J Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/collectionstowarOOmarrrich &K/e4y__ jFCdW^iic^. POTTEKY AND PORCELAIN. *^^* Many errors must inevitably occur in a work of this kind; I shall therefore feel much obliged for any corrections or infor- mation (to be made use of upon a future occasion) which may be addressed to me at the publisher's. COLLECTIONS A HISTORY OF POTTERY AND PORCELAIN, IN THE 15th, 16tii, 17th, and 18th CENTURIES : WITH A DESCRIPTION OF THE MANUFACTURE, A GLOSSARY, AND A LIST OF MONOGRAMS. BY JOSEPH MARRYAT. ttf LLUSTRATED WITH COLOURED PLATES AND WOODCUTS. LONDON: JOHN MURRAY, ALBEMARLE STREET. 1850. loitdon: BBADBtJET AKD EVANS, PBINTEKS, WHITEFRIAR8. Ms PREFACE. XHE origin of the present work may be briefly stated as follows. When first I became a collector of china, I found great difiiculty in obtaining the information I desired to aid me in the pursuit. The majority of publications on the subject were either learned disquisitions upon the mythology of the Greek classical paintings, or, on the other hand, mere technical details of the manufacture, while a knowledge of the different kinds of Pottery and Porcelain appeared limited to the dealers. This induced me, in a tour which I subsequently made, to visit the principal collections and manufactories on the Continent, and conjointly with my fi-iend Sir Charles Price, I began to compose, for my amusement, a manuscript work upon Pottery and Porcelain, to be illuminated by his pen, and illustrated by drawings of specimens of porcelain, with portraits of the principal patrons of the art, and views of the various places connected with its manufacture. The undertaking remains incomplete, but the information 261 vi PREFACE. collected being deemed by many of sufficient interest for publication, as a Handbook of Pottery and Porcelain, I was led to prepare it for the press. The publisher, appreciating my labours more highly than I do, has liberally proposed to embelhsh the work with woodcuts and coloured plates, which have greatly contributed to render it attractive. The sketch commences rather abruptly at about the fifteenth century and concludes at the eighteenth. The history of the previous epoch has been confided to abler hands, and will form a separate volume. In this, I enter neither into erudite disquisitions nor into technical details ; my endeavour has been to produce a work which may be acceptable to the general reader, and, at the same time, useful to the collector, enabling him to ascertain the nature of the specimens he possesses, and what are considered the most desirable in forming a col- lection. A copious glossary is given, and fac-similes of the marks and monograms of the different manufactures. In the compilation of this work, I have made great use of the valuable treatise of M. Brongniart, and have been nauch indebted to M. Riocreux, the Director of the Musee Ceramique at Sevres, as well as to the late Mr. Bandinel, Dr. Klemm, Sir Charles Price, Mr. Way, Mr. Ford, and others, who have furnished me with many interesting contributions. INTRODUCTION. The Plastic or Keramic Art is deserving of our attention, as being one of those first cultivated by every nation of the world. Its productions, though in modern times restricted to domestic use, were employed by the ancients for higher and nobler purposes. Pottery was the medium of expressing their homage for the dead, and the prize of the victor in the public games. Successful cultivators of the art were honoured with statues and medals, decreed to them by the State, and their names were transmitted to posterity by poets and historians. Hence the potter's was an honourable profession ; a College for its members was established by Numa, and a family of potters who worked for the king, is mentioned in the genealogy of the tribe of Judah.* * " These were the potters, and those ter's art furnishes us with many of the that dwelt among plants and hedges : most beautiful metaphors of Scripture, there they dwelt with the king for his When the Almighty would show His work." 1 Chronicles, iv. 23. The pot- absolute dominion over man, and His viii INTRODUCTION. The existence of pottery has proved of the highest value as an aid to historical research. From the pottery of the tombs, we learn the domestic manners of nations long since passed away, and may trace the geographical limits of the various great empires of the world. The extent of ancient Greece, of its colonies, and its conquests, is clearly to be traced through each division of the Old World by the Grecian funereal pottery, which, distinct in its character from that of any other, long survived the political existence of the Grecian empire.* The limits of the Roman empire are, in like manner, deduced from the remains of the Roman pottery ; beyond the spot where Arminius repulsed the Roman legions, no trace of Roman pottery has been found, and the frontier line of the Roman dominion in Britain is marked out in a similar manner. The extent of the Mahomedan empire in the Old World, and the Aztec dominion in the New, would alike be clearly pointed out by their pottery if no other record of their conquests had been transmitted to us. The Keramic art has always been an object for royal patronage. The Chinese emperors obtained, by high premiums, the unrivalled manufacture of the egg-shell irresistible power over their hearts, He Isaiah, xlv. 9, Ixiv. 8 ; Jeremiah, xviii. 6, had often recourse to the similitude of a xix. 1 1 ; Rev., ii. 27, &c. potter, who makes what he pleases of his * The Grecian funereal pottery existed clay : sometimes a vessel of honour, as a manufacture, perhaps, not less than and sometimes of dishonour ; now form- 1200 years ; from about the ninth cen- ing it and then breaking it ; now pre- tury before the Christian era to about serving it, then rejecting it. Psalm ii. 9 ; 350 years after. INTRODUCTION. ix porcelain, and they enrolled the potter martyr* in the catalogue of their deities. The Dukes of Urbino, by their Hberal patronage, introduced the beautiful majolica ; from Henry II. and Diana de Poitiers an unrivalled fayence derives its name, and that Prince and his consort, Catherine de' Medici, developed the genius of Palissy ; Augustus the Strong, Maria Theresa, Frederic the Great, and other reigning princes of Germany both founded and brought to perfection at their own expense the Porcelain manufac- tures of their respective countries ; t Russia owes the establishment of hers to Elizabeth and Catherine II. ; Charles III. founded those of Capo di Monte and the Buen Retire ; Madame Pompadour, by her influence over Louis XV., brought the porcelain of Sevres to its unrivalled perfection ; while Dubarry gave her name to the most lovely colour it has produced ; and William, Duke of Cumberland, supported that of Chelsea, which unfor- tunately was abandoned, for want of encouragement, at the death of its royal patron. Even Wedgwood, who in general courted no extraneous aid, was fain to secure a * Page 108. facture ceased to be monopolised by t The effect of patronage was par- crowned heads, though the community ticularly remarkable in the rapid pro- gained by the introduction of porcelain gress of the Porcelain manufactories in into general use, the art was degraded Europe, where the art was only intro- by the substitution of a cheap and duced in the beginning of the eighteenth common manufacture for the exqui- century, and where, in less than fifty site productions of the royal establish- years' time, it rose to its greatest per- ments. fection. When, however, the manu- X INTRODUCTION. certain number of subscribers to enable him to take the copy of the Barberini Vase, while his newly invented earthenware was introduced under the patronage of Queen Charlotte and bore her name.* Nor is the art less associated with the names of celebrated historical characters. With the tale of the unfortunate Jacqueline of Hainault, it can never cease to be identified.t The fictile career of PaHssy and Bottcher entitles them to a place in the romance of history. The Minister De Calonne occupied himself with the manufac- ture of Lille and Arras. + We find Nelson, in the midst of his victorious course, engaged in collecting the china of Capo di Monte § and Copenhagen.il The partiality of the unfortunate Admiral Byng H for china was designated in the political caricatures of the day ; Dr. Johnson interested himself in the manufacture at Chelsea ; and numerous other instances might be given, if more were necessary, to prove the interest that has, in all ages, been inspired by the productions of the potter's art. * Page 68. f Page 73. racter. At his side is a parcel of china, t Page 206. § Page 215. with the inscription " China warehouse." II Page 168. Allusion is also made to his being a % It appears that he was a great fop, collector of china, in a metrical parody and a great collector of china. In one of his dispatch to the Admiralty an- of the caricatures of the day, he is repre- nouncing his desertion of Port Mahon. sented in the garb of a beau, with the — Wrighfs England under the House muff, and other accessories of that cha- of Hanover. CONTENTS. CHAPTER I. PAGE SOFT POTTERY OP IT ALY.-^ (MAJOLICA.) 3 Majolica, or Enamelled Pottery of Italy. — First copied from Moorish Plates. — Pisan Expedition against Majorca. — Manufacture at Pesaro. — Luca della Robbia. — Petit CMteau de Madrid. — Dukes of Urbino. — Raffaelle Ware. — Derivation of the term Majolica. — Mezza Majolica. — Artists in Majolica. — Its Various Forms. — Pilgrims' Bottles. — Spezieria at Loreto. — Sacred Cups. — Collections at Strawberry Hill, Narford Hall, Stowe, and others. — Majolica in Germany. — In France. CHAPTER II. SOFT POTTERY OF FRANCE 30 Soft Pottery of France. — Nevers. — Rouen. — Memoir of Bernard Palissy. — Palissy Ware. CHAPTER III. SOFT POTTERY OF GERMANY AND HOLLAND .... 41 Pottery of Nuremberg. — Enamelled Tiles for Stoves. — Specimen of Pottery in the Royal Library at Paris. — Establishment on the Rhine, — Delft, or Dutch Ware. — Designs copied from the Japanese. — Date of its Manu- facture. — Its Decline. CHAPTER IV. HARD TOTT^UY. —(Fa7jence a pdte dure) 49 Hard Pottery. — France. — Fayence of Henry II. — England. — Elizabethan Ware. — Shakspeare's Jug. — Fulham Pottery. — Staffordshire Potteries. — Crouch Ware. — Place's China. — Wedgwood. — Holland and Germany. — Pipe Manufacture. — Italy. — Terraglia of Doccia. xii CONTENTS. CHAPTER V. PAOB STONEWARE. {Gr^a-C&rame.) 72 Stoneware of China and Japan. — Of Germany, — Jacobus Flasks. — Jacque- line of Hainault. — Luther's Jtig. — Apostles' Mugs. — Flemish Stoneware. — Gres-Flamand. — Collection of Mr. Huyvetter. — Stoneware of France. — Poteries Azur6es of Beauvais. — England. — Coloured Wares of Wedgwood. — Variety and Beauty of his Manufactures. CHAPTER VI. PORCELAIN. — (Hard Paste. Oriental.) 95 Porcelain of China. — Its Antiquity. — Porcelain Tower of Nankin. — Marco Polo in China. — Present of Porcelain from Saladin. — From the Soldan of Egypt to Lorenzo de' Medici. — China introduced into Europe by the Portuguese. — Dutch East India Company. — Dutch Embassy to China. — Manufactory at Kiansi. — Mary Queen of Scots' China. — Presents of Porcelain to Queen Elizabeth. — Mention of Porcelain by Evelyn and others. — Oriental Service of Queen Anne. — Lady M. W. Montague. — Addison and Horace Walpole. — Mission of French Jesuits to China. — Kaolin and Petimtse. — Antiquity of the White Porcelain. — Blue and White of Nankin. — Celadon. — Egg-shell. — Imperial Yellow and Ruby. — Modem Porcelain made at Canton. — Old Sea-green. — Japan Palace at Dresden. — Porcelain of Japan. — Its Character. — Superior to the Chinese. — Porcelain of Persia. — Its Manufacture doubtful. CHAPTER VII. PORCELAIN.— (Hard Paste. European.) 128 Saxony. First European Porcelain made in Dresden. — Bbttcher's Discovery. — He is removed to Meissen. — Precautions for keeping the Process secret. — Flourishing state of the Manufactory under Royal Patronage. — Description by Jonas Hanway. — Calamitous Effect of the Seven Years' War. — Decay and Decline. — Present State. — Visit of Wedgwood. — Count Briihl's Tailor. — Lace Figures. — Honeycomb China. — Collection at Japan Palace described by Hanway and Klemm. — Comparison. — Marks. CONTENTS. xiu CHAPTER VIII. TAOK PORCELAIN.— (Hard Paste. European.) 145 Austria. Imperial Manufactory founded at Vienna. — Progress under Maria Theresa and Joseph II. — Present State. — Description of the Ware. — Specimens. — Mark. Hochst (Mayence). Established under Ringler. — Progress, Decline, and Abandonment. — Ware. — Marks. — Manufactory at Keltersbach. Brunswick. Manufactory established at Fiirstenburg.by Duke Charles. — Progress and Present State. — Description of Ware. — Mark. Bavaria. Manu- factory established at Frankenthal by Charles Theodore, Elector Palatine. — Progress and Final Abandonment. — ^Ware. — Marks. — Maximilian III., Elector of Bavaria, establishes Manufactory at Nymphenburg. — Progress and Present State. — Ware. — Mark. Baden. Establishment and Destruction of Manu- factory. — Mark.— Palace of La Favorite. Wurtemburg. Establishment at Ludwigsburg. — Progress and Present Sate. — Ware. — Marks. Hesse. Cassel. — Supposed Site of Manufactory. — Fulda. — St. Boniface. — Manufactory established by the Prince Abbot. — Progress and Abandonment. — ^Ware. — Marks. Prussia. Frederick the Great establishes Manufactory at Berlin. — Progress and Present State. — Ware. — Marks. Thuringia. Albert, Duke of Coburg, establishes Manufactories at Rudolstadt. — Gotha, &c. — Ware. — Marks. Russia. Manufactory established at Petersburg by Empress Elizabeth. — Progress and Present State. — Ware. — Mark. Holland. Manu- fectories established during the Seven Years' War at Amstel and the Hague. — Progress and Abandonment. — Wares. — Marks. Denmark. Manufactory at Copenhagen.— Nelson— Progress and Present State.— Ware.— Marks. Switzerland. Manufactory established at Zurich. — Progress and Abandon- ment. — Ware. — Mark. — Nions or Nyon. CHAPTER IX. PORCELAIN.— Naturally Soft Paste. {Tendre Naturdle.) . . . 170 Chelsea. Account of Manufactory by Lister. — Patronised by William Duke of Cumberland. — Rise, Progress, and Final Abandonment. — Experi- ments of Dr. Johnson. — Beauty of Ware. — Forms. — Claret Colour. — Marks. — Collections. — Strawberry Hill. Bow. Early Estabhshment and Abandon- ment. — Marks. Derby. Established from Chelsea. — Progress, and Present State. — Ware. — Marks. Salopian. Mark. Worcester. Establishment by Dr. Wall. — Beauty of the Blue. — Marks. Nantgarrow, Swansea, Bristol, Rockingham, and others. xiv CONTENTS. CHAPTER X. PAGE PORCELAIN.— Artificially Soft Paste. {Tendre AHifideUe.) . . 