAU. WOMAN AND PEACOCKS. _18th Century._]
+
+[Illustration: FIG. 23.--PLATE. VINTAGE. _Signed_ FERDINANDO M{A}
+CAMPANI, SIENA, 1747.]
+
+[Illustration: FIG. 24.--PLATE. GALATEA. _After_ ANNIBALE CARACCI.
+_Early 18th Century._]
+
+PISA
+
+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
+bearing the name "PISA," a large vase of fine form, covered with
+arabesques on white ground, was in the collection of the late Baron
+Alphonse de Rothschild.
+
+VENICE
+
+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 _fabrique_ and not a painter. As an example of Venetian
+maiolica, _circa_ 1700, see Fig. 25, a plate painted with an
+architectural subject.
+
+[Illustration: FIG. 25.--PLATE. _Circa_ 1700.]
+
+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.
+
+NOVE
+
+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 _Fabbrica
+Baroni Nove_. It was prosperous for a short time, and some beautiful
+examples were produced.
+
+[Illustration: FIG. 26.--TUREEN AND COVER. _18th Century._]
+
+_Maiolica fina_ 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.
+
+FLORENCE
+
+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.
+
+[Illustration: FIG. 27.--CUP AND SAUCER.]
+
+PADUA
+
+In a street which still retains the name of _Boccaleri_ (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 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 NICOLETI, the name he usually adopted. The plaque
+is now preserved in the Museum of that city.
+
+[Illustration: FIG. 28.--PLATE. MYRRHA FLEEING FROM HER FATHER.]
+
+Fig. 28, a plate, painted on grey ground, is inscribed on the reverse
+with the name of the place and the date 1548.
+
+CASTELLI
+
+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 Saverio Grue, a man of letters and science, became
+about this time director of this Neapolitan maiolica _fabrique_. 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.
+
+[Illustration: FIG. 29.--BOWL AND COVER. _18th Century._]
+
+[Illustration: FIG. 30.--EWER AND BASIN. _18th Century._]
+
+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."
+
+NAPLES
+
+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.
+
+MONTE LUPO
+
+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.
+
+Fig. 31, is signed on the back "Raffaello Girolamo fecit Monte Lupo
+1639."
+
+[Illustration: FIG. 31.--PLATE. THREE CAVALIERS.]
+
+MILAN
+
+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.)
+
+Some pieces, apparently of a later date, are from the manufactory of
+Pasquale Rubati, and usually signed with his initials.
+
+[Illustration: FIG. 32.--ECUELLE AND DISH. _18th Century._]
+
+[Illustration: FIG. 33.--EWER AND DISH. _18th Century._]
+
+[Illustration: FIG. 34.--CUP AND PLATE. _18th Century._]
+
+TURIN
+
+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 Setebre 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).
+
+[Illustration: FIG. 35.--DISH. _Dated_ 1577.]
+
+FERRARA
+
+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 _fabriques_ 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 _impresa_ of the
+Duke, a flame of fire and the motto "ARDET ETERNUM," were produced at
+this _fabrique_, about 1579. At a much later period, probably late in
+the 17th century, there was still a manufactory here.
+
+[Illustration: FIG. 36.--PLATEAU. THE TRIUMPH OF BACCHUS. _First Half of
+the 18th Century._]
+
+BASSANO, NEAR VENICE
+
+A _fabrique_ (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.
+
+GENOA
+
+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 _camaieu_, sometimes with
+small caricature figures in the style of Callot. 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.
+
+[Illustration: FIG. 37.--BOTTLE. _18th Century._]
+
+Fig. 37, a bottle, painted in blue with birds and scroll ornaments, has
+this mark.
+
+SAVONA
+
+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.
+
+[Illustration: FIG. 38.--BASKET. _18th Century._]
+
+LORETO
+
+Although Santa Casa at Loreto is not strictly speaking a _fabrique_ 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.
+
+[Illustration: FIG. 39.--TWO BOWLS.]
+
+SGRAFFIATO OR INCISED WARE
+
+The earthenware vessels with stanniferous enamel, called in Italy
+_sgraffiato_ ware, have been attributed to CITTA DI CASTELLO. They are
+engraved in outline and decorated _en engobe_--that is, the object
+before being glazed is covered with a second coating of coloured slip
+or _engobe_, on which is graved the ornament or design after it has been
+merely dried by the air, leaving a sort of _champ leve_, 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 _sgraffiato_
+ware at LA FRATTA, 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 PAVIA in the 17th century.
+
+[Illustration: FIG. 40.--BOWL OF INCISED WARE. _About_ 1460.]
+
+[Illustration: FIG. 41.--PLATE. Diam., 11-1/2 in. _About_ 1540.]
+
+[Illustration: FIG. 42.--RED GLAZED EARTHENWARE BASKET. _19th Century._]
+
+[Illustration: HISPANO-MORESQUE
+
+FIG. 43.--VASE. Height 20-3/4 in. _15th Century._]
+
+
+SPAIN
+
+The 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.
+
+[Illustration: FIG. 44.--AZULEJO.]
+
+The Hispano-Moresque period, which is best known to us from the numerous
+specimens preserved to our time, commences with the 14th century, when
+the Alhambra of Granada was erected by the Moors.
+
+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.
+
+Fig. 43, a vase, is decorated with leaves and conventional flowers, in
+reddish yellow lustre and blue.
+
+The _azulejos_ 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).
+
+MALAGA. 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.
+
+Figs. 45 and 46 are other specimens of the Spanish lustre ware, with
+shields of arms, of the 15th or 16th century.
+
+MAJORCA 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' Bernardi da
+Uzzano, writing in 1442 about the productions of the Balearic Isles,
+says "_the fayence of Majorca has a very extensive sale in Italy_."
+
+[Illustration: FIG. 45.--PLATEAU.]
+
+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.
+
+VALENCIA 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 _lustred_ 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.
+
+[Illustration: FIG. 46.--PLATEAU.]
+
+[Illustration: FIG. 47.--DISH.]
+
+Valencia has from time immemorial been celebrated for its _azulejos_ 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 extensively made at Valencia
+throughout the 17th and 18th centuries. Fig. 47, a dish, is blue and
+white with a lion in the centre.
+
+MANISES, 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.
+
+[Illustration: FIG. 48.--VASE.]
+
+TRIANA, near Seville. There were several _fabriques_ here, one for the
+manufacture of spires or ornaments of earthenware, with which the gables
+of the buildings were crowned; others for the _azulejos_ 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., _en grande tenue_; inside the _fontange_ or top-knot of the
+headdress, which forms the spout, is written "Victor. I. Viva. Mi. Arno.
+Don. Damian. Sant. [cross]."
+
+[Illustration: FIG. 49.--BOTTLE. Height 14 in.]
+
+[Illustration: FIG. 50.--DISH. _Dated_ 1774.]
+
+ALCORA. There was a very important _fabrique_ of fayence at this place,
+carried on by the Count D'Aranda, in the 18th century.
+
+The usual mark upon this fayence is the letter A in gold or colour.
+
+[Illustration: FIG. 51.--PLAQUE.]
+
+TALAVERA, near Toledo, was one of the most important manufactories in
+Spain in the 17th and 18th centuries, and the word _talavera_ was used
+to indicate all fayence in the same manner as _fayence_ in France and
+_delft_ in England.
+
+[Illustration: FIG. 52.--BOWL. _18th Century._]
+
+Fig. 52, a bowl, is glazed, decorated within and without with a bull
+fight, storks, and trees, in green, orange and manganese.
+
+
+
+
+CONTINENTAL FAYENCE
+
+
+FRANCE
+
+Maiolica 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.
+
+SAINT PORCHAIRE. All the earliest writers on the subject appear to have
+thought that it was made in Touraine, and it was called HENRI DEUX ware.
+
+The ware next became known as FAIENCE D'OIRON, but in 1888 it was
+affirmed that the factory of this pottery was at Saint Porchaire.
+
+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
+_champ leve_ enamels or niello work in metal.
+
+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, tragic masks, shields of arms of France, and the cipher of
+Henri II.; above are three terminal figures of satyrs; date about 1540.
+
+[Illustration: FIG. 53.--CANDLESTICK.]
+
+Fig. 54, a _biberon_, is inlaid with interlaced bands and scrolls,
+rosettes, guilloches, masks, &c., in a reddish colour; a curved band on
+the neck has a row of ciphers, these being the letters A. M., elegantly
+arranged as a decorative monogram, probably that of the Constable Anne
+de Montmorency.
+
+[Illustration: FIG. 54.--BIBERON. Height 9-1/4 in.]
+
+BEAUVAIS was celebrated for the manufacture of decorative pottery in the
+14th century, and descriptions of cups of the _terre de Beauvais_
+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.
+
+APT. 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.
+
+[Illustration: FIG. 55.--VASE.]
+
+Fig. 55 is a yellow vase with masks and vine leaves.
+
+BLOIS. 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.
+
+[Illustration: FIG. 56.--CANDLESTICK.]
+
+AVIGNON. 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 Italy, sometimes perforated and ornamented with masks and
+flowers in relief, or painted yellow.
+
+[Illustration: FIG. 57.--EWER. _About 1600._]
+
+BERNARD PALISSY, 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 Paris basin; the
+fish are those of the Seine, and the reptiles and plants such as he
+found in the environs of Paris.
+
+[Illustration: FIG. 58.--DISH. _16th Century._]
+
+NEVERS. The earliest evidence of the making of fayence at Nevers is the
+foundation of a _fabrique_ 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 _fabrique_, which was equally
+successful, and seven generations of his family were employed in it.
+Other manufactories were started in the 18th century.
+
+The fayences of the first epoch, 1600 to 1660, have frequently been
+confounded with Italian 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 _bleu de Perse_; 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 _en camaieu_, sometimes intermixed with a sort of brown lilac.
+
+[Illustration: FIG. 59.--PILGRIM'S BOTTLE. _Bleu de Perse. 2nd half of
+17th Century._ Height 11-1/2 in.]
+
+[Illustration: FIG. 60.--EWER. _Painted with Japanese figures, 2nd half
+of 17th Century._ Height 15-3/8 in.]
+
+[Illustration: FIG. 61.--PILGRIM'S BOTTLE. APOLLO AND DAPHNE; _rev._ A
+BACCHANALIAN SCENE. _In blue and yellow._ Height 12-1/4 in.]
+
+ROUEN. There was a manufactory of pottery at 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 cornucopiae and rococo ornaments; this sort of style
+is called in France "_a la corne_." 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 _camaieu_ and in polychrome, some
+in the style of Nevers, with white on _bleu de Perse_, but of paler
+colour. The pieces were frequently of large size, and included
+fountains, consoles, vases, &c.
+
+[Illustration: FIG. 62.--EWER.]
+
+[Illustration: FIG. 63.--EWER.]
+
+[Illustration: FIG. 64.--PLATE.]
+
+Fig. 62 is painted with polychrome decoration of landscapes, &c.; period
+of Louis XIV.; height 26-3/8 in.
+
+Fig. 63 is painted in blue with arabesques and flowers; period of Louis
+XIV.; height 9-3/4 in.
+
+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.
+
+[Illustration: FIG. 65.--COMPOTIER.]
+
+[Illustration: FIG. 66.--COMPOTIER.]
+
+Fig. 65 is painted in polychrome; period of Louis XV.; diam. 9-5/8 in.
