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diff --git a/34508-0.txt b/34508-0.txt new file mode 100644 index 0000000..bf67924 --- /dev/null +++ b/34508-0.txt @@ -0,0 +1,5615 @@ +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. 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 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 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· ✷ + +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'œuvre_ 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 _œil 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 + +*** END OF THIS PROJECT GUTENBERG EBOOK COLLECTOR'S HANDBOOK TO KERAMICS *** + +***** This file should be named 34508-0.txt or 34508-0.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/4/5/0/34508/ + +Produced by Chris Curnow, Joseph Cooper and the Online +Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without 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