189 Manufacture of Porcelain at St. Cloud. — First mentioned by Lister. — Alluded to by Voltaire. — Privileges granted by Louis XIV. — The Minister Orry engages the Brothers Dubois. — A Company established under the name of Charles Adam, at Vincennes. — Patronised by Madame de Pompadour. — Perfection of the Porcelain. — Manufactory transferred to Sevres. — Purchased by Louis XV. — Endeavours to make Hard Paste. — Negotiations with Haniing. — Guettard discovers Kaolin at Alen9on. — Madame Damet makes known the Kaolin of St. Yrieix. — ^Hard Porcelain made. — ^Manufactory spared in the Revolution. — M. Brongniart appointed by the First Consul. — Beauty of the P^te Tendre. — Its most celebrated Colours. — Rose Dubarry, &c. — Style of Decoration. — Porcelain Flowers of Vincennes. — Exclusive Privilege to gild Porcelain. — Historical Series of Forms. — Marks of the different Periods. — Fraudulent Imitation of Sevres Porcelain. — Celebrated Collections. — Beau Brummell. — Strawberry Hill. — Various Private Collections. — Stowe. — Chantilly Porcelain. — Its Quality and Mark. — Villeroy. — Sceaux. — Clignancourt. — Etiolles. — Bourg-la-Reine. — Soft Paste of Flanders. — Toumay. — Lille. — Arras. CHAPTER XI. MANUFACTURES OF ITALY AND SPAIN . . . . . 211 Florence. Marquis of Ginori's Manufactory at Doccia. Venice. Bassano, at Le Nove. Turin, at Vineuf, by Dr. Gioanetti. Naples. Capo di Monte, established by Charles III. — Chatham Correspondence. — State of the Manufactory under Ferdinand. — Extract from a Letter of Lord Nelson. — Decline and Ruin. — Character of the Porcelain. — Collection at Portici. Spain. Charles III. establishes the Manufactory at Buen Retiro. — Secrecy observed. — Extracts from Swinburne. — Bourgoanne. — Rev. J. Townsend, Don A. Ponz, and Laborde. — Destruction of the Manufactory by the French. — Southey. — Mr, Ford. — Beauty of the Ware. Portugal. Vista Alegre. CONTENTS. XV APPENDIX. PAGE Glossary of Terms used in the description of Pottery and Porcelain 225 Table, showing the various classes of Pottery and Porcelain . . 303 Marks and Monograms 311 Table op the Marks and Monograms of the Painters, Decorators, AND Gilders employed in the Royal Manufacture op Sevres, from 1753 to 1800 335 Chronological Table of the Letters employed at the Sevres Manufactory from 1753 to 1817, to indicate the year in which the piece was decorated 343 La Fayence 345 The Case of the Undertaker of the Chelsea Manufacture of Porcelain Ware 349 Chronological Table of the Discoveries and progress of the Keramic Art 353 Chronological Table of the Establishment of Enamelled Pottery . 357 Chronological History of Porcelain 259 Analysis of the different kinds of Pottery, according to m. brongnla.rt 363 Analysis of the different kinds of Porcelain, according to M. Brongniart and others 364 List of Private Collections of China, etc., in Great Britain . . 366 Index 369 ERRATA. Page 8, note, /or " George Andrioli," read " Giorgio Andreoli." „ 21, line 12, for "is," read "was." „ 24, „ 20, for " Zanto," read " Xanto," „ 31, note, line 14, for "ceramic," read " Keramic." „ 38, Fig. 17, for " Salt Cellar," read " Compotier." „ „ „ 16, for " Compotier. Coll. Pr^aux," read " Salt Cellar. Coll. Le Comte. „ 76, line 16, for " Marolini," read " Marcolini." „ 101, „ 14 from bottom," for " moulded," read " mounted." „ 161, „ 4, for " Amandus," read " Amandus." „ 162, „ 11, for " Henrich," read " Heinrich." „ 164, „ 16,/or "Teiflfurt," rea »> Candlestick. Sir a. de Roths- child. 11 29 57 ENGLAND. Elizabethan Wabe. Shakspeare's Jug At Gloucester. 9 30 60 If i> Tea Pot. Mabbyat. ^ 31 61 )f It Cream Jug. tt 3 32 64 „ Crouch Wabe. Lady in a Sedan Chair. Illustrated Lon- don News. 83 ... » It Group of. tt ... HARD POTTERY (stoneware). 34 73 JAPAN. Coffee Pot. Beckfobd. 35 74 GERMANY. Rhine. Jacobus Kamietje. Mabbyat. 13 36 75 » » Jug, brown. „ 10 37 76 tt )> Apostles' Mug. tt 5 38 ... Jug, ornamented, cruet- shaped. It 6i 39 77 „ Gbes Fla- HAND. Vase. Huyvbtteb. ... 40 78 H It Jug, biannular. n ... 41 79 „ elipsoid. ... 42 ... » >) „ discoid. „ ... 43 86 ENGLAND. Wedgwood. Vase. Mabbyat. 12 44 91 Candlestick. Bandinel. 45 It tt Sack Pot. CUBZON. PORCELAIN. 46 97 ORIENTAL. Bottles found in the Egyptian Tombs. Green and white. Wilkinson's " Manners and Customs of the Ancient Egyp- tians." 1 2i 47 109 „ Nankin. Dish, blue and white. Mabryat. diam, 17 48 110 Jar, blue and white. 17 49 113 " China. Kylin, green. ti 18 50 114 ti ti Bottle, striped brown and white. 11 51 118 ^^ Match Pot, turquoise. ^^ 4J 52 119 " Stork. Beckford. 53 121 „ Japan. Saucer, ancient pattern. Marryat. "k 54 124 Bottle, gourd-shaped. 15 55 134 EUROPEAN. Dresden. Tea Pot, grotesque. „ 6i 56 136 Vase, with cameos. 5 57 138 tt It Count Bruhl's Tailor. (There is a larger size of 18 in.) " 9 68 ... It Tailor's Wife. ij 7 59 142 "t "t Ape. tt 28 60 ... tt Empress Catherine's Dog. Coffee Pot. long 17 61 161 Fulda. 8 62 180 ENGLAND. Bow. Cream Jug. Bandinel. 4 63 199 FRANCE. SivRES. Vase, quaint shape. Dresden, Private. 64 216 NAPLES. Capo Di Monte. Basin. Marryat. 14 X 12 65 217 tt tt Salt Cellar. II 7 long. LIST OF WOODCUTS. XXlll SEooticuts in tJje ffiloggarg. Fig. Subject. Country. From whence taken. HriRht. Inches. 66 226 67 227 68 69 228 70 231 71 234 72 73 74 ,j 75 238 76 241 77 )j 78 242 79 >j 80 243 81 248 82 249 as 250 84 251 85 253 86 254 87 255 88 „ 89 256 90 257 91 258 92 260 93 94 „ 95 265 96 270 97 274 98 278 99 100 „ 101 279 102 „ 103 280 104 m5 281 106 282 107 285 108 109 293 110 111 296 112 113 297 114 115 298 116 117 301 118 302 Brickmakers. Alcarazza. Water Cooler. Amphora. Azulejo. Cuarto Real. Bottle, blue faience of „ Pilgrim's. „ Twin-joined. „ Double. Mummy Cone. Drinking Cup. Fish. Head. „ „ CylixwithEyes. Cooking Pot. Annular Vase. Funereal Urn (half) „ Jar of a Coroado Chief. black pottery of Greybeard. Cyathus, Tinaja. Koupchine. Vase cercl6 ruins of La Jarra. Kiln, Common Pottery. „ Hard „ „ Porcelain. Mark, Roman Potter's Stamp. 011a on Vase. Diogenes in Pithos. Child's Rattle. Funereal Vessel. Pottery. Aboriginal. „ Mexican. South American, „ Moorish Fragment. Rhyton. Tile. Norman. Tomb with Skeleton. Urn. Vase. Cut Stone. Thebes. Spain. Egypt. Pompeii. Spain. Persia. Egypt. Egypt. Chili. Egypt. Chili. Peeu. Geeek. VULCI. VULCI. Vellobe. Campaniad. COESICA. Beazil. England. Eteuria. Spain. Caucasus. Antinoe. Alhambba. Paeis. Beauvais. Sevres. Lezoux, Au- vergne. Geeece. Villa Al- BANI. Scandinavia, Mecklenburg Mexico. Peru. Bagota, Spain. Greece. France. Germany. Campaniad. Norfolk. Mecklenburg Greece. Wilkinson's " Manners and Customs of the Egyptians." Auldjo. Beitish Museum. Auldjo. Drawing, G. S.Nicholson, Esq. Marryat. British Museum. Marryat. Beckfobd. Museo Borbonico. BErrisH Museum. Bbongniaet, Atlas, xx. 2 (from Micali.) SiE Edward Baenes. Bbongniaet, Atlas xxxi.l0. Tbaite, 1. 1. p.456. Bbongniaet, Atlas, xix. 6. (from Debeet.) Bbongniaet, Atlas, xx. 8. Auldjo. Musee Ceeamique. Bbongniaet, Atlas xix. 1. „ „ xxii.3. Owen Jones's Alhambra. BRONGNiART,Atlas,xxxiii.l. „ „ xxxviii. 2. „ „ lii. 1. „ „ XXX. 9. British Museum. Bbongniaet, Atlas, xix. 4 (partly from Winckel- mann.) Drawing, G. S. Nicholson, Esq. Bbongniaet, Atlas, XXV. 16. Illust. London News. Beitish Musexbi. Illust. London News. William Tuenee, Esq, R. FoED, Esq. Museo Boebonico. Hennikeb's Letters. Bbongniaet, Atlas i. 1. (from Keuse.) „ i.2. British Museum. Bbongniaet, Atlas,xxv.l4. Dodwell's Gbeece. Beckfobd. 6i ^ diam 5 feet, feet. 4 ft. 3 in. 8 in. POTTERY, pOTTEEY is either soft {te7idre) or hard {dur). The terms have reference to the composition as well as to the degree of heat to which it is exposed in the furnace. Thus, common-brick is soft ; fire-brick hard. The com- mon earthenware vessels, such as pipkins, pans, &c., are soft ; while crockery, such as Queen's ware and stone ware, is hard. SOFT POTTERY. (Fayence, a pate tendre.) This class has been produced from the most ancient period, and its peculiar characteristics are, — soft paste, which may be scratched with a knife or file, — composed of clay, sand, and lime [Fate argilo-sableuse calcarifere), and, generally, fusibility at the heat of a porcelain furnace. These soft wares are divided into four kinds, viz. : — 1. UNGLAZED (mattes). 3. GLAZED (yemissees). 2. LUSTROUS (lustrees). 4. ENAMELLED (emaillees). The three first kinds comprise the ancient pottery of Egypt, Greece, and Rome, as well as the more modern in 2 HISTORY OF POTTERY. common use among all nations. The last kind (enamelled), which is the subject of the present section, is covered with thick enamel, composed of silex or quartzose sand, with oxides of tin and lead, whence the term stannifere, given to it by M. Brongniart. This ware is susceptible of being decorated with paintings of great delicacy. The produc- tions of Persia, Arabia and Spain being of an earlier date than the fifteenth century, it is not proposed to describe them here ; those only of Italy, France, and Germany, come within the scope of the present sketch. CHAPTER I. SOFT POTTERY OP ITALY.— (Majolica.) Majolica, or Enamelled Pottery of Italy. — First copied from Moorish Plates. — Pisan Expedition against Majorca. — Manufacture at Pesaro. — Luca della Rohbia. — Petit Chateau de Madrid.— Dukes of Urbino. — Raifaelle Ware. — Derivation of the term Majolica. — Mezza Majolica. — Artists in Majolica. — Its Various Forms. — Pilgiims' Bottles. — Spezieria at Loreto. — Sacred Cups. — Collections at Strawberry Hill, Narford Hall, Stowe, and others. — Majolica in Germany. — In France. The Italian pottery, generally known under the names of Majolica, Raffaelle ware, and sometimes by the term of " Umbrian ware," though the production of the fifteenth century, owed its origin, about the twelfth century, to the introduction into Italy of the Moorish pottery,* obtained as the spoil of conquest by the various Italian republican states engaged in warfare with the Infidels. The first introduction of painted pottery into Italy may be traced to the Pisans. It is related by Sismondi,t that the zeal of the Pisans against the Infidels urged their under- taking the deliverance of the Tyrrhene Sea from the aggres- sion of the Mussulman Corsairs. A king of Majorca, named Nazaredeck, 'by his atrocious acts of piracy spread terror along the coasts of France and Italy. It was computed that 20,000 Christians were confined in his dungeons. In the year 1113 the citizens of Pisa were exhorted on the festival of Easter by their Archbishop, in the name of the • See coloured plate, " Azulejo." f Rep. Ital, du Moyen Age. 4 HISTORY OF POTTERY. [chap. i. God of the Christians, to undertake the dehverance of their brethren who were groaning in the prisons of the Infidels, and thereby maintain the glory of Pisa. Reli- gious enthusiasm soon took possession of the minds of all present, and every man capable of bearing arms took up the cross and prepared for the expedition. In the month of August, the Crusaders set sail for the Balearic Isles, but the mariner's compass not having been then invented to assist them in their navigation, after a violent tempest they were thrown upon the coast of Catalonia, where they remained till the following year. They again sailed in the month of April, 1114, and reached Ivi9a. After a bloody combat they took the Island, and passed on to Majorca, where they undertook the siege of the town of that name, which was valiantly defended for a whole year, but was taken about Easter 1115, notwith- standing the courageous resistance of the Saracens, assisted by their numerous allies. The king was killed, his successor was made prisoner and conducted to Pisa, and spoils and booty of immense value freighted the Pisan galleys in their triumphant return to their native city. That the painted Moorish pottery, an article of great value, and supposed to have been almost unknown at that period in Italy, formed part of these spoils, appears pro- bable from the fact of plates, or bacini, of apparently Moorish pattern and origin, being found incrusted in the walls of the most ancient churches of Pisa, as well as in those of many other towns in Italy. Mr. Dawson Turner, in his unpublished journal, dated Pisa, October 18th, 1825, says : — " After having returned to the Conservatore the keys cL^^ _ (Z^%^^c/e^r CHAP. I] • MAJOLICA. 5 of the Campo Santo, he was kind enough to walk and show me several specimens of plates from Majorca, embedded in the walls of sundry churches in the city, to which they form singular ornaments. It was a custom at Pisa, with the warriors returning from the Crusades and stopping at Majorca, to bring home this peculiar earthenware by way at once of testimony and trophy. They are accordingly only to be found in the oldest buildings of the style that we in England should call Norman. In St. Sisto and St. Apollonica, they are on the West front, and a row of them is also to be seen running along the sides under the cornice. In St. Francisco are some near the top of the Campanile, which is very lofty. I afterwards observed others in the walls of two churches of about the same date at Pavia." Sir F. Palgrave observed similar plates on the Campanile Fig. 1. Span. Moreseo Plate. (Coll. Marryat. of a church in the Forum at Rome, also on the facade (of Lombard architecture) of San Giovanni in Ciel d'Oro, at Pavia, and under the eaves of San Pietro in Grado, outside HISTORY OF POTTERY. [chap. 1. the walls of Pisa ; the latter were chiefly of a bright green, and covered with patterns which had every appearance of being Moorish. The front of the Church of San Michele, Pavia,* supposed to be of as early date as the sixth or seventh century, has been ornamented with paterae of rude earthenware, coloured with blue and yellow. One or two yet remain, and circular holes show where others of the same kind had been inserted. Similar specimens are found in other buildings in Tuscany, and the Ciceroni, who are never at a loss for an answer, tell you they were brought from Palestine by the Crusaders. Further researches have been since made respecting the Moorish plates, existing in the walls of the Church of Fig. 2. Facade of San Sisto, Pisa decorated with Moorish Plates. San Sisto, from which it appears that there are now very few remaining, and that all those which are under the cornice along the side, prove to be merely plaster impres- sions, painted to resemble the original plates, which have been stolen or taken away. On the West front there remain four of the original plates, which, from their com- paratively inaccessible situation, have escaped the fate of * See Murray's Handbook of North Italy under the head *• Pavia." CHAP. 1.] MAJOLICA. 