+
+Fig. 66 is painted with Chinese figures, &c., in polychrome; period of
+Louis XV.; diam. 10 in.
+
+STRASSBURG[1] and HAGENAU were noted for the manufacture of fayence,
+established by Charles Francois 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.
+
+[Illustration: FIG. 67.--FOUNTAIN.]
+
+[Illustration: FIG. 68.--CLOCK AND BRACKET.]
+
+Fig. 67, polychrome decoration, bears the initials of Paul Hannong;
+about 1750; height 22-1/4 in.
+
+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.
+
+MOUSTIERS. The products of the Moustiers _fabriques_ may be divided into
+three periods:--
+
+1st Epoch. Towards the end of the 17th century. The subjects are hunting
+scenes, &c., painted in blue; champetre 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.
+
+[Illustration: FIG. 69.--PLATEAU.]
+
+2nd Epoch. From the commencement of the 18th century to about 1745. The
+specimens of this period are in blue _camaieu_ 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.
+
+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.
+
+[Illustration: FIG. 70.--COMPOTIER.]
+
+Fig. 69, painted in green _camaieu_ with a rustic subject in the style
+of Boucher, with polychrome floral border; 1720 to 1760; diam. 11-1/8
+in.
+
+Fig. 70. Compotier, painted with a central hunting subject, after
+Tempesta, surrounded by a floral border, and outer border of garlands,
+in polychrome; 1680 to 1720; diam. 10-3/8 in.
+
+[Illustration: FIG. 71.--PLATE.]
+
+[Illustration: FIG. 72.--BARBER'S BASIN.]
+
+Fig. 71. Plate, octagonal, with curved outline, painted with central
+medallion of Juno standing in a landscape, surrounded by a garland, and
+round the border the busts of divinities within medallions, and
+garlands, in polychrome; 1680 to 1720; diam. 10 in.
+
+Fig. 72. Barber's basin, painted in polychrome with the subject of Diana
+and Actaeon; 1680 to 1720; length 15 in.
+
+VARAGES 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 "Faience a
+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. 11-1/2 in.
+
+[Illustration: FIG. 73.--PLATE.]
+
+MARSEILLES. 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 _fabriques_ 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
+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.
+
+[Illustration: FIG. 74.--TUREEN.]
+
+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 _pernettes_ 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.
+
+Fig. 74. Soup tureen, cover, and stand, with polychrome flower
+decoration and gilding, was made by Savy, about 1750; length of tureen,
+15-1/2 in.
+
+SINCENY in Picardy. A manufactory was established here in 1733, by Jean
+Baptiste de Fayard, Gouverneur de Chaunay et Seigneur de Sinceny. Dr.
+Warmont (_Recherches Historiques sur les faiences de Sinceny, &c._,
+Paris, 1864) divides the products of this manufactory into three
+periods:--
+
+    1. Rouennaise, 1734 to 1775.
+    2. Faience au feu de reverbere, 1775 to 1789.
+    3. Decadence de l'Art, 1789 to 1864.
+
+The earliest pieces were painted in blue; the next in blue touched with
+red or green and yellow, decorated with _lambrequins_ (mantlings), _a la
+corne_ (cornucopiae), birds, and butterflies. Chinese figures were
+doubtless stencilled by pricked papers and charcoal powder.
+
+[Illustration: FIG. 75.--BOWL AND COVER.]
+
+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 _le feu de reverbere_, in
+contradistinction to the old process _au grand feu_; 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 _camaieu_;
+delicate wicker baskets, watch stands, &c., were produced; they were
+painted with Chinese figures, rococo scrolls, and other ornaments. From
+1790 the fayence _au feu de reverbere_ 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.
+
+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.
+
+LUNEVILLE. Founded in 1731 by Jacques Chambrette, it was called _La
+Manufacture Stanislas_; 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.
+
+[Illustration: FIG. 76.--A PAIR OF RUSTIC FIGURES. _With polychrome
+decoration. About 1775._ Height 8-3/4 in.]
+
+[Illustration: FIG. 77.--DISH. _In polychrome. About 1760._ Length
+13-1/4 in.]
+
+APREY, 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.
+
+[Illustration: FIG. 78.--PLATE. _In polychrome._ Diam. 9-3/8 in.]
+
+At MANERBE, near Lisieux in Normandy, and at MALICORNE, INFREVILLE,
+CHATEAU-LA-LUNE and ARMENTIERES, 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 _figulines rustiques_ of
+Palissy, and have frequently been sold as such.
+
+[Illustration: FIG. 79.--FINIAL. _About 1600._]
+
+ST. CLEMENT. Established about 1750. Little is known of this _fabrique_.
+There are some specimens of the 18th century in the Sevres Museum; also
+some others of later date, 1819 and 1823.
+
+[Illustration: FIG. 80.--ECUELLE. _With gilt scrolls on white ground._]
+
+TOULOUSE. 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 May 1756," was formerly in
+the possession of the late Mr. C. W. Reynolds.
+
+NIDERVILLER.[2] Established in 1760, by Jean Louis, Baron Beyerle. 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, four years before Beyerle'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.
+
+[Illustration: FIG. 81.--VASE.]
+
+Fig. 81. Vase with cover, one of a pair; urn shape, painted to resemble
+deal, with medallions containing landscapes in rose _camaieu_, and
+borders of bay leaves. It bears the mark of Count Custine; date about
+1774; height 17-3/8 inches.
+
+DOUAI. 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.
+
+VINCENNES. 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 Chateau 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.
+
+SARREGUEMINES.[3] 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.
+
+ST. AMAND-LES-EAUX, 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 _fabrique_,
+and advertised that the St. Amand works were in full activity, making
+white fayence in the style of Rouen.
+
+[Illustration: FIG. 82.--INKSTAND.]
+
+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.
+
+SCEAUX PENTHIEVRE. In 1753, Jacques de 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.
+
+[Illustration: FIG. 83.--PLATE.]
+
+BOURG-LA-REINE. 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.
+
+CREIL. A manufactory of fine fayence, worked in the 18th century by M.
+S{t} Criq, made opaque porcelain and stoneware in the English style, and
+transferred prints on to the ware.
+
+[Illustration: FIG. 84.--PLATE. _With a yellow border and
+transfer-printed landscape._]
+
+MONTEREAU. 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.
+
+LILLE. A manufactory of fayence, was founded in 1696, by Jacques
+Feburier, of Tournai, and Jean Bossu, of Ghent, who made a ware _a la
+facon de Hollande_.
+
+[Illustration: FIG. 85.--DISH.]
+
+Another important manufactory of fayence was established in 1711, by
+Barthelemy 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 the same family until 1827. A fourth
+was established in 1744, by M. Chanou, who made a brown earthenware
+called _terre du St. Esprit_, in the English fashion. There were also
+two other factories here in the 18th century.
+
+
+GERMANY
+
+The 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 _Steingut_, and in France
+_gres_ 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.
+
+NUREMBERG (_Nuernberg_). 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 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 _camaieu_, sometimes
+in other colours.
+
+[Illustration: FIG. 86.--JUG. _15th Century._]
+
+Fig. 86. Jug, of enamelled earthenware, in various colours, with
+figures in low relief; attributed to Veit Hirschvogel; height 13 in.
+
+[Illustration: FIG. 87.--DISH.]
+
+Fig. 87. Dish, painted in the centre with Christ rising from the tomb;
+signed with the painter's name Glueer, 1723.
+
+LEIPZIG. 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., 2-1/2 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 shaded with black; the hair, beard, and eyes of the
+figures are coloured.
+
+STREHLA. 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.
+
+OBERDORF. 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 Fuessen, in Bavaria. Many other places throughout Germany
+were equally famous in the 16th and 17th centuries, for the manufacture
+of stoves, as AUGSBURG, MEMMINGEN, &c.
+
+BAYREUTH. 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
+_camaieu_. The designs are delicately traced with a brush on a fine
+paste; the forms are canettes, jardinieres, &c. At the end of the 18th
+century a _fabrique_ of fayence was carried on by a Herr Schmidt, who
+assiduously copied the English ware; there are specimens in the Sevres
+Museum bearing the counterfeit mark of "Wedgwood."
+
+[Illustration: FIG. 88.--COFFEE-POT.]
+
+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.
+
+COLOGNE (_Koeln_). The stoneware made here in the 16th century is better
+known throughout Europe than any other description of pottery; its
+durability for domestic uses and the elegant character of its
+ornamentation in relief, caused it to be sought for everywhere. The
+_gres de Cologne_ has been confounded with the _gres de Flandres_, 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 _gres_ or stoneware cruches were
+undoubtedly made in Germany, if not at Cologne. The clay for making the
+Cologne ware came from Langerwehe between Dueren and Aix-la-Chapelle. The
+manufactory was not actually in Cologne, but in the vicinity, possibly
+at FRECHEN, and at LAUENSTEIN, where a factory was established in the
+18th century.
+
+There were also factories at SIEGBURG and LIMBURG.
+
+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 RAEREN 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 _gres de Flandres_.
+
+[Illustration: FIG. 89.--LIMBURG CRUCHE. _Grey and blue._ Height 8-3/4
+in.]
+
+[Illustration: FIG. 90.--RAEREN CRUCHE. _Grey and blue._ Height 7-1/4
+in.]
+
+[Illustration: FIG. 91.--SIEGBURG CANETTE. _Cream colour. Dated 1574._
+Height 17-1/4 in.]
+
+GRENZHAUSEN, in Nassau. There was a factory here about 1780, where
+_gres_ or stoneware was made; it is of a fine quality and easily
+mistaken for the more ancient _gres_. 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.
+
+[Illustration: FIG. 92.--JUG.]
+
+Fig. 92, a jug of reticulated pattern, is engine-turned, and enriched
+with brilliant enamel colours, 18th century.
+
+[Illustration: FIG. 93.--FOUNTAIN.]
+
+Fig. 93, a large fountain, is purple blue and white, 16th century;
+height 30 in.
+
+KREUSSEN, a town of Bavaria, has long been noted for its pottery. The
+_gres_ of the 17th century, called _Kreussener Steingut_, 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.
+
+[Illustration: FIG. 94.--TANKARD.]
+
+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.
+
+BUNZLAU, in Silesia. _Gres_ 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.
+
+HARBURG, 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 _en grisaille_, the colours being fixed by heat.
+
+[Illustration: FIG. 95.--CRUCHE.]
+
+Fig. 95, a cruche of fine fayence, painted with a landscape in grey
+_camaieu_, is signed "_Joh. Schaper_"; it has a white ground with
+flowers and fruit in natural colours; date about 1640; height 8-1/2 in.
+
+SCHERZHEIM, in Wuertemberg. 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.
+
+LAUENSTEIN, near Coblenz. A manufactory was established in 1760; the
+_gres_ 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.
+
+HOeCHST, 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.
+
+DRESDEN. 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 porcelain. The
+experiments of Tschirnhaus and Boettcher 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 Boettcher, was a fine
+stoneware, having opacity, grain, and toughness.
+
+[Illustration: FIG. 96.--BOeTTCHER COFFEE-POT.]
+
+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.
+
+
+TEINITZ (Bohemia). A manufactory was carried on in this small town in
+the 18th century by a potter named Welby.
+
+[Illustration: FIG 97.--PLATE.]
+
+Fig. 97. A plate painted in bistre _camaieu_ 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.
+
+FRANKENTHAL. 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."
+
+ARNSTADT (Gotha). A factory was established here about the middle of the
+18th century. A fayence jug, painted in blue _camaieu_, with St. George
+and the Dragon, coloured flowers on the sides, and a purple and green
+check border, is in the British Museum.
+
+KIEL 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.
+
+[Illustration: FIG. 98.--BISHOP'S MITRE BOWL.]
+
+
+HOLLAND AND LUXEMBURG
+
+HOLLAND
+
+Delft, 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.
+
+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{t}. Luc.
+
+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 _camaieu_; and Albrecht de Keizer, with his two
+sons-in-law, Jacob and Adrian Pynaker, 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.
+
+[Illustration: FIG. 99.--CRUCHE.]
+
+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.
+
+[Illustration: FIG. 100.--TEAPOT.]
+
+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 _camaieu_, 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.
+
+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.
+
+[Illustration: FIG. 101.--VASE.]
+
+Fig. 99, a cruche, is painted in blue _camaieu_, with a musical party,
+in the costume of about 1670.
+
+[Illustration: FIG. 102.--PLATE.]
+
+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.
+
+Fig. 101, a vase, is painted in blue with flowers, in imitation of a
+Chinese type. The mark of Ghisbrecht Lambrechtse Kruyk. Later half of
+17th century.
+
+Fig. 102, a plate painted with figures in blue, is one of a set of
+twelve representing the tobacco industry.
+
+UTRECHT. There was a manufactory of tiles here, founded in 1760; they
+were decorated in blue or violet, _en camaieu_, in imitation of Delft;
+the manufactory was closed in 1855.
+
+AMSTERDAM. 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 _camaieu_. Fig. 103, a fruit dish, is
+painted in blue, with a man and woman seated.
+
+[Illustration: FIG. 103.--DISH.]
+
+OVERTOOM. 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.
+
+LUXEMBURG
+
+An important _fabrique_ 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.
+
+
+RUSSIA AND SWEDEN
+
+RUSSIA
+
+ST. PETERSBURG. 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 "_Connaissances Politiques_," of
+Beausobre, published at Riga in 1773: "There is also among the porcelain
+manufactories at St. Petersburg a _fabrique_ 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 _fabrique_ of fayence,
+and has obtained painters and potters from Germany."
+
+SWEDEN
+
+ROeRSTRAND, 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. Huenger. In 1772 they were managed by
+Nordenstople, and later by Geyer.
+
+[Illustration: FIG. 104.--BUTTERBOAT.]
+
+[Illustration: MARIEBERG
+
+FIG. 105.--VASE AND COVER.]
+
+Fig. 104, a butterboat, leaf-shaped, is painted with flowers; dated
+1771.
+
+STOCKHOLM is the same manufactory as Roerstrand, but the mark was altered
+when the latter town was united to the capital.
+
+MARIEBERG, near Stockholm. The second Swedish pottery was established in
+1750, on the expiration of the monopoly of Roerstrand, 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.
+
+[Illustration: FIG. 106.--PLATE.]
+
+Fig. 105, a vase and cover, is coloured in relief; date about 1770.
+
+Fig. 106, a plate with pierced border, has a shield of arms and flowers;
+dated 1768.
+
+
+
+
+CONTINENTAL PORCELAIN
+
+
+Porcelain 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.
+
+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 _pate tendre_ 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.
+
+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 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.
+
+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 (_au grand feu_), 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 Sevres, 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 _indicia_
+must also be taken into consideration.
+
+
+ITALY
+
+FLORENCE. 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 _kaolin_ and _petuntse_, but was a soft paste and
+_translucent_, 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.
+
+[Illustration: FIG. 107.--CRUET.]
+
+Fig. 107, a cruet for oil and vinegar, has scroll ornament in blue; on
+either spout A and O (Aceto and Olio). About 1600.
+
+Fig. 108, a bowl, is painted inside and out with blue flowers. About
+1600.
+
+[Illustration: FIG. 108.--BOWL.]
+
+DOCCIA. The manufactory was founded in 1735 by the Marquis Carlo Ginori,
+contemporaneously with the manufactory at Sevres. 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.
+
+[Illustration: FIG. 109.--TEAPOT.]
+
+About 1860 the fabrication of the imitative Capo di Monte ware of the
+18th century, in coloured _mezzo-rilievo_, 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.
+
+[Illustration: FIG. 110.--BASIN.]
+
+Fig. 109, a teapot, is painted with flowers and purple border.
+
+Fig. 110, a basin, has a band of flowers in relief. Diameter 5-1/2 in.
+
+NAPLES--CAPO DI MONTE. 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 character 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, _circa_ 1760.
+
+[Illustration: FIG. 111.--VASE.]
+
+[Illustration: FIG. 112.--SAUCER.]
+
+[Illustration: FIG. 113.--CUP AND SAUCER.]
+
+[Illustration: FIG. 114.--COFFEE-POT.]
+
+Fig. 111, a vase, has green ornaments, on gold ground, and medallions of
+figures.
+
+Fig. 112, a saucer, bears a portrait of Ferdinand IV. and legend.
+
+Fig. 113, a cup and saucer, is painted with landscape and figures.
+
+Fig. 114, a coffee-pot, has classical subjects.
+
+TREVISO. 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.
+
+[Illustration: FIG. 115.--ECUELLE.]
+
+Fig. 115, an ecuelle, with blue ground, has gold fret borders and oval
+medallions of Italian buildings, landscapes, and figures.
+
+[Illustration: FIG. 116.--CUP AND SAUCER.]
+
+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.
+
+TURIN--VINOVO. 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.
+
+[Illustration: FIG. 117.--ECUELLE.]
+
+Fig. 117, an ecuelle, is ornamented in gold, with initials and the Royal
+Arms.
+
+VENICE. Porcelain of soft paste was made here probably about 1720.
+
+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.
+
+Materials for making porcelain were to be obtained in the Venetian
+dominions, but not such as to produce the _hard_ 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 _hard_ and _soft_ paste.
+
+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.
+
+[Illustration: FIG. 118.--VASE AND COVER.]
+
+[Illustration: FIG. 119.--VASE. _Cozzi period._ Height 17 in.]
+
+A beautiful example of this porcelain is represented in Fig. 118, a vase
+and cover of hard paste painted in lake _camaieu_, 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.
+
+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 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.
+
+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.
+
+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.
+
+The manufactory ceased to exist in 1812.
+
+NOVE. 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.
+
+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 (_ad uso di Sassonia_), the other two for
+French porcelain (_ad uso di Francia_).
+
+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.
+
+[Illustration: FIG. 120.--JARDINIERE. _By_ ANTONIBON.]
+
+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, 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.
+
+[Illustration: FIG. 121.--VASE.]
+
+Pasqual Antonibon and his son Giovanni Battista continued the
+fabrication of porcelain until the 6th February 1781, when they entered
+into partnership with Signor Parolini. The same manufacture, _con sommo
+onore dell'arte_, 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.
+
+[Illustration: FIG. 122.--VASE.]
+
+[Illustration: FIG. 123.--MILK-POT.]
+
+An example of the Baroni _fabrique_, in porcelain, with female figure
+handles, and painted with classical subjects, is given. (See Fig. 121.)
+
+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 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.
+
+
+SPAIN
+
+MADRID--BUEN RETIRO. This manufactory (_Soft Paste_), called "_La
+China_," was founded by Charles III. in 1759, in the gardens attached to
+his palace, EL BUEN RETIRO, 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.
+
+[Illustration: FIG. 124.--GROUP.]
+
+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.
+
+[Illustration: FIG. 125.--VASE. Height 22 in.]
+
+[Illustration: FIG. 126.--VASE. _With scenes from_ "Don Quixote." Height
+17 in.]
+
+Ferdinand VII., on his restoration, recreated _La China_, at La Mancha,
+once a villa of the Alva family on the Manzanares; but this factory
+also has ceased to exist, at least as regards artistic merit.
+
+ALCORA. The Comte de Laborde, in his _View of Spain_, in 1808, says, "On
+ne fait de Porcelaine (en Espagne) qu'a Alcora et a Madrid: celle
+d'Alcora est tres commune, on en fait tres 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, _Viaje de
+Espana_, in 1793.
+
+[Illustration: FIG. 127.--PLAQUE.]
+
+
+GERMANY
+
+DRESDEN. 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 Boettcher 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, Boettcher 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 Boettcher 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. In 1731, Kaendler,
+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 productions emanated from
+the Dresden manufactory from 1731 to 1756.
+
+[Illustration: FIG. 128.--VASE.]
+
+[Illustration: FIG. 129.--SUCRIER, CUP AND SAUCER. _Etched by_ BUSCH.]
+
+[Illustration: FIG. 130.--CUP AND SAUCER. _Of the Marcolini period, with
+gros bleu ground._]
+
+Kaendler 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, Kaendler, 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
+his vanity, for not only the tailor but his wife were thus immortalised,
+_aere perennius_, 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 Koenigstein--some workmen escaped
+to reveal it elsewhere.
+
+[Illustration: FIG. 131.--VASE AND COVER. _Painted with views of public
+buildings in Dresden._]
+
+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.
+
+[Illustration: FIG. 132.--BUST OF A GIRL. _White porcelain._]
+
+[Illustration: FIG. 133.--TEAPOT AND SAUCER. _Pink ground, painted with
+landscapes and figures._]
+
+BERLIN. This manufactory for _Hard Paste_ 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.
+
+[Illustration: FIG. 134.--GROUP. _In plain white. Wegeli period._ Height
+9 in.]
+
+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.
+
+In 1763, Gottskowski gave up to the king the whole of his factory of
+porcelain, receiving 225,000 dollars, and entering into a contract for
+the sale of his secrets.
+
+[Illustration: FIG. 135.--GROUP. _Wegeli period._ Height 6-3/4 in.]
+
+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 Boehme.
+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.
+
+[Illustration: FIG. 136.--MILK-POT, CUP AND SAUCER.]
+
+In 1769 an order was published permitting a lottery company to purchase
+annually to the amount of 90,000 dollars.
+
+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.
+
+HOeCHST, 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. Goeltz and
+J. F. Clarus, two merchants of Frankfort, assisted by A. von Loewenfinck,
+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 Gottlieb Kuntze was
+another celebrated worker in this _fabrique_. On the invasion of the
+French under General Custine in 1794, all the materials were sold by
+auction.
+
+[Illustration: FIG. 137.--LAMP-STAND.]
+
+[Illustration: FIG. 138.--TRAY AND SUCRIER.]
+
+FRANKENTHAL, in Bavaria. Established in 1754, by Paul Hannong, who,
+having discovered the secret of hard porcelain, offered it to the royal
+manufactory at Sevres, 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
+Sevres--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 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:--
+
+  VARIANTIBVS . FLOSCVLIS . DIVERSI . COLORES .
+  FABRICAE . SVB . REVIVISCENTIS . SOLIS . HVIVS .
+  RADIIS . EXVLTANTIS .
+  IN.FRANKENTHAL. [star]
+
+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, _en
+camaieu_, of all the various shades of colour employed in the
+manufactory.
+
+[Illustration: FIG. 139.--PLATE.]
+
+[Illustration: FIG. 140.--A DEJEUNER SERVICE.]
+
+NEUDECK, on the Au, and NYMPHENBURG. 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, 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.
+
+[Illustration: FIG. 141.--TANKARD.]
+
+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 7-1/4
+in.