7 the others. Drawings of these plates have been made, as well as of the mode in which they are inserted. Notwithstanding the early period of the introduction of these specimens of Moorish pottery, it would appear that they remained a long time admired and venerated as religious trophies, before they were imitated, as there exists no record of any manufacture of Majolica in Italy before the fourteenth century, nearly 200 years after the period already mentioned. The early specimens of Majolica of the fourteenth cen- tury are very similar to the Moorish pottery, consisting of arabesque patterns in yellow and green upon a blue ground, and are evidently copied from them. Under the dominion of the House of Sforza,* the art greatly improved, and the manufacture at Pesaro had in 1450 arrived at a high degree of excellence. Notwithstanding the foregoing testimony which may be considered nearly conclusive as to the Moorish origin of Italian pottery, Passeri claims the invention on behalf of his birth-place Pesaro, in which city he says that the manufacture of pottery existed from the earhest times ; that it remained in abeyance during the decHne of the Roman empire, and revived about the fourteenth century, at which period arose the custom of decorating the facades of churches with coloured plates of earthenware (bacini) ; that some of a yellow colour still remained on the Church of St. Agostino, and that some yellow and green ones which adorned the fa9ades of the Duomo and St. Fer- nando, had been removed in his time. He asserts that these specimens were not Moorish, but the first efforts of * Francesco Sforza seized the March of Ancona from Pope Eugenius IV., in 1434, and erected it into an independent state. 8 HISTORY OF POTTERY. [chap. i. Italian art ; and he thinks it probable that the art originated with Luca della Robbia, and that it might have been brought by the Sforzi to Pesaro, where it could have been easily adapted to all kinds of pottery, at a period long prior to the introduction into Italy of the "contrefatte majorichine."* Luca della Robbia, born in 1388, was an eminent sculptor in marble and bronze, and worked both at Florence and at Rimini. Having abandoned his original employment for that of modelhng in terra cotta, he suc- ceeded, after many experiments, in making a white enamel, with which he coated his works, and thus rendered them durable. Vasari writes of him, " che faceva I'opere di terra quasi eterne.^^ His chief productions are Madonnas, Scripture subjects, figures, and architectural ornaments : they are by far the finest works of art ever executed in pottery. He adorned the Italian churches with tiles, as well as with altar-pieces, in terra cotta enamelled ; and he is the founder of a school which produced works not much inferior to his own. The "Petit Chateau de Madrid," in the Bois de Boulogne, near Paris, received the appellation of " Chateau de Fayence," from having been ornamented with enamelled tiles, the work of an Italian artist, named Girolamo della Robbia, a grand-nephew of Luca, whom Francis I. brought from Italy. This chateau is now wholly destroyed. The tiles seem to have been introduced into portions of the ar- chitectural composition, rather as accessory ornaments than as a " lining " or revetement of the walls. Analogous orna- ments, the work of Luca de Maiano, 1521, were to be seen in the old gate, Whitehall, and at Hampton Court.f * In the Museum at Frankfort is a which served as an altar-piece to a composition in earthenware of many church at Gubbio. It is of great merit, hundred figures, representing the Virgin f See " EUis's Original Letters," 3rd and Saints, by George Andrioli 1511 ; Series i. 24.0. CHAP. I.] LUCA BELLA KOBBIA. Luca della Robbia sometimes, though rarely, used a coloured instead of white enamel in his compositions. The annexed cut (Fig. 3) represents the altar-piece of San Mhiiato, near Florence, by him. The ground is blue, the figures white, the fruits, &c., gold colour, and the garlands green. A reference to dates will show the great antiquity of the Majorca pottery. The bacini mentioned were (if not Moorish) Itahan imitations, of a much later period. And if further evidence be want- ing of the very obvious derivation of the term Majolica from Ma- jorca, a passage in the works of Julius Scaliger appears to set the matter at rest. When, comparing the porcelain of India with the pottery of Majorca, he says that the Italian pottery derived its name of Majolica from Majorca, where the pottery was most excellent.* Octavius Ferrari also, in his work upon the origin of the Italian language, states his belief, " that the use of Majolica, as well as the name, came from Majorca." Fig. 3. Altarpiece of terra cotta, by L. della Robbia. Sau Miniate. * " Horum pretia, cum et opes, et patientiam, postremo etiam fidem exce- derent; novo ingenio tam belle imitati sunt in Insulis Majoricis, ut ssepe diffi- cile judicatu sit, utra vera, utrave adul- terina. Profecto nee forma, nee specie, nee nitore cedunt, aliquando etiam su- perant elegantia. In Italia nunc audio tam perfecta venire, ut cuivis cassitero, quod ibi vocant peltrum anteferantur. Ea compta una litera, a Balearibus, ubi dicuntur excellentissima fieri, Majolica nominautm'. " — Julius Ccesar Scaliger , lib. 15: ExotericarumExercitationum, No. 92. Extracted from " Istoria delle Pitture in Majolica descritta da Giambattista Passeri :" reprinted at Pesaro, 1838. 10 HISTORY OF POTTERY. [chap. i. This celebrated manufacture owed its great perfection to the princely house of Urbino, by whom it was patro- nised for 200 years. The first Duke Frederick of Montefeltro (1444), who was a celebrated warrior, as well as a man of letters,* continued and upheld the manu- facture of Majolica. His son, Guidobaldo, estabhshed another manufacture at Pesaro, in which the first artists of the age were employed. His nephew and successor, Francesco Maria della Rovere, added to them that of Gubbio. The next Duke, Guidobaldo II., took great pains to improve the style of painting. He assembled at Urbino the most celebrated artists of the school of Raffaelle, who furnished the designs from which the finest specimens of the art were produced. He painted some vases with his own hand. He also formed the celebrated collection of the Spezieria, or medical dispensary attached to the Palace of Urbino. But overwhelmed with debt, he was obliged to contract the expenses of these establish- ments, and the quality of the ware deteriorated rapidly in consequence. The last Duke, Francesco Maria II., after having built the magnificent Palace of Castel Durante, which he adorned with choice specimens of Majolica, was com- pelled, from a similar cause, to dismiss his best artists, a necessity which completed the ruin of the manufactory. In his dotage he abdicated his Duchy in favour of the Holy See ; and dying in 1631, his valuable collections of Majolica became the property of Ferdinand de' Medici, f who removed them to Florence ; that of the Spezieria, already mentioned, was presented to the shrine at Loreto. * Sansovino relates that when he took Hebrew Bible, with which he enriched Volterra, of all the booty made by his his library. army at the sacking of the town he re- f He had married the grand-daughter served for himself only a magnificent of Francesco Maria. CHAP. I] EAFFAELLE. 11 The immortal Raflfaelle Sanzio d'Urbino, who was born at Urbino in 1483, and died at Rome in 1520, has given his name to this ware. But this general use of the term " Raffaelle ware " has, doubtless, arisen from an erroneous supposition that its splendid designs were either painted by him or under his immediate direction ; whereas the finest specimens are not of an earlier date than 1540. The designs for many of them were, however, furnished by his scholars from the original drawings of their great master. It is matter of indifference whether Raffaelle himself ever painted any of these earthen plates with his own hand, since they could not now be identified ; while the pretty legend of the arts, that love guided his pencil, loses little of its value by the uncertainty. At all events, it is certain that the compositions of Rafiaelle are found upon a very large number of Majolica vessels. It was in the sixteenth century that the art of engraving- reached its highest point of excellence in Italy under Marc Antonio. This artist was employed by Raffaelle, lived in his house, and worked under his eye. The prints he executed became the fashion, and therefore were copied on these plates, affording another reason for the name of " Raffaelle ware." Keysler relates that Baron Tassis, of Venice, possessed an autograph writing of Raffaelle, in which he informs the Duchess of Urbino that the designs are ready which the princess had desired to be made for some porcelain for her sideboard.* Although Pesaro, Gubbio, and Urbino, were in the middle of the fifteenth and beginning of the sixteenth century, * Travels in Germany, Italy, &c., 1756. la HISTORY OF POTTERY. [chap. i. the sites of this celebrated manufacture, it afterwards extended to Rimini, Faenza, Forli, Fermignano, and along the banks of the Metaurus, to Castel Durante (now Urbania), Ravenna, Ferrara, Bologna, and Castel di Daruta, in Perugia. Sienna, also, towards the end of the sixteenth century, furnished remarkably fine specimens. In the valley of the Abruzzi there was likewise a manufactory. The early specimens, from 1450 to 1500, were a coarse ware, called Mezza Majohca. The finer ware, called " Porcellana," * was afterwards introduced, on which the artists were able to paint grander compositions, and with better taste. It was at its greatest celebrity from 1540 to 1560, under Duke Guidobaldo II. During this period, artists were employed of first rate merit, and designs were introduced from classical or scriptural sub- jects, which were taken from the drawings, and Marc Antonio prints of the school of Raffaelle, and other great masters, especially Parmegiano. Afterwards, from various circumstances, particularly the death of its royal patron, which took place in 1574, the manufacture began rapidly to decline, and the introduction of Oriental porcelain com- pleted its ruin. An establishment, of an inferior ware, existed at Urbania in 1 722. What the Mezza Majohca wanted in drawing and design, was abundantly made up in the beauty and per- fection of its colour and enamel glaze. From the excel- lence of the glaze, the yellow and white colours have the metalhc lustre of gold and silver. The changeable hght and " Madreperla '' splendour were also given in great perfection ; and, indeed, have never been surpassed. The * The name given at this period in Europe to the finest description of pottery, and derived from the Portuguese word " Porcellana," a cup. CHAP. I.] MEZZA MAJOLICA. 13 iridescent ruby colour is peculiar to Pesaro and Gubbio, and is of very rare occurrence ; two colours only — blue and yellow, with their mixtures — appear to have been generally used in painting this ware, and the striking effect produced by the union of these simple colours shows the great talent of the painters employed in that early period of the art. The execution of the drawings, however, at that time, was rude and unfinished. Arabesques and coats of heraldry round the rim of the dish, with the bust in the centre, characterise the general style of the " Mezza Majolica." Semi-busts of the Deity were very generally introduced; as also portraits of princes, (especially of the House of Sforza), of their consorts, and occasionally of the popes, accompanied sometimes with sentences in Latin or Italian. This style, which was dry and stiflF, without shadow or mezzotint of any kind, continued till the introduction of the " porcellana " ware, when the art, as we have before mentioned, reached its highest point of excellence. 1560 was the commencement of a new era in the history of the Majolica. Then began to be painted landscapes and friezes, together with every strange variety of fanciful conceit, or " Capricci," (as they are termed), boys, birds, trophies, musical instruments, monstrous animals, as well as copies from many of the fine Rafifaelle grotesques. But the decline of the art had begun. The drawings grew incorrect, the colours pale, badly shaded, and cloudy. The painters put aside the copies of the old masters, and foolishly adopting the stiff and contracted style of the early Flemish school, rapidly perverted the easy taste. In 1574 the ducal establishment was suppressed, on 14 HISTORY OF rOTTERY. [chap. i. account of its expense, and Majolica was from that time manufactured for common purposes only. It was the usual custom for the artists to write the title of the subject, in blue characters, on the back of the dish, but rarely to affix their name and place of abode ; and when they painted a complete service, they marked only the principal piece, intending that one piece to speak for all. The arms of the families for whom the set was painted are frequently introduced on the plate or dish. The letters I x P x distinguish the manufacture of Pesaro. " Ugubbio " is generally inscribed upon that of Gubbio ; the name at full length, as " Urbini," on that of Urbino ; the letter F. on that of Faenza. The letters C. and D. joined, form the mark on that of Castel Durante. Most of the painters on this ware were mere copyists, and worked from drawings furnished by first-rate artists ; but among the best Majolica painters may be especially noticed Nicolo da Tolentino, of Pesaro, previously to 1500. Maestro Geronimo Yasajo, in 1542, his mark was 0, and A. united by a cross. Also, Girolamo Lanfranco, who flourished from 1542 to 1560. Raffaelle da Colle, a pupil of Raffaelle, long resident at Pesaro ; and Terenzio di Matteo. These were also celebrated artists of Pesaro. Giorgio Andreoli, of Pavia, settled at Gubbio in 1498. His mark, written in letters of bronze or gold colour, the G. of a pecuhar form, was M°. G°. (Maestro Giorgio), from 1519 to 1537; though a single A. is found upon his earher performances. Maestro Rovigo, of Urbino, who flourished from 1532 to 1534, wrote his name at full length under the date and title. Xante, of Rovigo, was a celebrated painter of Urbino, CHAP. I.] ARTISTS IN MAJOLICA. ]5 from 1530 to 1535. His colours have the metallic lustre so much prized. Orazio Fontana painted the finest specimens in the collection of the " Spezieria/' (now at Loreto), as also the presents sent by the duke to foreign potentates. His mark consists of the letters 0. F., with a Y. above and an F. below, signifying Orazio Fontana, Urbinate, Fecit. Yasari writes that Battista Franco, in the employ of the Duke at Urbino in 1540, had no equal among his con- temporaries in point of good drawing — "Nel vero, per fare un bel disegno, Batista non avea pari, e si potea dire valent' uomo." The ancient naval battles,* and the cele- brated figures of the four Evangehsts in the " Spezieria," are painted from drawings by that artist. His monogram is B F Y F. Cipriano Piccolpesso, of Castel Durante, about 1550, furnished a great many de- signs for the Duke, especi- ally trophies of great beauty. The three brothers Gatti, and Guido of Savino, the last of whom emigrated to Flanders, were all equally celebrated artists of Castel Durante. The art of making ena- melled tiles appears to have passed from Spain into Italy •"■ X v/ j,j^ ^ MajolicH Pax. (Coll. Marryat.) in the fifteenth century, as Passeri mentions their use in the Palace of the Sforzi, at See Fig. 7. 