+
+Fig. 142, painted in colours; marks, the coat of arms of Bavaria, and A
+incised; diameter 3-1/4 in. and 5-1/4 in.
+
+[Illustration: FIG. 142.--CUP AND SAUCER.]
+
+[Illustration: FIG. 143.--CUP AND SAUCER.]
+
+ANSPACH, a town which belonged to the Margraves of Anspach and is now
+in Bavaria. There was a factory here about 1760.
+
+Fig. 143 is painted with figures in colour; signed "Schelk, pinx."; mark
+A in blue; diameter 3 ins. and 5-1/4 in.
+
+BAYREUTH 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.
+
+[Illustration: FIG. 144.--CUP.]
+
+Fig. 144 is painted in colours, and gilt inside; mark, "Metzsch 1748
+Bayr"; diameter 2-3/4 in.
+
+KELSTERBACH, in Hesse. A manufactory for pottery was founded here about
+1758, where later porcelain was also made. The works only lasted about
+sixteen years.
+
+[Illustration: FIG. 145.--HARLEQUIN.]
+
+Fig. 145 is painted in colours; mark, H. D. under a crown, in blue;
+height 6-3/4 in.
+
+THURINGIA. 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 SITZENRODA, which in 1762 was
+removed to Volkstedt.
+
+[Illustration: FIG. 146.--CUP AND SAUCER. Diam. 2-3/4 in. and 5-3/4 in.]
+
+CLOSTER, or KLOSTER, VEILSDORF, or VOLKSTEDT. 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.
+
+[Illustration: FIG. 147.--TEAPOT.]
+
+[Illustration: FIG. 148.--TRAY.]
+
+Fig. 148 is moulded in rococo style, and painted with flowers; mark,
+shield of Saxe-Meiningen between C. V.; length 12-1/2 in.
+
+RUDOLSTADT. 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.
+
+[Illustration: FIG. 149.--MILK-POT AND CUP AND SAUCER.]
+
+FULDA, 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.
+
+[Illustration: FIG. 150.--A PEASANT.]
+
+[Illustration: FIG. 151.--A PEASANT.]
+
+[Illustration: FIG. 152.--CUP AND SAUCER.]
+
+[Illustration: FIG. 153.--COFFEE-POT.]
+
+FUeRSTENBERG. In Brunswick, established in 1750, by the help of Bengraf,
+who came from Hoechst; 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.
+
+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 20-1/2 in.
+
+[Illustration: FIG. 154.--BUST.]
+
+[Illustration: FIG. 155--MEDALLIONS. _In white biscuit._]
+
+Fig. 155. Portraits of O. D. Beckmann and A. L. Schloetzer; marked with a
+running horse and F; length 2-7/8 in.
+
+LUDWIGSBURG, in Wuertemberg. 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.
+
+[Illustration: FIG. 156.--CHOCOLATE-POT.]
+
+Fig. 156 is painted with figures of Hope and Music in panels; mark,
+double C under a crown, in blue; height 5-1/4 in.
+
+[Illustration: FIG. 157.--COFFEE-POT.]
+
+Fig. 157 is painted in lake _camaieu_, with a landscape and buildings
+after Claude, and has a gilt, arabesque and scroll border.
+
+REGENSBURG, or RATISBON. This factory was established about 1760.
+
+[Illustration: FIG. 158.--CUP AND SAUCER.]
+
+GROSSBREITENBACH. 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.
+
+[Illustration: FIG. 159.--MILK-POT.]
+
+Fig. 159 is grey blue ware in imitation of Wedgwood, 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.
+
+[Illustration: LIMBACH
+
+FIG. 160.--SUCRIER, COVER, AND STAND.]
+
+LIMBACH, Saxe-Meiningen. This manufactory was also under the direction
+of Gotthelf Greiner. It was established about 1762.
+
+Fig. 160 is painted with flowers; mark, two letters L crossed; diameters
+4-7/8 and 8-1/4 in.
+
+GERA. A manufactory was founded here about 1780.
+
+[Illustration: FIG. 161.--SUGAR BASIN.]
+
+Fig. 161 is painted with festoons of pink flowers; mark, G in blue;
+height 6-1/4 in.
+
+[Illustration: FIG. 162.--CUP, COVER, AND SAUCER.]
+
+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, "Ruehlig Fec"; mark, G in blue; diameters 3
+and 5-1/4 in.
+
+BADEN-BADEN. A porcelain manufactory was established in 1753 by the
+widow Sperl and workmen from Hoechst, with the patronage of the reigning
+Margrave, under Pfaelzer. It ceased in 1778.
+
+[Illustration: GOTHA
+
+FIG. 163.--FIGURE OF BACCHUS. _In white biscuit._ Height 11 in.]
+
+GOTHA. Founded in 1780 by Rothenberg, and afterwards (1802) conducted by
+Henneberg.
+
+RAUENSTEIN, in Saxe-Meiningen. A factory for hard paste was established
+here in 1760.
+
+[Illustration: FIG. 164.--CUP AND SAUCER.]
+
+Fig. 164 is painted with flowers; mark, R--n; diameters 3 and 5 in.
+
+
+WALLENDORF, in Saxe-Coburg. There was also a factory for hard paste
+established by Greiner and Haman here in 1762.
+
+Fig. 165 is painted in dark blue, and with leaves in relief; mark, W, in
+blue; height 10 in.
+
+[Illustration: FIG. 165.--VASE.]
+
+
+AUSTRIA
+
+VIENNA
+
+This manufactory for _hard paste_ 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 Huenger, 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 Stoelzel 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 (_Adventures of a Bric-a-Brac Hunter_), however, says that it was
+established in 1718 by Claude Innocenz de Blaquier, who engaged one
+Stenzel or Stoelzel 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.
+
+[Illustration: FIG. 166.--CABARET.]
+
+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 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.
+
+[Illustration: FIG. 167.--MILK-POT.]
+
+After twenty-five years' labour De Blaquier decided in 1744 to offer the
+works to the Government.
+
+The young Empress Maria Theresa resolved to support the factory, which
+promised to give occupation and profit to her subjects, honour and gain
+to 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.
+
+[Illustration: FIG. 168.--PLATE.]
+
+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.
+
+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 _chefs d'oeuvre_ of the early masters were copied,
+while the gilding was brought to a perfection which has never been
+surpassed.
+
+[Illustration: FIG. 169.--CUP AND "TREMBLEUSE" SAUCER. _18th Century._]
+
+After the death of the Baron in 1805, Neidermayer became Director. The
+manufacture continued 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.
+
+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.
+
+Fig. 166 is painted in _camaieu_ on purple ground, and gilt; mark,
+shield crowned; length of tray 12 in.
+
+Fig. 167 is painted in colours and gilt, with busts of ladies, entitled
+"L'Herisson" and "Fantaisie Moderne"; mark, the shield in blue; height 6
+in.
+
+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 Fuerstler.
+
+SCHLAGGENWALD, 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."
+
+[Illustration: FIG. 170.--CUP AND SAUCER.]
+
+Fig. 170 is painted in colours, with medallions containing figures of
+Justice; mark, S; diam. 2-1/2 and 5 in.
+
+HEREND, in Hungary. There was a manufactory of porcelain here towards
+the end of the 18th century, but particulars concerning its origin are
+not known.
+
+Fig. 171 is painted in oriental style, with flowers, &c.; late 18th
+century.
+
+[Illustration: FIG. 171.--PORTION OF A CABARET OR BREAKFAST SERVICE.]
+
+
+SWITZERLAND
+
+NYON, 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 Maubree, 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.
+
+[Illustration: FIG. 172.--CUP AND SAUCER.]
+
+ZUeRICH. Established here in 1763 by a few Zuerich gentlemen, with the aid
+of a workman, named Spengler, from Hoechst. 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.
+
+[Illustration: NYON
+
+FIG. 173.--CUP AND SAUCER. _With mark, fish in blue._]
+
+Fig. 174 represents a soldier trampling on a Turk and unveiling a lady,
+martial and love trophies on the ground.
+
+[Illustration: FIG. 174.--A GROUP.]
+
+
+HOLLAND
+
+WEESP. 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.
+
+[Illustration: FIG. 175.--EWER. _With mark, W._]
+
+[Illustration: FIG. 176.--COFFEE-POT. _Mark, a cross and dots._]
+
+OUDE LOOSDRECHT, 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.
+
+[Illustration: FIG. 177.--VASE.]
+
+[Illustration: FIG. 178.--PANEL. _Mark, M : o L. in blue._ Width 12-3/4
+in.]
+
+AMSTERDAM. Fig. 179. Painted in lake _camaieu_ with birds and trees; the
+mark, lion, in blue.
+
+[Illustration: FIG. 179.--A PAIR OF BOTTLES.]
+
+OUDE AMSTEL. 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 Daeuber, 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 Daeuber's
+direction, but it was entirely demolished at the close of the 18th
+century.
+
+[Illustration: FIG. 180.--TEAPOT AND SUCRIER.]
+
+[Illustration: FIG. 181.--SUCRIER.]
+
+THE HAGUE. 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.
+
+[Illustration: FIG. 182.--PLATE. _Of soft paste._]
+
+Fig. 182 bears the mark of a stork in blue; diam. 9-1/2 in.
+
+
+BELGIUM AND LUXEMBURG
+
+BELGIUM
+
+TOURNAI. 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 _fabrique_ in France, is still made at both places, and
+they consequently produce the closest imitations of old Sevres _pate
+tendre_.
+
+[Illustration: FIG. 183.--CUP AND SAUCER. _With the early mark in
+gold._]
+
+Fig. 184 is painted in blue; mark, crossed swords and three crosses;
+diam. 9-1/2 in.
+
+[Illustration: FIG. 184.--PLATE.]
+
+[Illustration: FIG. 185.--SALT-CELLAR.]
+
+Fig. 185 is painted with birds; mark, crossed swords and four crosses,
+in gold; height 4-3/8 in.
+
+BRUSSELS. There was a manufactory of hard paste porcelain here towards
+the end of the 18th century.
+
+[Illustration: FIG. 186.--MILK JUG. _Signed L. Crette._]
+
+[Illustration: FIG. 187.--TEAPOT.]
+
+LUXEMBURG
+
+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.
+
+[Illustration: LUXEMBURG
+
+FIG. 188.--TWO FIGURES OF "THE SEASONS." _With mark, B. L._]
+
+
+RUSSIA
+
+At 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 _fabrique_ 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.
+
+[Illustration: FIG. 189.--CUP AND SAUCER. _With the mark of the Emperor
+Paul._]
+
+[Illustration: FIG. 190.--VERRIERE.]
+
+MOSCOW, 1720. The potter Eggebrecht, who had undertaken a manufactory of
+delft at Dresden, by direction of Boettcher, 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.
+
+[Illustration: FIG. 191.--STATUETTE. _Mark, G in blue._ Height 8 in.]
+
+[Illustration: FIG. 192.--CUP AND SAUCER. _With view of Moscow. Mark, A.
+Popoffe's initials._]
+
+A porcelain manufactory was established at TWER, by an Englishman named
+Gardner, in 1787, and another by A. Popoff.
+
+KORZEC, in Volhynia. About 1803, Merault, a chemist of the Sevres
+manufactory, went to direct the _fabrique_ at Korzec, taking with him a
+laboratory assistant named Petion. After carrying it on for a few years,
+Merault abandoned the direction, and returned to France.