16 HISTORY OF POTTERY. [chap. Pesaro, and speaks of some which bore the arms of Costanza Sforza. They appear to have been also some- Fig. 5. Majolica Vase. David and Bathsheba. (Coll. Marryat.) times used for ecclesiastical purposes, as a Pax.* The specimen (Fig. 4) dated 1502, was originally framed and used as such. Every variety of form which can be required for common * Pax — an ecclesiastical instrument, of ancient use in the Roman Catholic Church, which the priest kissed first, then the clerk, and lastly the people who assisted at the service, one after another. It was usually of metal, and in the form of a plate or tablet, and had upon it a representation of the Cruci- fixion either in reUef or engraved. The magnificent Pax of silver, engraved in niello by Finiguerra, is still preserved at Florence. The term is derived from the divine salutation, " Pax vobiscum." The custom of kissing it was in com- pliance with the apostolic injunction of " Salute one another with a holy kiss," which, in the early ages of the Church, was literally practised, but which was discontinued in after times. CHAP. I,] FORMS IN MAJOLICA. 17 or domestic use, as well as for ornament and luxury, both elegant and grotesque, is to be found in the MajoHca (Figs. 5, 6, 7). The early " Piatti da Pompa," or dishes for great occasions, were made at Pesaro, and the Pilgrims' Bottle is known by the holes in the bottom rim, through which a strap or cord was passed (see coloured Plate). Fig. 6. Majolica Vase. Galatea. (Coll. Marryat.) The " Tazzoni da frutta di rilievo," or fruit basins with embossed patterns in high relief, of the gold colour of Pesaro, dated 1470, are very curious. 18 HISTORY OF POTTERY. [chap. I. The cisterns of large. dimensions, and the vases of every quaint variety of form (Figs. 8, 9), highly embeUished with Fig. 7. Majolica Ewer. Landing of Casar. (Coll. Du Sommerard.) paintings, with their handles formed of serpents, and rims Fig. 8. Majolica Sauce Boat. (Coll. Du Sommerard.) Fig. 9. Majolica Vessel, grotesque form, (Coll. Marryat.) \^ K^\yVG LOPCA^ WVWAV /• mmmmmmmm ^(/oM/.- ^muouckZ' aMco cMe'X^oe4xzt. CHAP. I.] FORMS IN MAJOLICA. 19 surmounted by grotesque figures of animals and fishes, and also those vessels used by apothecaries to hold their drugs, are greatly to be admired (see Plate, Vaso della Spezieria). Amatorii, a name given to various pieces, such as small basins or small deep dishes (bacinetti) adorned with the portrait and name of a favourite lady to be presented by a lover as a pledge, are not less admirable specimens of the art. On such was inscribed under the portrait the name in this fashion : — MINERVA BELLA. CECILIA BELLA. These portraits are interesting as giving the costume and head-dress of the period. Small plates for ices and sweetmeats, about a palm in diameter ; children's plates, with paintings in the style of the Festa di Ballo ; nuptial vases, with appropriate sub- jects ; vases for holding diflferent kinds of wine, poured out from one spout ; " Fiaschini,'' or small flasks, in the shape of lemons and apples ; cups covered with tendrils, and other quaint devices ; small statues of saints : jocose figures ; birds of every kind, coloured after nature ; painted tiles, used for walls and floors, many of them admirably ex- ecuted, show the great variety and excellence of this ware. Giambattista Passeri, Abbate of Pesaro, from whose scarce pubhcation* on the subject (in the library of Mr. Ford, a zealous collector of this ware) the above account is chiefly extracted, laments the caprice of fashion, which denounced Majolica as vulgar, and made Oriental * "Istoria delle Pitture in Majolica fatte in Pesaro e nel luoghi circonvicini." No date or place, but reprinted at Bologna in 1758, 12mo. c2 20 HISTORY OF POTTERY. [chap. i. porcelain, just then intfoduced, the rage. The worthy Abb^ naively exclaims, in concluding his work, that the preference given to Oriental Porcelain, with Chinese paint- ings no better than what are seen upon playing-cards, over the Italian Majolica, embellished with the designs of the school of the immortal Raffaelle, proves the degeneracy of the age, and shows the lamentable predominance of the brutal over the intellectual part of man.* After 1600 this celebrated ware almost ceased to be made in the States of Urbino, but in the following cen- tury there sprang up at Naples a manufactory which, in the forms and the style of the figures, has much resem- blance to the ancient Majolica. More recently a similar ware was made at Venice. Duke Francesco Maria, as we have already stated, pre- sented to the " Santa Casa di Loreto,^' a splendid collection of Majolica, once belonging to the Spezieria attached to his palace. It is celebrated for containing 380 vases, painted from the designs of Raffaelle, Giulio Romano, Michael Angelo, and other great masters ; these are arranged in two rooms. The finest are placed in the first saloon, and exhibit the twelve Apostles, St. John, St. Paul the first Hermit, the chaste Susannah, and the dying Job, which is said to be after Raffaelle. The others represent incidents of the Old Testament, actions of the ancient Romans and the Metamorphoses of Ovid. Those of the sportive games of children are in number eighty-four, each one being different from the other. These vases are very highly prized, as much for their • " La parte brutale dell' uomo sara a favor delle Porcellane, ma Y intellettuale e raziocinativa guidichera a favor delle nostre Majoliche." ' ///^ _ .4f^^UJJ(^ly j4w/r/4 {>rro Jude/^ Jnaj^ew:a^\.m7mtdrt'i/ CHAP. I.] SPEZIERIA. 21 beauty as for their extreme variety. Bartoli has engraved them in his description of the glorious master-pieces belonging to the Sanctuary of Loreto (Cap. XX) ; and the Grand Duke of Florence was so desirous of purchasing them, that he proposed to give in exchange for them a hke number of silver vases of equal weight ; while Queen Christina of Sweden was known to say, that of all the treasures of the Santa Casa, she esteemed them the most. Louis Xiy. is reported to have offered for the four Evan- gehsts and the Apostle Paul, an equal number of gold statues. The sacred cups of Loreto should also be men- tioned. When the chapel is cleaned, the dust shaken from the dress of the Virgin or scraped from the walls, was carefully collected and mixed with the paste. This was made into small cups about four inches in diameter and one-and-half inch high. They are painted in blue and yellow, with the image of the Virgin and Child, and some- times a representation of the Santa Casa, the inscription, CON- POL- DI- S C- (con polvere di Santa Casa) being placed on either the exterior or interior rim of the cup. A fine collection of this ware, which was removed thither from the Castle of Saltzdahlum at Wolfenbiittel, is to be found in the Ducal Museum at Brunswick. The Royal Museum at Berlin also contains a good collection. Another celebrated collection, at Ludwigsburg, is men- tioned by Gothe in his posthumous works. In the Japan Palace at Dresden, there are to be seen 180 pieces of this ware, dating from 1532 to 1596, the subjects taken from Scripture history or Greek mythology. 22 HISTORY OF POTTERY. [chap. i. Among the most remarkable are a vase, with the Ascen- sion of our Saviour, after RafFaelle, and three large fonts, with angels for supporters, the broad rims of which are painted in arabesques. Coats of arms have been painted over the original paintings, which are scarcely discernible, though St. Mark's Palace can be just recognised. There is a fine font or basin for washing glasses, in the Dispen- sary of the Escurial ; the subject of the painting is the Judgment of Solomon. Strawberry Hill was rich in specimens of this ware, many of great beauty and extreme rarity. A pair of fine triangular-shaped cisterns, painted from the designs of Giulio Romano, was sold for 160 guineas.* There was a great variety of Pilgrims' bottles, many of them very fine. One specimen in particular was curious, as having the crest and arms of Duke Ferdinand de' Medici, and his consort Christina of Lorraine, who were married in Febru- ary, 1589.t There was likewise a very magnificent pair of vases, J with serpent handles and paintings from designs of Giulio Romano, singular in having this inscription : — *'FATE IN BOTEGA DI ORAZIO FONTANA." Other specimens might be named as having adorned this celebrated collection, which has now unfortunately been dispersed. Narford Hall, in the county of Norfolk, the seat of A. Fountaine, Esq., contains, perhaps, the finest collection in England of this ware. Many pieces are painted from the designs of Raffaelle ; but two pieces which deserve particular notice are a pair of cisterns of fine form and * Miss Burdett Coutts was the purchaser, t Sold for 23Z. 4s. The Pilgrims' bottles sold for 10 guineas to 15 guineas each. t Sold for 110/. 4^_ '■ ty'fLawt(/)a/ _ J €^4^16/^^^ i/Oo^t rOr/e. CHAP. I.] MAJOLICA AT STOWE. 23 execution, and of the remarkable size of 3 feet in length by 18 inches diameter. Stowe, the seat of the Duke of Buckingham, contained a vase which was formerly, among other fine specimens, in the collection of the late Mr. Gray, at Harringer House, in the county of Middlesex. It is ex- tremely curious, as being an in- stance of enamelling over earthen- ware, in the style of Luca della Robbia. The ground of the vase is lapis lazuli blue, and it is exquisitely painted from designs by Giulio Romano, with figures in white ; the top and foot are in arabesque upon the Majolica. This gem (of which the cut, Fig. lo, is half size) was sold at Harringer House for 35/. ; it subsequently Fig. 10. Oviform Majolica Vase (Formerly at Stowe.) fetched, at the late sale at Stowe, 51 guineas. The silver- gilt handles, which had been added be- fore the vase was transferred to the Stowe collection, can hardly be considered as an improvement. At the same sale an oviform vase for sprinkling scented Fig. 11. Cistern. (Formerly at Stowe.) 24 HISTORY OF POTTERY. [chap. i. water, painted with arabesques, sold for 27/. 16s. 6d. A single salt of grotesque form, for 10 guineas and a half, and a pair of the same sort for 12/. 12^. The plates were knocked down at from 5 to 10 guineas each. But the most interesting specimen was a cistern (Fig. ii) from the Borghese palace, which, although much broken, sold for 64 guineas. Ralph Bernal, Esq., M.P., has been occupied for twelve years in forming a most extraordinary and unrivalled collection of this ware, as has likewise Mr. Ford, at Heavitree, near Exeter, who, passing from his early love of plates and dishes to books, has parted with the greater part of his collection, but still retains some exquisite specimens, particularly a large dish, the subject of which is Raffaelle's Judgment of Paris, most beautifully painted, and a matchless specimen of that rare master, Giorgio da Gubbio. The collection of the writer also contains some choice specimens from Strawberry Hill and from Mr. Ford's col- lection, besides others procured in Italy. A plate by Zanto, from Mr. Ford's collection, date 1533, the subject of which is a Sea Nymph, Cupid, Shells, &c., is a good specimen of the gold metallic lustre so highly prized by collectors. There is a large dish (Fig. i2) twenty-four inches diameter, the subject of the painting being the Storming of Goleta, on the coast of Africa, by .Charles Y* The Roman eagles * Goleta, an island on the coast of July, 1535. By this victory, and the Africa, was the stronghold of the Corsair subsequent surrender of Tunis, the Barbarossa, and strongly fortified. It emperor liberated 20,000 Christian cap- was attacked by Charles V., with a fleet tives, and effectually bridled the depre- of 500 vessels, and an army of 30,000 dationsof the African corsairs. — Robert- men, and carried by stoi'm on the 25th son's CJmrles V. Book v. CHAP. I.] MAJOLICA. 25 Fig. 12. Majolica Disli. Storming of Goleta. (Coll. Marryat.) and letters SPQR are introduced upon the banners. There is a coat of arms on the obverse rim of the dish. The inscription on the reverse is singular : it is as follows : — M- D- XXXXI- Da Carlo d'Auftria Imperator potente L'alta Goletta inefpugnabil tanto Aftretta, e prefa con furor repena. Jn Urbino nella botteg di Francefco Silvano 26 HISTORY OF POTTERY. [chap. i. MAJOLICA.— (In Germany.) Nuremberg claims the introduction of Majolica into Germany. Hirschvogel, an artisan of that city, travelled into Italy in 1503, and went to Urbino, where he learnt the art of enamelling pottery. He returned in 1507, and established the first manufactory of MajoUca ; but sculp- ture and carving being more congenial to him than painting, the works he produced are ornamented in relief, and not painted upon an even surface Hke the Italian ware. The manufacture ceased after his death. There exist two fine specimens of this ware ; one in the collection of the King of Bavaria, the other in that of the heirs of the late M. Campe, bookseller, at Nuremberg. MAJOLICA.~(In France.) Nevers has the credit of being the earhest site of enamelled pottery in France, though the fabric may be considered merely as an inferior description of the Italian Majolica, the imitation coming far short of the original manufacture. The introduction of Majolica into France, and the estabhshment of its manufacture there under the name of "Fayence,'' took place in the time of Catherine of Medicis. Brought up at Florence, and afterwards resident at Urbino, the seat of the manufacture of Majolica, there can be little doubt that, upon her removal to the French Court, she was desirous of introducing those elegancies CHAP. I.J MAJOLICA IN FRANCE. 