+
+[Illustration: FIG. 193.--_Pate dure CUP AND SAUCER. Painted with a
+portrait of a lady, en grisaille, with gilt borders. Mark, Eye
+within a triangle._]
+
+BARANOWKA, in Volhynia. A small factory existed here at which the
+porcelain clay found in the neighbourhood was used.
+
+[Illustration: FIG. 194.--MILK JUG. _Mark, the name of the town._]
+
+
+SWEDEN
+
+MARIEBERG. This manufactory produced porcelain (_soft paste_), 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.
+
+[Illustration: FIG. 195.--CUSTARD CUP AND COVER. _Mark, M.B. combined._
+Height 3-1/4 in.]
+
+
+DENMARK
+
+COPENHAGEN. This manufactory was commenced by an apothecary of the name
+of Mueller, in 1772, and Baron von Lang, from the Fuerstenberg
+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.
+
+[Illustration: FIG. 196.--CABARET. _With portraits of Raphael, and other
+celebrated painters._]
+
+[Illustration: FIG. 197.--CABARET.]
+
+
+FRANCE
+
+ST. CLOUD. 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.
+
+[Illustration: FIG. 198.--JUG.]
+
+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.
+
+[Illustration: FIG. 199.--STATUETTE. _Astronomy seated, holding the
+sun._]
+
+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'Eveque,
+Faubourg St. Honore, directed by Dominique Francois Chicanneau. In 1742
+another _arret_ granted privileges for twenty years to both these
+establishments, and Marie Moreau dying in 1743 left Dominique her
+business.
+
+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.
+
+CHANTILLY. This manufactory was founded in 1725 by Ciquaire Cirou, under
+the patronage of the Prince de Conde, 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.
+
+[Illustration: FIG. 200.--DISH. _Mark, hunting horn and P, in gold._
+Diameter 12 in.]
+
+[Illustration: FIG. 201.--PAIR OF FIGURES.]
+
+ROUEN. Louis Poterat, Sieur de St. Etienne, of St. Sever, at Rouen,
+obtained letters patent in 1673, 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.
+
+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.
+
+MENNECY-VILLEROY. This important manufactory was established in 1735 by
+Francois Barbin, under the patronage of the Duc de Villeroy. The early
+specimens are similar to the _porcelaine tendre_ of St. Cloud, of a
+milky translucent appearance.
+
+[Illustration: FIG. 202.--SUGAR BASIN AND STAND.]
+
+Barbin was succeeded about 1748 by Messieurs 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.
+
+[Illustration: FIG. 203.--GROUP OF CHILDREN.]
+
+SCEAUX PENTHIEVRE, near Paris. Established in 1750 by Jacques Chapelle;
+it was situated opposite the Petit Chatelet, and was under the patronage
+of the Duc de Penthievre. It was carried on by Glot in 1773. The
+Prince-Protector died in 1794, but the production of _pate tendre_
+ceased before that time.
+
+[Illustration: FIG. 204.--CUP AND SAUCER.]
+
+[Illustration: FIG. 205.--MILK-POT. _Mark, S. X._]
+
+ARRAS. 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.
+
+[Illustration: FIG. 206.--SEAU. _Mark, A. R._]
+
+BOULOGNE-SUR-MER. Established by M. Haffringue, in the 19th century,
+with the kaolin of Limoges.
+
+[Illustration: FIG. 207.--PLAQUE. _White biscuit._]
+
+[Illustration: FIG. 208.--SUCRIER. _White biscuit._]
+
+ETIOLLES (Seine-et-Oise), near Corbeil. Established in 1768, by Monnier,
+for soft paste porcelain. The works lasted only a short time.
+
+[Illustration: FIG. 209.--CUP AND SAUCER. _Mark, E. Pelleve_, 1770.
+Diameter 2-1/2 and 5 in.]
+
+LILLE. Established in 1711 by Barthelemy Dorez and Pierre Pelissier, his
+nephew, natives of Lille. The porcelain (_pate tendre_) 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.
+
+[Illustration: FIG. 210.--CUP AND SAUCER. _With mark, crowned Dolphin._]
+
+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.
+
+BOURG-LA-REINE. 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.
+
+[Illustration: FIG. 211.--CUSTARD CUP. _Mark, B. R._ Height 3-1/4 in.]
+
+CLIGNANCOURT. Established in 1775 by Pierre Deruelle, under the
+patronage of Monsieur le Comte de Provence, brother of the king
+(afterwards Louis XVIII.).
+
+[Illustration: FIG. 212.--MILK-POT AND COVER.
+
+FIG. 213.--CUP AND DISH.
+
+FIG. 214.--MILK JUG.]
+
+LUNEVILLE. 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.
+
+Paul Louis Cyffle, sculptor, obtained, in 1768, letters patent for
+fifteen years, by virtue of which he established another manufactory for
+superior vessels of the material called _terre de Lorraine_, and in the
+following year a new privilege was granted for making groups and
+statuettes with his improved paste, under the name of _pate de marbre_.
+
+ORLEANS. Established by M. Gerreault in 1753, under the protection of
+the Duc de Penthievre; the porcelain first made here was of the soft
+paste, but hard paste was subsequently produced. Gerreault was succeeded
+by Bourdon _fils_ about 1788, Piedor, Dubois, and lastly, Le Brun, from
+1808 to 1811.
+
+NIDERVILLER. Established about 1760 by Baron de Beyerle. 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
+_fabrique_, under the direction of M. Lanfray, who paid especial
+attention to the production of fine porcelain; the fabrication of
+statuettes was greatly increased.
+
+[Illustration: ORLEANS
+
+FIG. 215.--BOWL, COVER, AND STAND. _Mark, heraldic label in blue._]
+
+[Illustration: FIG. 216.--MILK-POT AND COVER. _Mark, double C under
+coronet, in blue._ Height 6-1/2 in.]
+
+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 Saarbruecken. For many years
+he continued to make porcelain, as well as fayence groups and
+statuettes, but the distance of his _fabrique_ from the kaolin of St.
+Yrieix prevented him from competing successfully with those of Limoges,
+and this branch was abandoned.
+
+BOISSETTE, near Melun. A factory was established in 1777 by Jacques
+Vermonet pere et fils, but it lasted only a short time.
+
+[Illustration: FIG. 217.--TEAPOT.]
+
+CAEN, Normandy. Established and supported by some of the principal
+inhabitants, at the time of the French Revolution (about 1793), when
+several workmen from Sevres 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 Sevres, and of the same forms.
+
+[Illustration: FIG. 218.--CUP AND SAUCER. _With "Caen" stencilled in
+red._]
+
+VALENCIENNES (Nord). By an Order of Council, dated 24th May 1785, M.
+Fauquet was permitted to 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.
+
+[Illustration: FIG. 219.--CUP AND SAUCER. _Mark, F. L. V., in cipher, in
+blue._ Diam. 3-3/4 and 6-1/4 in.]
+
+ST. AMAND-LES-EAUX. Founded by M. Maximilien de Bettignies in 1815, for
+the manufacture of _pate tendre_ porcelain like the old Sevres. He was
+formerly proprietor of the Tournai manufactory, which he ceded to his
+brother Henri when that city became re-annexed to Belgium.
+
+STRASSBURG. About the year 1752, Paul Hannong obtained the secret of
+true porcelain from Ringler, and started a factory here, but in
+consequence of the monopoly of Sevres 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.
+
+[Illustration: Fig. 220.--CUP AND SAUCER. _Mark, J. H._ Diam. 2-5/8 and
+5-5/8 in.]
+
+MARSEILLES. An important manufactory of porcelain was established here
+by Jacques Gaspard Robert about 1766. Porcelain was made also by Honore
+Savy and Veuve Perrin, but was only of secondary importance. The works
+were closed about the period of the French Revolution in 1793.
+
+PARIS. Rue Thiroux. Established in 1778 by Andre Marie Lebeuf, and the
+ware was called "Porcelaine de la Reine."
+
+[Illustration: FIG. 221.--SUCRIER. _Mark, crowned A._]
+
+PARIS. Rue de Bondy. Opened in 1780 by Dihl and Guerhard, under the
+patronage of the Duc d'Angouleme, and the ware was called "Porcelaine
+d'Angouleme."
+
+[Illustration: FIG. 222.--EWER AND BASIN.]
+
+PARIS. Rue Fontaine au Roi. This factory, called "De la Courtille," was
+established in 1773 by Jean Baptiste Locre, who was afterwards joined by
+Russinger in 1784. The latter during the Revolution became sole
+director.
+
+[Illustration: FIG. 223.--PART OF A TEA SERVICE.]
+
+PARIS. Faubourg St. Honore. A factory was established here by Veuve
+Chicanneau, _nee_ Marie Moreau. The teapot, Fig. 224, was probably made
+at these works.
+
+[Illustration: FIG. 224.--TEAPOT. _Mark, V{e} M. & C._]
+
+PARIS. Pont-aux-Choux. In 1784, Louis Honore 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 Edme Toulouse, who in 1786 obtained a
+brevet 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
+_Manufacture de M. le Duc d'Orleans_. They were afterwards established
+in Rue Amelot, _au Pont-aux-Choux_, by which name the porcelain is
+generally known.
+
+[Illustration: FIG. 225.--TEAPOT.]
+
+The former name ceased in 1793, with the condemnation of the Duke of
+Orleans, and the objects subsequently produced were inscribed merely
+"_Fabrique du Pont-aux-Choux_."
+
+PARIS. Rue de Crussol. Established in 1789 by Charles Potter, an
+Englishman, and the ware was called the "Prince of Wales's China."
+
+[Illustration: FIG. 226.--CUP.]
+
+PARIS. 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.
+
+[Illustration: FIG. 227.--WATCH-STAND. _Plain white of rococo form.
+Mark, J. P. in blue._ Height 5 in.]
+
+PARIS. 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.
+
+VINCENNES. 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 Sevres; the second by
+Maurin des Aubiez, in 1767; the third by Pierre Antoine Hannong; and the
+fourth that described above.
+
+[Illustration: FIG. 228.--CUP AND SAUCER. _Mark, H. L. L., in gold._
+Diam. 2-1/2 and 5 in.]
+
+VINCENNES AND SEVRES
+
+The history of the celebrated manufactory at Sevres 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.
+
+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 Chateau 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 removed to a large edifice at
+SEVRES built expressly for the company.
+
+A favourite decoration of Vincennes porcelain was flowers and birds, on
+a beautiful _bleu de roi_ ground, and cupids painted in _camaieu_ of a
+single colour.
+
+[Illustration: FIG. 229.--VASE. _Bleu de roi ground, with panels with
+birds in gold. Mark, double L enclosing a dot, in gold._ Height 9-1/4
+in.]
+
+In 1760 the king became sole proprietor, and M. Boileau was appointed
+director.
+
+In 1769, after Macquer had brought the making of hard paste to
+perfection, the manufacture was successfully established at Sevres, 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."
+
+[Illustration: FIG. 230.--CUP AND SAUCER. _Bleu de roi ground, with
+white medallions enclosing birds in gold. Mark, double L, in blue._
+Diam. 2-5/8 and 5-3/8 in.]
+
+The principal colours used in decorating the ground of the Sevres vases
+were:--
+
+1. The _bleu celeste_, or turquoise, invented in 1752 by Hellot.
+
+2. The rich cobalt blue, called _bleu de roi_, of which there were two
+varieties, the darker being designated _gros bleu_.