27 and luxuries to which she had been accustomed, and which could with difficulty be obtained from Italy, owing to the constant wars between that country and France. This Queen, however, did not succeed in establishing any manufactory of Majolica until the arrival from Italy of her kinsman, Louis Gonzaga, who, upon his estabhsh- ment in the Dukedom of Nevers,* sent for artists from Italy, and finding suitable materials, succeeded in making a fine description of pottery similar to the Majolica. The introduction of Fayence into Nevers by this prince, is mentioned in the epistle dedicatory which Gaston de Clave, native of the Nivernois, addressed to the " Illus- trious Prince Louis Gonzaga, Duke of Nivernois and RetheV in his work, entitled " Apologia Argyropoeise et Chrysopoeise,'' published "ex tua metropoli vrbe Niurnensi, Calendis Aprilis, 1590." In this dedication the intro- duction of the manufacture of Fayence (called figulinse encausticse) is mentioned as one among many other reasons why the book should be dedicated to such an illustrious prince, patron, and benefactor to Nevers. The writer ends with imploring the " Deum optimum maxi- mum " to grant a long life to his local Maecenas, and that he himself might live to see it. The work is quaint and odd, as Gaston is evidently a believer in the philosopher's * The fiefs and family estates of the of Rethel, with which she endowed Dukes of Nevers, by failure of male Louis Gonzaga, on her marriage with issue, came to be divided among the him in 1565, and by royal ordinance he three surviving sisters, who were prin- assumed the title of Duke of Niver- cesses of such exceeding beauty, that at nois. This prince was a great patron the court of Charles IX. they were of the fine arts, but he was almost con- called the Three Graces. Henrietta stantly occupied by the wars of the of Cleves, the eldest, obtained for her period, until his death (which took place share the duchy of Nevers and county at the Chateau de Nesle in 1595). 28 HISTORY OF POTTERY. [chap. i. stone, and gives learned reasons why gold and silver will not burn to a cinder.* The civil and religious wars which devastated the Nivernois, and carried fire and sword into every habita- tion, probably soon afterwards destroyed the original establishment, and dispersed the foreign workmen. The Nevers pottery was perhaps the earhest instance of the introduction of the manufacture of MajoUca by Italian workmen into a foreign country. As long as Italian artists were employed, this pottery partook of the cha- racter of its Italian origin, but when native artists took their place, the classical forms and paintings were by degrees superseded by ornaments of the Gallic school, till at leng-th the manufactory descended to ordinary Fayence. This circumstance has caused some difficulty in identifying the locality of this ware, many specimens of Nevers being considered as real Majohca. The same remark will apply to the Flemish and German pieces manufactured by Italian artists, though these are not so easily mistaken. It must be borne in mind, that the foreign manufac- tories of Majolica were not established till the decay of the art in Italy, and the consequent discouragement of the manufacture, had induced the workmen to emigrate to * The portion of the dedication re- admiranda subministrant. Sed et novis- latinjT to Fayence is as follows : — simis hisce diebus topographum et sculp- ** Sunt etiam ex genere eoruni, quse tores ingeniosos multis tuis sumptibus prseclaras urbes efficiunt, ingeniosi mul- hue appellere iussisti, sic viris conspicuia tarum artium artifices. Hinc vitrarise, civitatemtuamornatara,8edificiis quoque figulinae et encausticse artis artifices perpolitam esse voluisti ; praesertim quod egregii, iussu tuo accersiti et immunitate et lignorum lapidu calcis et arense, quae tributorum alliciti, praestatia opera civi- ad ea construenda sunt necessaria, multa bus tuis commoda niagisque exteris esset copia." — P. 9. CHAP. I.] MAJOLICA IN FRANCE. 29 foreign countries in quest of employment. When thus removed from Italy, they of course had no longer the advantage of the designs and drawings of their great native masters, but were obhged to copy those of the country in which they were located. CHAPTER II. SOIT POTTERY OF FEANCE. Soft Pottery of France. — Nevers. — Rouen. — Memoir of Bernard Palissy. — Palissy Ware. Nevers appears to have recovered from its state of depression in the eighteenth century, and to have pos- sessed a manufactory of Fayence of great extent and importance, which exported largely to all parts of the world. Though the quality of the ware was common, the brilhancy of the dark blue enamel, and the white patterns upon it, have a very striking appearance.* The introduction, how- ever, of porcelain in the sixteenth cen- tury superseded the use of this as well as of all fine enamelled wares. This pottery has nevertheless been celebrated in heroic verse, by Pierre Defranay,t and the poem is so characteristically French, that we give it in the Appendix, being convinced that it will amuse, if it does not instruct the reader. Fig. 13. Euamelled Pilgrims' Bottle. Nevers. (Coll. Marryat.) * The writer has a Pilgrims' bottle of and brilliancy yields to no other pottery, this ware (Fig. 13), of which the colour + See Appendix. CHAP. II.] MEMOIR OF PALISSY. 31 At the close of the seventeenth century the enamelled pottery of Rouen was much celebrated. The style of its ornaments distinguishes it from that of Nevers of the same period. When Louis XIV., in 1713, sent his plate to the mint to defray the expenses of the war, he had a service of this ware made expressly for his own use, of which an octagonal salt-cellar, bearing the mark of the fleur-de-hs, is in the collection at Sevres.* The next description of this ware peculiar to France is that which has immortalised the name of its maker, PaHssy, the history of whose life is so interesting, and especially with reference to our art, that we shall give it at some length. Bernard Palissy, a man of great natural genius, was born in the beginning of the sixteenth century, in the diocese of Agen, of parents so poor, that they could not give him any education. He learnt, however, to read and write, and having acquired some knowledge of land- * M. Andre Pettier, conservateur de rights, and attacked Poterat. His por- la Bibliotheque de Rouen, has paid much celain appears to have been shown at attention to the fictile manufactures of Paris, and to have excited much admi- that city, and the history of the manufac- ration. If so, it was not a mere project, tuxe generally. He states that by docu- but a manufacture in actual operation, ments preserved in the archives there, it M. Pettier possesses among his Rouen appears that a kind of porcelain was made specimens some which he regards as at Rouen, prior to the German disco- Poterat's porcelain. It resembles the veries. One of these documents cites the white oriental porcelain, opaque from letters patent of Louis XIV., dated 1673, the thickness of the substance, but is to Louis Poterat, Sieur de St. Etienne, rather more vitrified, who had discovered processes for fabri- As, however, M. Brongniart, who eating porcelain similar to that of China, ought to be well acquainted with the sub- and wares resembling those of Delft, and ject of the French ceramic productions, authorising the establishment of works at makes no mention of this porcelain, it St. Sever, near Rouen. It seems, how- was probably merely a fine Fayence. ever, that certain manufacturers, then The late Mr. Bandinel possessed two settled at or near Rouen, regarded this beautiful brackets of this ware, from tlie enterprise as an intrusion upon their collection of M. Roussel. 32 HISTOEY OF POTTERY. [chap. ii. surveying, obtained a livelihood by following that employ- ment. Jhe habit of drawing Unes and geometrical figures, inspired him with a taste for design, which talent he developed in copying the works of the great Italian masters. He was employed in painting images and pictures upon glass. He visited the principal provinces in France, examined the monuments of antiquity, and made numerous observations upon different mineral productions, which are astonishing even at the present day. He also studied chemistry, as it was then taught, in order to know the composition and properties of minerals. Palissy, having finished his travels before 1539, established himself at Saintes, and there lived upon the produce of his talent for painting. Seeing at this time a beautiful cup of enamelled pottery, the idea struck him, that if he could discover the secret of the composition of the enamel used, it would enable him to bring up his children creditably ; and from that time his mind was solely directed to this object. He soon spent all his savings in useless attempts, but having been employed in 1543 to make a survey and plan of the salt-marshes of Saintonge, this work brought him a considerable sum of money, which he did not hesitate to devote to new experiments. These, however, did not succeed better than the first. Neither the complaints of his wife, who reproached him with neglecting an employment which would secure his family from want, nor the representations of his friends, could deter him from continuing his experiments. He borrowed money to construct a new furnace, and when wood failed him, he actually burnt the tables and boards of his house to finish the operation, which succeeded CHAP. II.] MEMOIR OF PALISSY. 33 but imperfectly. He discharged his only workman, and not having money to pay him, he gave him part of his clothes. PaUssy now became so wretched, that he dared no longer to show himself, and trembled to meet the looks of his wife and children, whose emaciated appear- rance seemed to accuse him of cruelty. Although devoured by chagrin, he affected a cheerful air, and persisted still in following up his experiments, until his efforts were at length crowned with the glorious result, to the attain- ment of which they had been so long and so patiently directed. It was in 1555, after sixteen years of experiments more or less unsuccessful, that he discovered the composition of this long sought enamel, and soon his beautiful patterns and rustic pottery (figulines) obtained him fame and patronage. King Henry 11. , and following his example, the grand seigneurs of the Court, hastened to order from him vases and figures to ornament their gardens, and the Constable Montmorenci engaged him to decorate his chgiteau at Ecouen. Many beautiful fragments from this place have been preserved from destruction, and transferred to the Musee des Monu- ments Fran^ais, among which are some painted tiles, and also some painted glass, representing the history of Psyche, after the engraved designs of Raflfaelle. Palissy had embraced the principles of the Reformation, and when the Parliament of Bordeaux, in 1562, ordered the execution of the new edict against the Protestants, the Duke of Montpensier gave him a safeguard, and ordered that his establishment should be exempted from the general proscription ; but notwithstanding this special protection, he was arrested, his workshop destroyed by order of the 34 HISTOEY OF POTTERY. [chap. ii. judges at Saintes, and it was necessary for the King himself to claim him as his own special servant, in order to save his Hfe. He was called to Paris and lodged in the Tuileries, which favour no doubt rescued him from the massacre of St. Bartholomew. He there gave a course of lectures upon natural history and physics, which were attended by all the learned men of the day, and which he carried on with increasing success until the year 1584. These services did not, however, give him favour in the eyes of the Leaguers, since he was arrested by order of the Sixteen and shut up in the Bastille. Henry III. went to visit him in prison, and said to him, " My good fellow, if you do not renounce your views upon the point of religion, I shall be constrained to leave you in the hands of my enemies." " Sire,'' replied this intrepid old man, " those who constrain you, can never have power over me, because I know how to die." Events, happily, did not come to this extremity, for the Duke of Montpensier, aware that he was not able to dehver him, humanely delayed the prosecution, and Palissy terminated in prison, about 1589, at the age of ninety, a life which he had rendered illustrious by great talents and rare virtues. His occupation as a potter arose from an accidental circum- stance ; but the courage and perseverance he displayed throughout his eventful and calamitous career would have been equally conspicuous, whatever pursuit he might have followed. France may, indeed, be as proud of his noble and independent character, as of the credit attached to his name from having brought the art of enamelling on pottery to a perfection till then unknown in that country. CHAP. II.] PALISSY WARE. 35 His writings, little known in England, are excessively curious, especially the autobiography of his fictile career ; however, from want of precise and definite details, they give little information as to the processes he em- ployed, and after his death, and that of his brothers who succeeded him, the art was lost. PALISSY WARE. The Fayence of Palissy is characterised by a peculiar style and many singular qualities. The forms of his figures are generally chaste. His ornaments, his historical, my- thological, and allegorical subjects, are in relief and coloured. The colours are generally bright, but not much varied, being confined generally to yellows, blues, and grays, though sometimes extending to green, violet, and brown. He never succeeded in attaining the purity of the white enamel of Luca della Robbia, or even that of the Fayence of Nevers. The back of his pieces is never of an uniform colour, but is generally shaded, or coloured, with two or three different colours, such as blue, yellow, and brown. The enamel is hard, but the glaze is not so good as that of Delft. The natural objects which are placed upon this Fayence are very true in form and colour ; for, with the exception of certain leaves, all were moulded from nature. The choice he has made shows that this potter was a skilful naturalist, for the fossil shells with which he has ornamented his different pieces, are the tertiary shells of the Paris basin, and their species can be clearly recognised. The fish are those of the Seine ; the reptiles and plants, of d2 36 HISTORY OF POTTERY. [chap. ii. the environs of Paris. There is no foreign natural production to be seen on his ware. Fig. n. PallssyDish. Re^tHes &c. i i_ i ,Coll. Marryat.) The greater part of these pieces, particularly the dishes, or rather plateaux loaded with objects in relief, called " pieces rustiques," were destined merely to be placed upon the large armoires and buffets which ornamented the dining-rooms of that period. Pieces with a flat sur- face are extremely rare. The quantity made of this ware must have been great ; but notwithstanding this, there are, it has been stated, but thirty* varieties that can be sepa- rately characterised by their forms, subjects, and other ornaments. Large stands or flat basins, having a rock in the centre, the ground representing, as it were, the bottom of the sea, with fishes, shells, seaweeds, pebbles, snakes, &c., the rock covered with submarine animals, appear to have been a favourite subject of this potter. (Fig. u.) * Au eminent Paris collector of Paiissy ware asserts that he has at least seventy vai'ieties. .^ CHAP, II.] PALISSY TILES. 