+
+3. The _violet pensee_, a beautiful violet from a mixture of manganese,
+one of the rarest decorations of the _pate tendre_.
+
+[Illustration: FIG. 231.--VASE.]
+
+4. The _rose Pompadour_ (called in England _rose Du-Barry_), a charming
+pink or rose colour invented in 1757 by Xhrouet of Sevres.
+
+5. The clear yellow or _jonquille_, a sort of canary colour.
+
+6. The _vert pre_, or bright grass green.
+
+[Illustration: FIG. 232.--ECUELLE. _Dated 1771._]
+
+7. The _vert pomme_, or apple green.
+
+8. The _rouge de fer_, a brilliant red.
+
+9. The _oeil de perdrix_ was at a later period a favourite ornament
+for the grounds of vases.
+
+[Illustration: FIG. 233.--BISCUIT GROUP. CUPID AND PSYCHE.]
+
+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 _Marks and Monograms on
+Pottery and Porcelain_, 10th edition.
+
+The beautiful _pate tendre_ ware of Sevres 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.
+
+
+
+
+GREAT BRITAIN
+
+
+POTTERY
+
+The 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 mediaeval manuscripts.
+
+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.
+
+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 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.
+
+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."
+
+STAFFORDSHIRE
+
+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 _slip_, diluted to the consistence
+of syrup, so that it could run out through a quill. The 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.
+
+[Illustration: FIG. 234.--TYG. _With four handles. Dated_ 1621.]
+
+[Illustration: FIG. 235.--MUG. _With two handles. Dated_ 1682.]
+
+[Illustration: FIG. 236.--PLATEAU. _With Charles II. and his Queen, in
+relief. By_ RALPH TOFT. 1677.]
+
+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.
+
+BURSLEM. The family of WEDGWOOD 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.
+
+[Illustration: FIG. 237.--VASE. _Pale blue jasper, with subjects in
+relief._]
+
+Next Josiah Wedgwood went into partnership with Thomas Whieldon of
+Fenton Low, one of the most eminent potters of his day, and they
+remained together five years; while here Wedgwood also produced that
+fine green glaze which covered his dessert services, in imitation of
+leaves.
+
+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.
+
+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 ETRURIA in 1769.
+
+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 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.
+
+[Illustration: FIG. 238.--VASE. _Of basaltes ware._]
+
+[Illustration: FIG. 239.--THE PORTLAND VASE. _Of black and white
+jasper._]
+
+In 1785 a "jasper dip" was introduced, in which 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.
+
+[Illustration: FIG. 240.--TEAPOT, CADDY, AND PLATE. _With printed
+transfer._]
+
+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.
+
+Josiah Wedgwood died on the 3rd of January 1795, in his 65th year.
+
+[Illustration: FIG. 241.--SIX JASPER CAMEOS.]
+
+[Illustration: FIG. 242.--VASE. _Granite ground, with gilt festoons and
+handles._]
+
+[Illustration: FIG. 243.--EWER. _Of agate ware._]
+
+[Illustration: FIG. 244.--AN OBELISK, _by_ RALPH WOOD, _and_ A TEA SET,
+_by_ AARON WOOD.]
+
+In 1773 RALPH SHAWE 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.
+
+RALPH WOOD was established at Burslem about 1730, and was succeeded
+about 1750 by his son AARON WOOD, 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 ENOCH WOOD, 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.
+
+[Illustration: FIG. 245.--STATUETTE. _Chaucer, by_ RALPH WOOD.]
+
+MOSES STEEL 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.
+
+[Illustration: FIG. 246.--VASE.]
+
+SHELTON. ASTBURY 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; after gaining their secret, he set up
+in business against them.
+
+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.
+
+SAMUEL HOLLINS 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 J. HOLLINS.
+
+[Illustration: FIG. 247.--GREEN BOWL. _With ornaments in relief. Signed
+"S. Hollins."_]
+
+[Illustration: FIG. 248.--BASIN. _With white ground and blue figures in
+relief. Stamped T. and J. Hollins._]
+
+The NEW HALL CHINA WORKS 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.
+
+[Illustration: FIG. 249.--CUP AND SAUCER. _Painted with flowers._]
+
+BRADWELL. A potter to whom Staffordshire was indebted for great
+improvements in the ware was JOHN PHILIP ELERS, who about 1690 came over
+from Holland and settled at Bradwell. He was descended from a noble
+family of Saxony.
+
+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, 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.
+
+[Illustration: FIG. 250.--TEAPOT. _Of red ware, with flowers in
+relief._]
+
+HANLEY. Shaw mentions a Mr. MILES of Miles's 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).
+
+[Illustration: FIG. 251.--BARREL.]
+
+ELIJAH MAYER 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).
+
+[Illustration: FIG. 252.--VASE.]
+
+He also produced basaltes ware tea services, with animals, &c., in
+relief.
+
+PALMER 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 NEALE. 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.
+
+[Illustration: FIG. 253.--JARDINIERE. _Of blue and white jasper._]
+
+[Illustration: FIG. 254.--VASE.]
+
+J. VOYEZ of Hanley was a clever artist; he was employed by Wedgwood and
+afterwards by Neale and Palmer.
+
+FENTON. THOMAS WHIELDON 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.
+
+TUNSTALL. ENOCH BOOTH of Tunstall, and JOHN WARBURTON of COBRIDGE in the
+same county, were extensive potters, and first made cream-coloured
+pottery by the use of fluid glaze introduced by Booth.
+
+WILLIAM ADAMS 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.
+
+[Illustration: FIG. 255.--JUG. _Of blue jasper._]
+
+LANE END. JOHN TURNER 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.
+
+[Illustration: FIG. 256.--SUGAR BASIN. _Of yellow clay, with figures in
+relief._]
+
+[Illustration: FIG. 257.--TEAPOT. _With medallion, figures in relief._]
+
+LONGPORT. The Messrs. DAVENPORT 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.
+
+[Illustration: FIG. 258.--CUP, COVER, AND SAUCER.]
+
+[Illustration: FIG. 259.--DISH.]
+
+LANE DELPH (now Middle Fenton). MILES MASON 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.
+
+[Illustration: FIG. 260.--CUP, COVER, AND SAUCER.]
+
+STOKE-ON-TRENT. THOMAS MINTON 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. 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.
+
+LIVERPOOL. 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 in decorating them, and many
+are still in existence painted with ships, convivial mottoes, and
+inscriptions.
+
+[Illustration: FIG. 261.--MUG.]
+
+Another important establishment was founded by Mr. John Sadler, the son
+of a painter, who had learnt the art of engraving.
+
+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.
+
+[Illustration: FIG. 262.--PUNCH BOWL.]
+
+Wedgwood availed himself of this new mode of decoration, and sent his
+Queen's ware weekly to Messrs. Sadler and Green to be printed.
+
+[Illustration: FIG. 263.--TILES. _By_ J. SADLER.]
+
+[Illustration: FIG. 264.--TEAPOT. _With portrait of Wesley._]
+
+RICHARD CHAFFERS 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).
+
+His porcelain works were established about the same time as those of
+Worcester and Derby, and his productions had a great sale in England.
+
+The Liverpool establishments of PENNINGTON, PHILIP CHRISTIAN and RICHARD
+ABBEY were on an extensive scale, but towards the end of the eighteenth
+century only one of any importance survived, and that belonged to
+Messrs. WORTHINGTON, HUMBLE and HOLLAND, 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.
+
+JACKFIELD, 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 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 COALPORT, on the opposite side of the Severn,
+where the well-known Salopian porcelain was made.
+
+[Illustration: FIG. 265.--TEAPOT.]
+
+Fig. 265. A black glazed teapot inscribed "Richard and Ruth Goodin,
+1769."
+
+FULHAM. The first successful imitation of the _gres de Cologne_ was made
+by JOHN DWIGHT, 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.
+
+Dwight produced a great variety of objects, and 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.
+
+[Illustration: FIG. 266.--"LYDIA DWIGHT. _Dyed March 3, 1673._"]
+
+LAMBETH. The next important pottery in England in the 17th century was
+that of Lambeth. In the _History of Lambeth_ 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.
+
+[Illustration: FIG. 267.--DISH.]
+
+The white bottles or jugs, upon which are written the names of wines
+accompanied by dates, were made here.
+
+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.
+
+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.
+
+YEARSLEY, 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.
+
+There was also a manufactory established at the Manor-house, YORK, 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.
+
+DON POTTERY. 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."
+
+[Illustration: FIG. 268.--TEA CADDY. _Of yellow clay, ornamented with
+chocolate brown applique medallions of female figures in relief._]
+
+The Don Pottery was very similar to that of Leeds, frequently producing
+pierced work-baskets, vases, dinner, dessert and tea services, &c.
+
+LEEDS. 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. Important
+centre-pieces with figures were also made here.
+
+[Illustration: FIG. 269.--CHESTNUT BOWL AND COVER.]
+
+CASTLEFORD, 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.
+
+[Illustration: FIG. 270.--TEAPOT. _With ornaments in relief, of white
+ware edged with blue._]
+
+SWINTON, 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.
+
+[Illustration: FIG. 271.--TEAPOT.]
+
+NEWCASTLE-ON-TYNE. 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.
+
+[Illustration: FIG. 272.--DISH. _Of Queen's ware, marked "fell."_]
+
+[Illustration: FIG. 273.--MUG. _With printed monument of Lord Nelson;
+inside is a toad; marked "Fell & Co., Newcastle Pottery."_]
+
+ST. ANTHONY'S, about 2-1/2 miles from 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.
+
+[Illustration: FIG. 274.--JUG. _With cupids in relief, coloured with
+pink metallic lustred clouds._]
+
+NOTTINGHAM. 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.
+
+[Illustration: FIG. 275.--MUG. _Inscribed, "Made at Nottingham, the 17th
+August 1771."_]
+
+[Illustration: FIG. 276.--JUG. _In the form of a Bear._]
+
+GREAT YARMOUTH. 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.
+
+[Illustration: FIG. 277.--PLATE.]
+
+LOWESBY, 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.
+
+[Illustration: FIG. 278.--GARDEN POT.]
+
+[Illustration: FIG. 279.--VASE.]
+
+BRISTOL. At REDCLIFFE BACKS a manufactory of Delft ware was carried on
+in the 18th century by Richard Frank.
+
+At TEMPLE BACKS, 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 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.
+
+[Illustration: BRISTOL (Redcliffe Backs)
+
+FIG. 280.--TILES. _St. Mary Redcliffe Church._]
+
+CADBOROUGH, 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 produced. The
+works are now carried on at Bellevue Pottery, Rye.
+
+[Illustration: FIG. 281.--VESSEL. _In form of a pig._]
+
+SWANSEA. 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 _opaque porcelain_; with the assistance of
+Young, a draughtsman employed in delineating natural history, the ware
+became remarkable for its beautiful and truthful paintings.
+
+The early Swansea ware was elegant in form, and frequently covered with
+a deep blue glaze.
+
+[Illustration: FIG. 282.--DISH. _Mark, Swansea and letter C._]
+
+
+GREAT BRITAIN
+
+PORCELAIN
+
+The 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.
+
+WORCESTER. 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.
+
+[Illustration: FIG. 283.--CUP AND SAUCER.]
+
+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.
+
+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, and their business increased to a great extent, being
+patronised by the royal family.
+
+[Illustration: FIG. 284.--PORTION OF A TEA SERVICE. _Japanese pattern,
+blue, red, and gold._]
+
+[Illustration: FIG. 285.--PORTION OF A TEA SERVICE. _Transfer coloured,
+and partly gilt._]
+
+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.
+
+SWINTON, near Rotherham. The manufacture of porcelain at the
+ROCKINGHAM WORKS 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.
+
+[Illustration: FIG. 286.--PLATE.]
+
+[Illustration: FIG. 287.--VASE. _Centre-piece of the service made for
+King William IV._ Height 14 in.]
+
+DERBY. 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.
+
+[Illustration: FIG. 288.--GROUP. _Chelsea Derby._]
+
+[Illustration: FIG. 289.--PAIR OF VASES. _Chelsea Derby._]
+
+[Illustration: FIG. 290.--PLATE. _With flowers by Billingsley._]
+
+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 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.
+
+[Illustration: FIG. 291.--CUP, COVER, AND SAUCER. _Crown Derby._]
+
+[Illustration: FIG. 292.--SCENT VASE. _Crown Derby._]
+
+[Illustration: FIG. 293.--CUP, COVER, AND SAUCER. _Crown Derby._]
+
+BURTON-ON-TRENT. A manufactory of earthenware was established here early
+in the last century, and from about 1839 porcelain was made for seven
+years.
+
+[Illustration: FIG. 294.--COMPORT.]
+
+WIRKSWORTH. A manufactory of china as well as pottery, established by a
+Mr. Gill, existed here about 1770, and continued for about twenty years.
+
+[Illustration: FIG. 295.--CUP.]
+
+PINXTON 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 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
+Angouleme china.
+
+[Illustration: FIG. 296.--JARDINIERE.]
+
+[Illustration: FIG. 297.--SUGAR BOWL AND COVER.]
+
+LOWESTOFT. According to Gillingham's _History of Lowestoft_, written in
+1790, an attempt was made to manufacture porcelain there in 1756 by Mr.
+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.
+
+PLYMOUTH. 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."
+
+[Illustration: FIG. 298.--COFFEE-POT.]
+
+[Illustration: FIG. 299.--BEAKER AND COVER.]
+
+[Illustration: FIG. 300.--CENTREPIECE.]
+
+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.
+
+[Illustration: FIG. 301.--A SHEPHERDESS.]
+
+[Illustration: FIG. 302.--A SHEPHERD.]
+
+Cookworthy and Lord Camelford continued to work this manufactory until
+1774, when the patent right was sold and transferred to Richard
+Champion.
+
+BRISTOL. A manufactory of _soft paste_ porcelain was founded at Bristol
+about 1750. Later Richard Champion, having in 1774 purchased
+Cookworthy's patent, opened a manufactory for _hard paste_. 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.
+
+[Illustration: FIG. 303.--BOWL AND COVER.]
+
+[Illustration: FIG. 304.--DISH.]
+
+CAUGHLEY, 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.
+
+[Illustration: FIG. 305.--MUG. _Painted in blue._]
+
+[Illustration: FIG. 306.--PLATE. _Blue willow pattern._]
+
+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.
+
+In 1799 Turner retired and John Rose became proprietor; the latter
+removed the works to Coalport about 1814 or 1815.
+
+COALPORT, 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.
+
+[Illustration: FIG. 307.--DISH. _Marked "Coalport improved Feltspar_
+(sic) _Porcelain_."]
+
+COLEBROOK DALE is another name for the Coalport works.
+
+STOKE-ON-TRENT. 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.
+
+[Illustration: FIG. 308.--CUP, COVER, AND SAUCER.]
+
+[Illustration: FIG. 309.--VASE.]
+
+HERBERT MINTON when he succeeded to the business at Stoke-on-Trent (see
+page 236), greatly developed the manufacture of hard and soft
+porcelain, and copies were made of Sevres porcelain vases.
+
+[Illustration: FIG. 310.--BOWL. _Blue and gold, painted with flowers._]
+
+LONGTON HALL. 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.
+
+[Illustration: LONGTON HALL
+
+FIG. 311.--VASE.]
+
+BOW. 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.
+
+[Illustration: FIG. 312.--TEAPOT. _Printed with King of Prussia._]
+
+[Illustration: FIG. 313.--BOWL.]
+
+[Illustration: FIG. 314.--PLATE. _Printed with AEneas and Anchises._]
+
+[Illustration: FIG. 315.--STATUETTE, "FLORA."]
+
+[Illustration: FIG. 316.--BUST OF GEORGE II.]
+
+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
+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.
+
+[Illustration: FIG. 317.--GROUP: "A TEA PARTY."]
+
+For a more detailed account of the Bow porcelain manufactory, the reader
+is referred to _Marks and Monograms on Pottery and Porcelain_, by W.
+Chaffers.
+
+CHELSEA. 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, were subsequently marked with an
+anchor in gold or red. The period of its greatest excellence was from
+1750 to 1765.
+
+The early pieces were copied principally from the Oriental, being
+decorated with Chinese patterns, and these were marked with an embossed
+anchor.
+
+[Illustration: FIG. 318.--MARSHAL CONWAY.]
+
+[Illustration: FIG. 319.--SHEPHERD.]
+
+The beautiful vases in the French style, in imitation of Sevres, with
+_gros bleu_, crimson, turquoise, and apple-green grounds were made from
+1760 to 1765.
+
+In 1769, by order of M. Sprimont, the proprietor, the Chelsea porcelain
+manufactory was sold by auction.
+
+[Illustration: FIG. 320.--VASE. "DEATH OF CLEOPATRA."]
+
+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 vases made when M. Sprimont had the works under his direction.
+
+WALES
+
+SWANSEA. 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.
+
+[Illustration: FIG. 321.--PLATE.]
+
+[Illustration: FIG. 322.--PLATE.]
+
+NANTGARW. 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.
+
+[Illustration: FIG. 323.--PLATE.]
+
+[Illustration: FIG. 324.--CUP AND SAUCER.]
+
+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.
+
+[Illustration: FIG. 325.--VASE.]
+
+
+
+
+ORIENTAL POTTERY AND PORCELAIN
+
+
+CHINA
+
+The porcelain of China is composed of two earths, the one a decomposed
+felspathic rock called _kaolin_, and the other a rock of the same
+geological origin, mixed with quartz, called _petuntse_. They both
+harmonise so completely that they have an equally resisting power when
+placed in the kiln. The _kaolin_ used in making porcelain is much softer
+than _petuntse_ when dug out of the quarry, yet it is this which, by its
+mixture with the other, gives strength and firmness to the work.
+
+Chinese porcelain was classified by the late Dr. S. W. Bushell, C.M.G.,
+under the following periods:--
+
+1. Primitive period, including the _Sung_ dynasty (960-1279) and the
+_Yuan_ dynasty (1280-1367).
+
+2. Ming period, comprising the whole of the _Ming_ dynasty (1368-1643).
+
+3. K'ang Hsi period, extending from the fall of the Ming dynasty to the
+close of the reign of _K'ang Hsi_ (1662-1722).
+
+4. Yung Cheng and Chien Lung period (1723-1795), the two reigns being
+conjoined.
+
+5. Modern period, from the beginning of the reign of _Chia Ch'ing_ to
+the present day.
+
+[Illustration: FIG. 326.--STONEWARE VASE. _With Celadon green glaze.
+Ming dynasty._]
+
+The most ancient mode of decoration was the blue _camaieu_, and it is
+still much esteemed in China; it was executed on the ware, simply dried
+before the glaze was applied, and then placed in the kiln. Being all
+completed in one baking, _au grand feu_, the painting thus executed
+became imperishable.
+
+[Illustration: FIG. 327.--STONEWARE VASE. _With Celadon crackle glaze._]
+
+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 _Siouen-te_ and _Ching-hoa_ periods, which are now much 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.
+
+[Illustration: FIG. 328.--PORCELAIN VASE. _Painted in enamel colours._]
+
+The Pere d'Entrecolles tells us the manner of painting vases in China,
+and how the different parts 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."
+
+[Illustration: FIG. 329.--PORCELAIN EWER. _Painted in enamel colours,
+and mounted with Florentine copper gilt. 17th century._]
+
+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 _celadon_ 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 _crackle_. This crackle china is the most esteemed
+of Oriental porcelain, although it arises from a _defective_ cause.
+
+[Illustration: FIG. 330.--BOTTLE. _Powder blue porcelain. Ming
+dynasty._]
+
+[Illustration: FIG. 331.--JAR. _Painted with plum blossoms. Ming
+dynasty._]
+
+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
+_kaolin_; the cover or glaze comes also from a felspathic rock, slightly
+crystallised; these melt and assimilate together 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.
+
+[Illustration: FIG. 332.--PLATE. _Egg shell porcelain._]
+
+Hence the crackle, at the option of the potter, is made of large,
+middling, or small size.
+
+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 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.
+
+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.
+
+[Illustration: FIG. 333.--PLATE. _Egg shell porcelain._]
+
+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 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.
+
+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.
+
+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.
+
+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.
+
+
+JAPAN
+
+The 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 Koraeans established in the province
+of Omi, in the island of Nippon, in the year 27 B.C., 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 _Nomino Sukune_, 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. _Nomino_ received as a recompense authorisation to take the
+name of _Fazi_, in the Koraean language _Patzi_, artist-workman.
+
+Under _Sei-wa_ (859-876 A.D.) the number of fabriques increased
+considerably.
+
+Under _Syun-tok_ (1211-1221), a Japanese potter named _Katosiro-uye-mon_
+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, _Katosiro_,
+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.
+
+[Illustration: FIG. 334.--PORCELAIN VASE. _Hizen ware. About 1690._]
+
+[Illustration: FIG. 335.--FUKUROKUJI. _The god of longevity._]
+
+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.
+
+[Illustration: FIG. 336.--SAKE CUP AND STAND. _Porcelain gold ornament
+on red ground._]
+
+[Illustration: FIG. 337.--STONEWARE JAR. _Oto ware._]
+
+[Illustration: FIG. 338.--PORCELAIN VASE. _Kishin ware._]
+
+[Illustration: FIG. 339.--CANDLESTICK. _Tozan porcelain. Painted in
+blue._]
+
+Perhaps the most beautiful of all the porcelain made in Japan is the
+_egg shell_, 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.
+
+The small cups without saucers, which are usually placed upon
+_presentoirs_ of lac, are seldom painted on 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.
+
+[Illustration: FIG. 340.--FLASK. _Satsuma ware._]
+
+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.
+
+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
+manufactories are established, but as many as twenty-four or
+twenty-five are situated near the mountain of _Idsumi-yama_, whence the
+kaolin is obtained of which the vessels are made.
+
+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.
+
+[Illustration: FIG. 341.--INCENSE-BURNER. _Imari porcelain. 18th
+century._]
+
+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, generally ornamented simply by scoring
+and glazing the surface; (2) a cream-coloured _faience_, with a glaze,
+often crackled and delicately painted in colours; (3) hard porcelain.
+
+"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 Ota 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 Kioto."
+
+
+PERSIA, SYRIA, AND TURKEY
+
+PERSIA
+
+Siliceous-glazed wares were produced in Persia at a very early period,
+and the late Mr. C. Drury E. Fortnum, in his _Historical Treatise on
+Majolica_, 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.
+
+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 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."
+
+[Illustration: FIG. 342.--WALL TILE. _Glazed earthenware. 13th
+century._]
+
+The Persian fayence was probably the same as 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.