37 Ewers and vases, with grotesque ornaments (Fig. i5), boars' heads, compotiers (Fig. i7), salt-cellars in various and curious devices (Fig. 16), figures of saints, tiles for the walls and floors of mansions, as well as for the covering of the stoves in use upon the Continent, were also made in great perfection by this celebrated artist. Fig. 15. Palissy Vase. (Coll. Revoil.) The Chateau de Montmorenci at Ecouen, was ornamented about the middle of the sixteenth century, with painted tiles, the work of Bernard Palissy.* A large portion of these * Brongniart. Traite des Arts Ceramiqiies. 38 HISTORY OF POTTERY. [chap. II. beautiful tiles still exist at Ecouen, where one large room is entirely paved with them, and a considerable number may also be seen in the chapel. They exhibit the devices of the Constable de Montmorenci ; the colours are bright and effective ; they bear much resemblance in execution Fig. 16. Palissy Salt Cellar, (Coll. Prtaux.) Fig. 17. Palissy Conipotier. (Coll. Prtaux.) to the Spanish tiles, but the design is wholly French ; there is no imitation of Azulejos perceptible in its character, which is altogether original. A specimen of one of a set of tiles used for covering a stove, the work of Bernard Palissy, from the collection of M. le Comte Pourtales, is here given (Fig. 18.) Those of the Chateau de Madrid have been already noticed, as being of ItaHan manufacture.* PaUssy had two assistants, who were either his brothers • Page 8. CHAP, II.] PALISSY TILES. 39 or sons, who worked with him, and continued the art until the time of Henry lY. There exists a plate of their workmanship, the subject of which has been several times repeated, and which represents that prince with his family. There is a manuscript in the Royal Library at Paris, con- taining an account of the expenses of the Queen Catherine de Medicis, dated 1570, in which the following passage occurs : — " Qu'on a delivr^ a Bernard, Nicholas, et Mathurin Pahssis, sculpteurs en terre, une ordonnance de Fig. 18. Stove TUe (Palissy.J la somme de 2600 livres tournois pour tons les ouvrages de terre cuite emaillee qui restaient a faire pour parfaire les quatre pans au pourtour de dedans de la grotte 40 HISTORY OF POTTERY. [chap. ii. commenp^e pour la reine en son palais \6z le Louvre a Paris ; suivant le marche fait avec eux," Many other pieces of Fayence, nearly in the same style as that of Palissy's, with analogous colours and ornaments of reptiles, &c., in relief, are to be seen in various collec- tions, and resembling his so nearly as scarcely to be distin- guished. But as Pahssy moulded the reptiles, plants, and shells of Paris only, this distinction may be usefully employed to detect the counterfeits. Besides, the colour of the last is generally of a uniform brown maroon, very different from that of Palissy ; and this Fayence, which is rare, is supposed to have been made in the south of France. Another Fayence, much resembling Palissy ware in external form and in the brightness of its colours, was made in Germany about the same period, but it may be distinguished by the dirty red colour of the paste, which is evident, although covered with a very thick coat of enamel. The most extensive and complete collection of Palissy's Fayence exists in the " Musee Royale,'' in the Louvre, and in the Hotel de Cluny, purchased since the death of M. Du Sommerard, its late proprietor. These magnificent specimens have been eagerly bought up by the French Government, from a just appreciation of the merits of their talented and much persecuted countryman.* * At a late sale at Phillips's, of Palissy ground, and snake handles, sold for ware and other articles belonging to M. 571. IBs. A very curious candlestick, Roussel, of Paris, an extraordinary large with perforated work, and heads in vase of this ware, enriched with boys in relief, sold for 201., and various figures relief, supporting flowers and fruit in and other small objects brought In'gh festoons, with mask heads on a fine blue prices. CHAPTER III. SOET POITEEY OP GEEMANY AND HOLLAND. Pottery of Nuremberg. — Enamelled Tiles for Stoves. — Specimen of Pottery in the Royal Library at Paris. — Establishment on the Rhine. — Delft, or Dutch Ware. — Designs copied from the Japanese. — Date of its Manufacture. — Its Decline. Owing to the early discovery of a fine glaze, Germany excelled in this ware. A commentator on the work of the monk Theophilus, " Schedula diversarum artium/' relates the fact of this fine glaze (of which he gives the composition) having been used at Schelestad, in Alsace, as early as 1278, by a potter, whose name he does not mention, though he states that he died in 1283. In the " Annales Dominicarum '' of Colmar, published by Ursticius in his collection " Scriptorum rerum Germa- nicarum,'^ there occurs a passage in reference to the events of 1283, which states that " Obiit figulus Stezlstatt qui primus in Alsatia vitra vasa fictilia vestiebat." The fabrics of Eatisbon, Landshutt, and especially Nuremberg, (Figs. i9, 20, 21, 22,) show a high degree of perfec- tion in the glazing and colouring, which is not less varied and brilhant than the enamelled ware of the Arabs and Italians. 42 HISTORY OF POTTERY. [chap. III. Fig. 19. Enamelled Dish. German. (Coll. Marryat.) The fine green glaze, the compHcated forms, the great number and variety of ornaments with which this ware is Fig. 20. Tureen. Nuremberg. (Coll. Marryat.) overlaid, its lightness and good workmanship, constitute the distinctive character of this pottery. The potters of Nuremberg were celebrated for enamelled tiles of great size, used for covering stoves. Of these many fine specimens exist. In the Castle of Nuremberg there is a most remarkable collection of large ornamental stoves. They are composed of slabs, 27 inches by 25, and enriched with ornaments and figures in bas-rehef, of a fine character, after the school of Holbein. The prevailing colour is deep CHAP. III.] GERMAN POTTERY. 43 copper-green, sometimes blended with brown and yellow. They bear the date of 1657. A specimen of one of a set Fig. 21. German Enamelled Chaufifepied. (Coll. Marryat.) Fig.22. German Ornamented Vase. at.) simple, and the decorations less overloaded; the dragons are not so monstrous, and the flowers are designed more in accordance to nature. The glazing also is more tinged with blue, and more dehcate. It does not stand the heat of the fire so well as the Chinese. Some degree of taste is shown in the forms, which are more natural than the Chinese. (Fig. 54.) Chinese and Japan ornaments are, however, sometimes found upon the same CHAP. VI.] WARE OF CHINA AND JAPAN. 125 piece, and the Chinese occasionally imitate the Japan porcelain. Of the Japanese ware, the oldest kind is that of quaint shape, with curious embossed figures, white ground, with patterns in red and blue, the paste not being of fine quality. Of this kind coffee-urns are often met with. We are told by Golownin * that besides the finer kinds, the Japanese make a common porcelain and Fayence, but both are of clumsy and heavy workmanship. It is only upon the preparation of the best porcelain that they bestow much time and labour. This is produced in such very small quantities, that it does not satisfy the demand for it in Japan itself, much porcelain ware being accordingly imported from China. The fine Japan is superior to the Chinese in the quality of the paste and the brilliancy of the colours, which are principally blue and red. It also differs from it in the subjects, which are seldom figures, excepting in the Scripture subjects introduced by the Portuguese mission- aries, which are very rare ; those commonly met with are chiefly patterns of various kinds of flowers, mosaics, &c. The transparent specimens, formed by the open work being filled up with glaze, are curious ; as also those of lacquered ware, with subjects in mother-of-pearl, upon an avanturine ground. The red unglazed stoneware is frequently ornamented with raised patterns, formed of rice, which are painted and gilt. Vases and teapots of this ware are very common, being of the same composition as those made at Dresden by Bottcher. The Portuguese call these vessels " Buccaros." * In his Adventures during his captivity among the Japanese, 1811 — 1813. 126 HISTORY OF PORCELAIN. [chap. vi. The remarks already made upon Chinese porcelain apply equally to that of Japan. Most collections of Oriental porcelain contain a great number of Japanese specimens which are seldom separately classified, excepting in the Japan Palace at Dresden, where that ware is placed in distinct rooms, as before mentioned. The finest specimens of Japan porcelain which have been submitted to the pubHc for a long time, were those sold at the late Mr. Beck ford's sale. They consisted of bowls, plates, &c., and obtained very high prices ; small basins seUing at from four to five guineas each, and plates in the same proportion. PERSIA. There is no authentic record respecting the existence of any Persian porcelain. Chardin, in 1650, certainly mentions " China ware in Persia as being equal to any Chinese, having a similar grain and transparency ;'' but as he, in his description of painted tiles of earthenware, calls them " China,'' and thus appears not to have known the difference between pottery and porcelain, his testimony cannot be deemed decisive as to the fact of porcelain having been made in Persia, especially as it is unsupported by any other evidence. There are extant, plates and dishes painted with Persian designs and inscriptions from the Koran. Some of these are evidently spurious, from the inaccuracy of the characters, which only look like Persian, and were evidently copied by artists ignorant of the language. Others, on the contrary, from their style of pattern, and CHAP. VI.] PERSIAN PORCELAIN. 127 the correctness of the writing, might lead to the impres- sion of their having been actually painted by a Persian artist.* In the absence, however, of the knowledge of any manufactory in Persia, it is impossible, without further information, to decide the disputed point of Persian porcelain. * In the coUectfon of the writer, Bandinel, Esq., possessed a dish which there is a plate of spurious manufae- has every character of being the pro- ture ; but the late lamented James duction of a Persian artist. CHAPTER VII. PORCELAIN.— (Hard Paste. European.) Saxony. First European Porcelain made in Dresden. — Bottcher's Discovery. — He is removed to Meissen. — Precautions for keeping the Process secret. — Flourishing State of the Manufactory under Royal Patronage. — Description by Jonas Han way. — Calamitous Effect of the Seven Years' War. — Decay and Decline. — Present State. — Visit of Wedgwood. — Count Brlihrs Tailor. — Lace Figures. — Honeycomb China. — Collection at the Japan Palace described by Hanway and Klemm. — Comparison. — Marks. The principal manufactories of hard paste in Germany are those of Meissen (Dresden), Vienna, Hochst (Mayence), Furstenburg (Brunswick), Frankenthal (Palatinate), Nym- phenburg (Munich), Baden, Ludwigsburg (Wurtemburg), Berlin, Cassel (Hesse), Fulda, Rudolstadt, Gotha, &c., in Thuringia : in Russia, those of Petersburg and Moscow : in Holland, those of Amsterdam and the Hague. There are manufactories also at Copenhagen and Zurich. All these estabhshments, with their branches, will be noticed in the order in which they are here mentioned. MEISSEN. (SAXONY.) The Portuguese, who, in 1518, first appeared before Canton, and by destroying the pirates of the Ladrones, had earned the thanks of the Chinese, with permission to CHAP. VII.] PORCELAIN OF DRESDEN. 129 establish a fort at Macao, were the first to introduce Chinese porcelain into Europe. For two centuries, chemists endeavoured to imitate it, but could not approach nearer than earthenware. We are indebted to the Saxon Bottcher for the second invention of porcelain. The first European porcelain was made at Dresden, and the first European manufactory was estabhshed at Meissen, on the Elbe, near Dresden, under the auspices of Augustus IL, Elector of Saxony and King of Poland, and continued by his successor, Augustus III.* During the residence of Augustus IL at Dresden, John Frederick Bottcher, an apothecary's assistant at Berlin, being suspected of understanding the art of making gold, fled into Saxony, in order to avoid persecution. Augustus sent for him, and asked him whether he possessed the secret of making gold, and on his steadfast denial (which the Elector did not believe), he placed him under the close superintendence of Tschirnhaus, who was then exerting himself to discover an universal medicine. Working in Tschirnhaus's laboratory in search of the philosopher's stone, Bottcher prepared some crucibles which unex- pectedly assumed many of the characteristics of Oriental porcelain. But it was not till later that he discovered the composition of real porcelain. His first ware was red, and made from a kind of brown clay, found near Meissen, and is commonly known by the name of Red Porcelain, t • The history of this and the other und Gefasse-Sammlung. Dresden. " German porcelain manufactories, is Poppe's works, and Schumann's " Lexi- chiefly taken from " Kriinig's Cyclope- con of Saxony." dia," article " Porzellan," Dr. Klemm's f See Stonewai*e, p, 74. " Die Kbnigliche Sachsische Porzellan- 130 HISTORY OF PORCELAIN. [chap. vii. The importance of this discovery was soon perceived by Augustus, and as Bcittcher's operations were too much exposed to observation in Dresden, he was sent to the castle of Albrechtsburg at Meissen, and provided with every comfort and luxury ; but one of the Elector's officers was his constant attendant, for it was feared that, possessed of so important a secret, he might quit the country. When Charles XII. of Sweden invaded Saxony in 1706, Bottcher, with Tschirnhaus and three work- men, were sent by Augustus under an escort of cavalry to Konigstein, where a laboratory was erected for him in the fortress. Although his rooms there were under the strictest surveillance, his fellow prisoners formed a plan for escape ; but Bottcher, who was not wanting in prudence, did not scruple to disclose the whole scheme, by which means he obtained the confidence of the commandant and of the court, and was thenceforth subjected to a less rigorous confinement. In 1707, he returned to Dresden, where the king caused a new house and laboratory to be erected for him, and he prosecuted his studies in conjunction with Tschirnhaus. Their researches were long and fatiguing ; nights were passed in their labours ; and it is recorded, as an instance of the cheerfiil character of Bottcher, that in experiments in the furnace, which lasted three and four days, he not only never quitted his post, but contrived to keep his workmen awake by his gay and hvely conversation. In 1708, Tschirnhaus died, but Bottcher