+
+[Illustration: FIG. 343.--WATER-BOTTLE. _With metallic lustre. 15th or
+16th century._]
+
+It has long been a _vexata quaestio_ 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
+(_Les Merveilles de la Ceramique_).
+
+[Illustration: FIG. 344.--DISH FOR RICE.]
+
+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 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.
+
+[Illustration: FIG. 345.--ROSE-WATER SPRINKLER.]
+
+[Illustration: FIG. 346.--ROSE-WATER SPRINKLER.]
+
+SYRIA AND TURKEY
+
+Dr. Fortnum was of opinion that what is generally known as DAMASCUS 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.
+
+[Illustration: FIG. 347.--DAMASCUS PLATE. _Painted in colours._]
+
+Remains of potteries are stated to have been found at Lindus on the
+Island of Rhodes, and at 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.
+
+[Illustration: FIG. 348.--DAMASCUS DISH.]
+
+[Illustration: FIG. 349.--RHODIAN PLATE.]
+
+
+
+
+INDEX
+
+
+  _Adams, William_, 234
+
+  Alcora, 47, 129
+
+  Amstel, Oude, 173
+
+  Amsterdam, 105, 172
+
+  Anspach, 143
+
+  Aprey, 74
+
+  Apt, 53
+
+  Armentieres, 74
+
+  Arnstadt, 98
+
+  Arras, 193
+
+  Asia Minor, 310
+
+  _Astbury_, 228
+
+  Avignon, 54
+
+
+  Baden-Baden, 156
+
+  Baranowka, 182
+
+  Bassano, 35
+
+  Bayreuth, 87, 144
+
+  Beauvais, 53
+
+  Berlin, 135
+
+  Blois, 54
+
+  Boissette, 200
+
+  _Booth, Enoch_, 234
+
+  Boulogne-sur-Mer, 194
+
+  Bourg-la-Reine, 80, 196
+
+  Bow, 274
+
+  Bradwell, 230
+
+  Bristol, 251, 269
+
+  Broussa, 310
+
+  Brussels, 177
+
+  Buen Retiro, 127
+
+  Bunzlau, 95
+
+  Burslem, 220
+
+  Burton-on-Trent, 264
+
+
+  Cadborough, 252
+
+  Caen, 201
+
+  Cafaggiolo, 19
+
+  Capo di Monte, 114
+
+  Castel Durante, 10
+
+  Castelli, 27
+
+  Castleford, 246
+
+  Caughley, 270
+
+  _Chaffers, Richard_, 240
+
+  Chantilly, 189
+
+  Chateau-la-Lune, 74
+
+  Chelsea, 279
+
+  China, 285
+
+  Citta di Castello, 37
+
+  Clignancourt, 197
+
+  Closter Veilsdorf, 146
+
+  Coalport, 241, 271
+
+  Cobridge, 234
+
+  Colebrook Dale, 272
+
+  Cologne (Koeln), 88
+
+  Constantinople, 312
+
+  Copenhagen, 185
+
+  Creil, 80
+
+
+  Damascus, 310
+
+  _Davenport, Messrs._, 235
+
+  Delft, 100
+
+  Derby, 260
+
+  Diruta, 15
+
+  Doccia, 113
+
+  Don Pottery, 245
+
+  Douai, 78
+
+  Dresden, 96, 130
+
+  _Dwight, John_, 241
+
+
+  _Elers, John Philip_, 230
+
+  Etiolles, 195
+
+  Etruria, 221
+
+
+  Faenza, 12
+
+  Faience d'Oiron, 50
+
+  Fenton, 234
+
+  Ferrara, 34
+
+  Florence, 26, 112
+
+  Fontainebleau, 207
+
+  Forli, 17
+
+  Frankenthal, 98, 139
+
+  Frechen, 89
+
+  Fulda, 148
+
+  Fulham, 241
+
+  Fuerstenberg, 149
+
+
+  Genoa, 35
+
+  Gera, 155
+
+  Gotha, 158
+
+  Great Yarmouth, 250
+
+  Grenzhausen, 92
+
+  Grossbreitenbach, 153
+
+  Gubbio, 6
+
+
+  Hagenau, 63
+
+  Hague, The, 174
+
+  Hanley, 231
+
+  Harburg, 95
+
+  Henri Deux ware, 50
+
+  Herend, 166
+
+  Hispano-Moresque ware, 41
+
+  Hoechst, 96, 138
+
+  _Hollins, Samuel_, 229
+
+
+  Infreville, 74
+
+
+  Jackfield, 240
+
+  Japan, 295
+
+
+  Kelsterbach, 144
+
+  Kiel, 99
+
+  Kloster Veilsdorf, 146
+
+  Korzec, 182
+
+  Kreussen, 94
+
+
+  La Fratta, 39
+
+  Lambeth, 243
+
+  Lane Delph, 236
+
+  Lane End, 235
+
+  Lauenstein, 89, 96
+
+  Leeds, 245
+
+  Leipzig, 86
+
+  Lille, 81, 195
+
+  Limbach, 155
+
+  Limburg, 89
+
+  Liverpool, 237
+
+  Longton Hall, 274
+
+  Longport, 235
+
+  Loosdrecht, Oude, 171
+
+  Loreto, 37
+
+  Lowesby, 251
+
+  Lowestoft, 265
+
+  Ludwigsburg, 151
+
+  Luneville, 72, 198
+
+  Luxemburg, 106, 177
+
+
+  Madrid, 127
+
+  Majorca, 42
+
+  Malaga, 42
+
+  Malicorne, 74
+
+  Manerbe, 74
+
+  Manises, 46
+
+  Marieberg, 109, 184
+
+  Marseilles, 69, 202
+
+  _Mason, Miles_, 236
+
+  _Mayer, Elijah_, 232
+
+  Meissen, 130
+
+  Mennecy-Villeroy, 191
+
+  Milan, 31
+
+  _Minton, Herbert_, 236, 273
+
+  _Minton, Thomas_, 236
+
+  Monte Lupo, 30
+
+  Montereau, 81
+
+  Moscow, 180
+
+  Moustiers, 65
+
+  Murano, 25
+
+
+  Nantgarw, 283
+
+  Naples, 30, 114
+
+  _Neale_, 233
+
+  Neudeck, 141
+
+  Nevers, 56
+
+  Newcastle-on-Tyne, 248
+
+  New Hall China Works, 230
+
+  Niderviller, 76, 198
+
+  Nottingham, 249
+
+  Nove, 25, 122
+
+  Nuremberg (Nuernberg), 84
+
+  Nymphenburg, 141
+
+  Nyon, 168
+
+
+  Oberdorf, 87
+
+  Oiron, Faience d', 50
+
+  Orleans, 198
+
+  Overtoom, 106
+
+  Oude Amstel, 173
+
+  Oude Loosdrecht, 171
+
+
+  Padua, 26
+
+  _Palissy, Bernard_, 55
+
+  _Palmer_, 233
+
+  Paris, 203
+
+    "    Belleville, 207
+
+    "    Faubourg St. Honore, 205
+
+    "    Pont-aux-Choux, 206
+
+    "    Rue de Bondy, 204
+
+    "    Rue de Crussol, 207
+
+    "    Rue Fontaine au Roi, 205
+
+    "    Rue du Faubourg St. Denis, 208
+
+    "    Rue Thiroux, 203
+
+  Pavia, 39
+
+  Persia, 304
+
+  Pesaro, 8
+
+  Pinxton, 264
+
+  Pisa, 23
+
+  Plymouth, 266
+
+
+  Raeren, 89
+
+  Ratisbon, 153
+
+  Rauenstein, 158
+
+  Ravenna, 18
+
+  Regensburg, 153
+
+  Rhodes, Island of, 310
+
+  Rimini, 18
+
+  Rockingham, 247, 260
+
+  Roerstrand, 107
+
+  Rouen, 59, 190
+
+  Rudolstadt, 147
+
+
+  St. Anthony's, 248
+
+  St. Armand-les-Eaux, 79, 202
+
+  St. Clement, 76
+
+  St. Cloud, 187
+
+  St. Petersburg, 107, 179
+
+  St. Porchaire, 50
+
+  Salopian, 270
+
+  Sarreguemines (Saargemuend), 78
+
+  Savona, 36
+
+  Sceaux Penthievre, 79, 192
+
+  Scherzheim, 96
+
+  Schlaggenwald, 166
+
+  Sevres, 209
+
+  Sgraffiato, 37
+
+  _Shawe, Ralph_, 227
+
+  Shelton, 228
+
+  Siegburg, 89
+
+  Siena, 20
+
+  Sinceny, 70
+
+  _Spode, Josiah_, 272
+
+  Staffordshire, 217
+
+  _Steel, Moses_, 228
+
+  Stockholm, 109
+
+  Stoke-on-Trent, 236, 272
+
+  Strassburg, 63, 202
+
+  Strehla, 87
+
+  Swansea, 253, 282
+
+  Swinton, 247, 258
+
+  Syria, 310
+
+
+  Talavera, 48
+
+  Teinitz, 98
+
+  Thuringia, 145
+
+  _Toft, Ralph_, 219
+
+  _Toft, Thomas_, 219
+
+  Toulouse, 76
+
+  Tournai, 175
+
+  Treviso, 18, 117
+
+  Triana, 46
+
+  Tunstall, 234
+
+  Turkey, 310
+
+  Turin, 33, 118
+
+  _Turner, John_, 235
+
+
+  Urbino, 1
+
+  Utrecht, 105
+
+
+  Valencia, 44
+
+  Valenciennes, 201
+
+  Varages, 68
+
+  Venice, 24, 119
+
+  Vienna, 160
+
+  Vincennes, 78, 208, 209
+
+  Vineuf, 118
+
+  Vinovo, 118
+
+  Viterbo, 18
+
+  Volkstedt, 146
+
+  _Voyez, J._, 233
+
+
+  Wallendorf, 158
+
+  _Warburton, J._, 234
+
+  Wedgwood, 220
+
+  Weesp, 170
+
+  _Whieldon, Thomas_, 234
+
+  Wirksworth, 264
+
+  _Wood, Aaron_, 227
+
+  _Wood, Enoch_, 228
+
+  _Wood, Ralph_, 227
+
+  Worcester, 255
+
+
+  Yarmouth, Great, 250
+
+  Yearsley, 244
+
+  York, 245
+
+
+  Zuerich, 168
+
+
+
+Printed by BALLANTYNE, HANSON & CO.
+
+Edinburgh & London
+
+
+
+
+Footnotes:
+
+[1] As Strassburg and Hagenau belonged to France at this period, they
+are included in the French section.
+
+[2] Now Niederweiler, in Germany.
+
+[3] Now Saargemuend, belonging to Germany.
+
+
+
+
+Transcriber's Notes:
+
+Passages in italics are indicated by _italics_.
+
+Superscripted letters are shown in {superscript}.
+
+Punctuation has been corrected without note.
+
+The misprint "propuctions" has been corrected to "productions" (page 132).
+
+The original text contains two images that could not be reproduced in this
+text version. An eight-pointed star has been replaced with [star] and a
+Maltese Cross has been replaced with [cross].
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Collector's Handbook to Keramics, by
+William Chaffers
+
+*** END OF THIS PROJECT GUTENBERG EBOOK COLLECTOR'S HANDBOOK TO KERAMICS ***
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