continued the works upon a more extended scale. The furnace had been burning for five days and five nights, during which time Bottcher never left his place. It succeeded perfectly. The King CHAP. VII.] KAOLIN OF AUE. 131 was present at the opening. Bottcher caused a seggar,* containing a tea-pot, to be taken out of the oven, and had it thrown into a vessel of cold water, without the tea-pot sustaining any injury. The King was delighted, but although this was a great advance upon his former pro- ductions, it was not real porcelain, it was only a kind of red and white stoneware, capable of resisting a high tempera- ture ; it was not until 1709 that Bottcher at last produced a white porcelain, whiph, however, bent and cracked in the fire. Immediately on this discovery, Augustus proceeded to establish the great manufactory at Meissen, of which Bottcher was appointed Director in 1710. In 1715. he succeeded in making a fine and perfect porcelain, and he continued the superintendence of the works until his death, which took place in 1719, at the age of thirty-seven, being- caused, or at least hastened, by his intemperate course of living, f We are not told what kaolin Bottcher employed in his first essays, but it appears certain that he discovered the kaolin of Aue,| the basis of the Saxon porcelain, by a singular chance. John Schnorr, one of the richest iron- masters of the Erzgebirge, when riding on horseback near Aue, observed that his horse's feet stuck continually in a soft, white earth, from which the animal could hardly extricate them. The general use of hair-powder at that time made it a considerable object of commerce, and the idea immediately suggested itself to Schnorr that this * The cases in which the fine porce- was ennobled by the King for his dis- lain is enclosed, to preserve it from the covery, but the documents of the Meissen direct action of the fire of the kiln. See manufactory are silent upon this point, glossary, " Kiln," J A territory near Sclmeeberg, in the f It is usually stated that Bottcher Erzgebii'ge, Saxony. li 2 132 HISTORY OF PORCELAIN. [chap. vii. white earth might be employed as a substitute for wheat- flour, which was then used in its fabrication. He carried a specimen to Carlsfeld, and caused a hair-powder to be prepared, which he sold in great quantities at Dresden, Leipsic, and other places. Bottcher used it among others, but remarking on the unusual weight of the powder, he inquired of his valet where he had procured it. Having ascertained that it was earthy, he tried it, and to his great joy found that he had at last gained the material necessary for making white porcelain. The kaolin continued to be known in commerce under the name of Schnorrische weisse Erde. Its exportation was forbidden under the severest penalty ; and it was carried to the manufactory in sealed barrels, by persons sworn to secrecy. Bottcher's discovery soon became the object of the most lively jealousy, and it was natural that every means to obtain the secret should be tried by other nations ; as well as that the Elector should take every precaution to keep it to himself Strict injunctions to secrecy were enjoined upon the workmen, not only in regard to strangers, but also towards their comrades, but notwith- standing this, even before Biittcher's death, one of the foremen escaped from the manufactory, and went to Vienna, and from that city the secret spread over Germany, and many rival establishments were set on foot. Notwithstanding the secret had thus become known, all the details of the proceedings of the manufactory at Meissen continued to be concealed with the utmost care. The estabhshment in the castle was a complete fortress, the portcullis of which was not raised day or night, no stranger being allowed to enter under any pretence what- CHAP, vii.] SECRECY OBSERVED IN MANUFACTURE. 133 ever. The precautions used to secure this object were carried to an extent almost ridiculous. Every workman, even the chief inspector, was sworn to silence. This injunction was formally repeated every month to the superior oJHicers employed, while the workmen had con- stantly before their eyes in large letters fixed up in the workshops, the warning motto of "Be secret until Death,^'* and it was well known that any one divulging the process would be punished with imprisonment for life in the Castle of Konigstein. Even the king himself, when he took strangers of distinction to visit the works, was strictly enjoined to secrecy. At the all-powerful requisition of Napoleon, the king- permitted M. Brongniart to inspect the works and furnaces in 1812. Even at this late period, it was found necessary to release M. Steineau, the Director, from the obligation of his oath, to enable him to explain the processes, and this leave of access was given to M. Brongniart only, his tra- velling companion not being allowed to accompany him.f But this exclusive system no longer exists, and all the works are now opened to public inspection. Bottcher, in his first attempt, produced a red ware (having much the appearance of jasper), which was polished by lapidaries and gilded by goldsmiths. Another sort was covered with a glazing of glittering colours, which gave the vessels the appearance of Chinese lacquered work. The first essays at painting upon the white porcelain were very imperfect, consisting either of a blue colour under the glazing, or being limited to imitations of the Japan and Chinese patterns The early specimens are * " Geheim bis ins Grab." f Brongniart, t. ii., p. 377. 134< HISTORY OF POECELAIN. [chap. vii. thicker and heavier than the later productions. Many deHcate colours, such as the grey, green, and yellow grounds, with medalHons of Chinese paintings, were after- wards employed. Horoldt succeeded Bottcher in 1720, when magnificent serWces, with intricate gilt borders, and medallions with Fig. 55. Grotesque Tea Pot. Dresden. (Coll. Marryat.) Chinese figures and flowers in colours, were made for Augustus II. (Fig. 55.) In 1731, Kandler, a sculptor, who superintended the modelling, introduced garlands of flowers, bouquets, chandeliers, vases, and animals. His groups of figures are particularly admired. He attempted an equestrian statue of Augustus III., of colossal size, but the head of the monarch only was completed, as the works were stopped by the Seven Years' War, but the model, in porcelain, at which Kandler worked for four years, is to be seen in the gallery at Dresden. Then followed the exquisitely beautiful paintings, con- CHAP. VII.] JONAS HANWAY. 135 sisting of copies in miniature of the best productions of the Flemish schools, of birds and insects painted by Linderer ; of flowers, animals, and other subjects, done by the first artists, and forming a strong contrast to the Chinese designs of the former period. Jonas Hanway, the eminent philanthropist and mer- chant, who, being in connection with the Russian factory at Petersburg, passed through Dresden on his return to England in 1750, thus writes; — "There are about 700 men employed at Meissen in the manufactory, most of whom have not above ten German crowns a month, and the highest wages are forty, so that the annual expense is not estimated above 80,000 crowns. This manufactory being entirely for the king's account, he sells yearly to the value of 150,000 crowns, and sometimes 200,000 crowns (35,000/.), besides the magnificent presents he occasionally makes, and the great quantity he preserves for his own use They pretend they cannot execute fast enough the commissions which they receive from Asia, as well as fi-om all parts of Europe, and are, consequently, under no necessity of lowering the enormous prices. How- ever, this must be the consequence ere long, if the English and French continue to make such great improvement in this art. It is with great satisfaction that I observe the manufacture of Bow, Chelsea, and Stepney so improved." The period from 1731 to 1756 was the most palmy time of this manufacture. That of the Seven Years' War which followed, was the most disastrous.* Frederick the * When Frederick attacked Dresden in 1745, and Augustus fled, the « Porcelain King " did not neglect to carry away his china and his pictures, although he left the Electoral archives to the mercy of the conqueror. 136 HISTORY OF PORCELAIN. [chap. VII. Great seized upon, and ordered to be sold, prodigious quantities of porcelain, both at Meissen and Dresden. He also forcibly carried away to BerKn, for his own establishment there, the workmen, with the models and moulds of the finest pieces. Meissen was the battle- field between the Austrians and Prussians in 1759, when the manufactory was again plundered, and its archives destroyed. Peace being restored, the estabhshment was once more restored to some degree of eminence under Dietrich, pro- fessor of painting, from Dresden ; Liich, a modeller, from Fig. 56. Vase, with Cameos. Dresden. (Coll. Marryat.) Frankenthal ; Breicheisen, from Vienna, and the sculptor Fran9ois Acier, from Paris, who in 1765 introduced the Franco-classical style. (Fig. 56.) But the monopoly which this manufactory had so long enjoyed was now at an end, CHAP. VII. J COUNT BIliJHL's TAILOR. 137. and it had to contend with many rival estabhshments in different parts of Germany. From this period it was unable to pay its own expenses, and became an annual drain upon the sovereign's privy purse ; but when Josias Wedgwood visited it about the year 1790, so convinced was he of its capabilities, if under good management, that he offered 3000/. a year to be allowed to take it entirely upon himself This offer was refused. It was going on much in the same way, until a short time ago, when the king, tired of the expense, ceded it to the finance department. At present the works are carried on to some profit, but chiefly by the fabrication of very inferior articles, and those made at as little expense as possible. Economy in wages and materials is now the great desideratum, and, of course, the specimens produced are very inferior to the former ones. To add to the dis- advantages under which the establishment labours, the beds of fine clay in the neighbourhood are almost ex- hausted, and, in consequence, an inferior material, brought from Zittau, is substituted. The finest specimens were, undoubtedly, made previously to the Seven Years' War, when no expense was spared, and when any price might be obtained. Count Briihl, the profligate minister of Augustus III., whose splendid palace and terrace is the great ornament of Dresden, was importuned by his tailor to be allowed to see the manu- factory, admission to which, as we have stated, was strictly prohibited. At length he consented, and the tailor upon his entrance was presented with the two last new pieces made, which were, one a grotesque figure, a portrait of himself mounted upon a he-goat, with the shears, and all 138 HISTORY OF PORCELAIN. [chap. VII. his other implements of trade (Fig. 57); and the other, his wife upon a she-goat, with a baby in swaddhng Fife. 57. Count BrUhl's Tailor. DiesJcn. (Coll. Marryat.) clothes (Fig. 58). The poor tailor was so annoyed with these caricatures, that he turned back without desiring to Fig. 58. Tailor's Wife. Dresdea. (Coll. Marryat.) see more. These pieces, known as Count Briihrs Tailor and his "Wife, are now much sought after, from their CHAP. VII.] kandler's groups. 139 historical interest.* They were made in 1760 by Kandler. Among the finest productions of this artist, are his allego- rical groups of the Senses, of which the Lute-player, repre- senting "hearing," is one of the best ; the Broken Looking- glass, the Mariage k la Mode, the Love-letter, the Child with a Dog, the Little Girl beating her Doll, and various other groups of children, whose expressive countenances show a great study of nature. In form the character of this porcelain is superior to that of any other manufacture, having for the most part been taken from the classical models of the ancients, with whiqh it vies in elegance and beauty. The groups from antique models, the lace figures, — so called from the fineness of the lace-work introduced in the dress, — the flowers, true to nature, — the vases, richly adorned and encrusted, called " Honeycomb,'' are all un- equalled in beauty of execution, and show the great excellence of the artists employed. It may be here remarked, that the early pieces in colour and ornamentation were generally copied from Oriental specimens. The well-known " Honeycomb" china was copied fi-om a fine vase, perhaps unique, in the collection in the Japan Palace, at Dresden. Since the taste for this china has been again in vogue, the Meissen directors have raked out all the old moulds, and have been buying up specimens of the old figures for re-moulding, but the sharpness and delicacy of the old specimens are not to be found in these revivals. * The Tailor aiid his Wife, as also quenee of their low price, meet with a the celebrated Dresden groups, known ready sale. It is needless to say how ill as the Senses, and the Seasons, are now they are executed, and how inferior they made in Staffordshire, and, in conse- are to the originals. 140 HISTORY OF PORCELAIN. [chap. vii. The celebrated collection in the Japan Palace is thus described by Jonas Hanway : — " The next curiosity is the Chinese Palace, so called from the taste of the building, and the intention of furnishing it with porcelain. The palace stands on the Elbe, but is far from being an elegant building, and is situated too near the river. The vaults, or basement story of this palace, consist of fourteen apart- ments, filled with Chinese and Dresden porcelain. One would imagine there was a sufficient quantity to stock a whole country, and yet they say, with an air of impertinence, that 100,000 pieces more are wanted to complete the inten- tion of furnishing this single palace, which is not large. " Perhaps it may be some indulgence to female curiosity at least to be informed concerning this brittle commodity, which has been so passionately sought for by the fair sex. But can this passion be deemed a folly, when we see even mighty princes pride themselves in it. (His Majesty of Prussia sometimes calls his brother of Poland the Porcelain King.) Here are a great number of porcelain figures of dogs, squirrels, monkeys, wolves, bears, leopards, &c., some of them as big as life ; also elephants and rhinoceroses of the size of a large dog; a prodigious variety of birds, as cocks, hens, turkeys, peacocks, pheasants, hawks, eagles, besides parrots and other foreign birds, and a curious collection of different flowers. The Apostles, near three feet high, are in white porcelain. There is a representation of the Crucifixion, four or five feet high, with numerous other curious pieces ; these last are intended for the Romish chapel, which is to be furnished with these rare materials. A clock is preparing for the gallery in this palace, whose bells are to be also of porcelain. I heard CHAP. V.I.] COLLECTION IN THE JAPAN PALACE. 141 one of them proved, and they are sufficient to form any music, but the hammer must be of wood. " A superstitious reverence for this extraordinary pro- duction has induced his Majesty to preserve some of the first efforts of the porcelain fabric, and other performances, and their several gradations to the perfection the art is now arrived at. Nor is this pious concern confined to his own manufactories ; here is a great number of plates and dishes, invaluable in the esteem of those whose ideas are refined above common capacities. But what is most amazingly wonderful are the forty-eight china vases, which do not appear to be of any use, nor to be any way extra- ordinary, except their great size, and yet his Pohsh Majesty discovered such captivating charms in these inanimate beauties, that he purchased them of the late King of Prussia at the price of a whole regiment of dragoons. The long gallery on the second story had already two marble chimney-pieces, each adorned with near forty very large pieces of porcelain, of birds, beasts, and vases, ranged to the height of about twenty feet, in a most superb taste, the figures being all made so natural, that I could conceive no idea superior in this kind."* The Dresden collection has been since described by Dr. Gustav Klemm, in his introductory notice to the catalogue published in 1840. His account is as follows: — "This collection is extremely interesting, as showing the progress of the art from its first infancy to its ulti- mate perfection. In the room called Bottcher's Room, there are specimens of the ancient porcelain, executed * A more particular description of the China and Japan porcelahi, to be seen in the Japan palace, is found under the head of Oriental Porcelain, p. 115. 142 HISTORY OF PORCELAIN. [chap. VII. previously to 1763, made of the clay found at Meissen, red without glaze ; the red poKshed by lapidaries ; the red glazed ; the iron-grey without polish or glaze ; the black glazed, in imitation of the Chinese ; the earhest blue and white, in imitation of the Nankin ; then the first white porcelain ; the same painted with colours ; flower vases and groups of Cupids, and other exquisite produc- tions ; figures by Kandler ; also, by this same artist, two leopards of natural size, a colossal bust of Augustus II., Fig. 59. Ape. Dresden. (Coll. Marry at.) a concert of apes, (Fig. 59), sixteen admirable figures, and various others of the same description, with the favourite Fig. 60. Empress Catherine's Dog. Dresden. (Coll. Marryat.) light brown dog of the Empress Catherine lying upon a blue cushion (Fig. 60). A room is filled with basket CHAP, vji.] COLLECTION IN THE JAPAN PALACE. 143 figures, after the antique vases in the Chinese style ; other rooms are filled with an immense collection of white porcelain figures of Saints and Apostles ; amongst the former St. Wenceslaus stands very conspicuous." Comparing these two descriptions, the collection appears to have originally occupied nearly the whole of the Japan Palace, whereas now it is confined to the basement story, which shows how much it must have been diminished in quantity since the former period, by the plunder and destruction committed during the Seven Years' War. Besides this, during the distresses of the country, the salaries of pubhc ofiicers were often paid in porcelain, and large quantities were sold to defray the current expenses of the establishment. The Oriental portion appears to have suffered less than the Meissen ware, which is thus rendered incomplete as a collection. It was intended that a specimen of every fine piece made at Meissen should have been placed there as a record of the manufacture, but adverse circumstances prevented this being done. A collection of the porcelain of other European manufac- tures is now being formed by the exchange of duplicates. Some fine vases of Sevres were presented by Napoleon, and of Berlin by the King of Prussia ; but funds are wanting, and the Government gives but little assistance to the assiduous exertions of Dr. Klemm, the Curator, by whom the collection has been very admirably arranged. The early porcelain, particularly the plain white, was not marked, though some specimens in imitation of Oriental china bear the Oriental symbols. The first mark was the letters M, signifying Augustus Rex, this mark is found upon many imitations of the Oriental 144 HISTORY OF PORCELAIN. [chap. vii. from 1709 to 1712. From that period to 1715 a sort of caducous was used. Then the well-known two electoral swords, crossed, were introduced ; and the larger and freer the swords are, the older is the piece. Horoldt's period (commencing 1 720) is noted by the swords being smaller, and connected by the handles. Kiinig's period (1778) is indicated by -a dot below the swords ; that of Marcolini (1 796) by a star. The royal pieces are distinguished by the letters K P M, " Konigliche Porzellan-Manufactur." These of the Dresden, as well as all the other German porcelain manufacturers, extending over a period of about fifty or sixty years in the early part of the last century, do not require so much selection as the Oriental, as regards antiquity. The early specimens painted in Oriental pat- terns, are curious, as showing the taste of that period. The value of this ware consists in the fashion of the piece and the execution of the paintings, which are gene- rally copies of the productions of the best Flemish and Dutch masters. The old lace figures especially are exqui- site productions.* The porcelain with the royal mark is the most valuable, in consequence of the best artists having been employed in its finish and decorations. There occur occasionally fictitious imitations of Dresden china, by German manufacturers, who copied the models and affixed the mark, but could not arrive at its excel- lence in form or colour. * An ingenious method of producing reduced to a liquid by mixing it with this lace-work has been adopted, both gum or sugar, cotton or thread lace, at Sevres and by Enghsh manufacturers. which being consumed in the kiln, leaves It consists in dipping into the clay, a net- work of real porcelain. CHAPTER VIIL PORCELAIN.— (Hard Paste. European.) Austria. Imperial Manufactory founded at Vienna. — Progress under Maria Theresa and Joseph II. — Present State. — Description of the Ware. — Specimens. — Mark. Hochst (Mayence). Established under Ringler. — Progress, Decline, and Abandonment. — Ware. — Marks. — Manufactory at Keltersbach. Brunswick. Manufactory established at Fiirstenburg by Duke Charles. — Progress and Present State. — Description of Ware. — Mark. Bavaria. Manufactory established at Frankenthal by Charles Theodore, Elector Palatine. — Progress and Final Abandonment. — Ware. — Marks. — Maximi- lian III., Elector of Bavaria, establishes Manufactory at Nymphenburg. — Progress and Present State. — Ware. — Mark. Baden. Establishment and Destruction of Manufac- tory. — Mark. — Palace of La Favorite. Wurtemburg. Establishment at Ludwigsburg. — Progress and Present State. — Ware. — Marks, Hesse. Cassel. — Supposed Site of Manufactory. — Fulda. — St. Boniface. — Manufactory established by the Prince Abbot. — Progress and Abandonment. — Ware. — Marks. Prussia. Frederick the Great establishes Manufactory at Berlin. — Progress and Present State.^Ware. — Marks. Thuringia. Albert, Duke of Coburg, establishes Manufactories at Rudolstadt. — Gotha, &c. — Ware. — Marks. Russia. Manufactory established at Petersburg by Empress Elizabeth. — Progress and Present State. — Ware. — Mark. Holland. Manufactories established during the Seven Years' War at Amstel and the Hague. — Progress and Abandonment. — Wares. — Marks. Denmark. Manufactory at Copen- hagen. — Nelson. — Progress and Present State. — Ware. — Marks. Switzerland. Manufactory established at Zurich. — Progress and Abandonment. — Ware. — Mark. — Nions or Nyons. The porcelain manufactory at Vienna was commenced in the year 1 720, by a foreman named Stolzel,* who escaped from Meissen, and was received at Vienna with open arms. Claude du Pasquier, having obtained from the Emperor * In consequence of there being some the assertion, that this manufactory was difference in the mode of preparing the established by a runaway workman from materials, ^ doubt has been thrown upon Meissen. 146 HISTORY OF PORCELAIN. [chap.vhi. Charles VI. an exclusive privilege for twenty-five years, established, with the assistance of Stolzel, a manufactory. This, which was a private undertaking, was not at first carried on with much success, and during the war it con- tinued to decHne. It was only after the year 1744, when Maria Theresa made the acquisition of it, that it rose to any degree of prosperity. Under her patronage and that of the Emperor Joseph, large sums were expended upon its improvement, and it then became one of the most flourishing establishments in Europe. In 1785, under the direction of the Baron de Sorgenthal, it had thirty-five furnaces in operation, and employed five hundred workmen. It has, however, been since sold, and is now again a private concern. The Vienna porcelain is thicker than the Dresden, the glazing inclines rather to grey, and the painting is not to be compared with that of either Dresden or Berlin. It is principally distinguished by the fineness and taste of its raised and gilded work. The fabric had its largest sale in Turkey, and perhaps from this circumstance keeps up its old style of form and painting to suit the taste of its pur- chasers. The ware is still sent in great quantities to Italy, Russia, and Turkey. The modern Vienna porcelain is remarkable for the application, in relief, of solid platina and gold. A dejeuner service of this porcelain, painted en grisaille, with representations of the battles between the Austrians and the Turks (stated to have been a present to Lady Catherine Walpole from Count Dahn), was sold at Straw- berry Hill, and is in the collection of the author. The clay is not of fine quality, being of the earliest period of CHAP.viii.] HOCHST (mAYENCE). 147 the manufacture. The later specimens, however, are much finer, and many of them are exquisitely painted. The mark of the Imperial fabric is a shield bearing the arms of Austria. The porcelain made previously to that epoch (1744) has no mark upon it. Two manufactories have been recently established in Bohemia, both near each other ; one at Carlsbad, the other at Elbogen. The Carlsbad marks are S. and F. and E,. ; that of Elbogen, an arm holding a sword. HOCHST (MAYENCE). During the Electorate of John Frederic Charles, Arch- bishop of Mayence, a merchant of Frankfort-on-the-Main, named Gelz, who had a celebrated pottery estabhshment in the neighbouring village of Hochst on the Nidda, in the territory of Mayence, was induced by one of his workmen named Bengraf, to try the experiment of changing it into a porcelain manufactory. For some time the attempt was unsuccessful ; but having induced an artizan of the Vienna manufactory, named Ringler, to join him, he at length, in 1740, succeeded in making good porcelain. This manufactory continued to thrive under Ringler's management, but he being fond of wine, his fellow- workmen took an opportunity of making him intoxicated, and while he was in a state of stupefaction, got possession and took copies of his papers relating to the manufacture of porce- lain, which he always carried about with him. In this manner the Hochst workmen became possessed of the secret, and then offered their fraudulently acquired skill l2 148 HISTORY OF PORCELAIN. [chap.viii. to rich and enterprising parties, for the estabUshment of porcelain manufactories in other districts. Eingler has the merit of having raised himself from a common potter to an " Arcanist" as the Germans term one who is the sole depositor of an important secret ; and although the extension of this valuable discovery was sorely against his will, he must be regarded as the founder of most of the German manufactories. Besides these, the manufactories of Switzerland, as well as those on the Lower Rhine, and of Cassel, have to thank Ringler's work- men for their origin, and even that of Berlin emanated from Hochst. Emmerick Joseph, the next Elector of Mayence, made the porcelain manufactory at Hochst a State establishment. He appointed an intendant, director, and inspector to con- duct it, obtained the services of the celebrated model- master, Melchior, and provided funds for its expenses upon a Uberal scale. In consequence of this, the productions of this period are of the highest reputation. A considerable change took place in the correctness of the designs after this eminent modeller, Melchior, left the manufactory. From that time the forms ceased to be good, and under the less skilful direction of Ries who succeeded him, commenced the so-called " thick-head " period. All the figures from that time have dispropor- tionately large heads, and are, therefore, of much less value than the manufactures produced under the superintendence of Melchior. Great secrecy was observed in the composition of the paste, the clay being brought from Limoges. This was also the case with regard to the painting, so that the CHAP. VIII.] HOCHST (mAYENCE). 149 composition of the beautiful violet-red colour perished with one of the porcelain painters. Reisbach,* who visited Hochst in 1780, gives the fol- lowing account of the state of the manufactory : — "I visited the china manufactory. It is not hitherto in very brilHant circumstances. It is divided into shares, the possessors of which are not men calculated to do what is best for the whole. They are, however, hard at work upon plans to improve it. Among other people engaged in it, I visited Mr. Melchior, who is certainly one of the greatest statuaries now existing, and has an unspeakable love for his art. There are but few great works of his, though what he has done in this way is inimitable ; but he is without a rival in small models, and it is to his labours that this porcelain manufacture owes its celebrity." Reisbach further states, that Hochst being under the territorial jurisdiction of the Archbishopric of Mayence, the manufacturers sent their goods to Mayence for sale, in order to avoid the heavy duties imposed at Frankfort. From Mayence being the entrepot for the sale of this porcelain, it became to be generally known by the designa- tion of Mainz or Mayence porcelain, though manufactured at Hochst. 'On the invasion of the French, under Custine, in 1794, the establishment was ruined, and the whole stock of materials was sold by public auction at Mayence in that year. This porcelain partakes of the beauty and excellence of the Dresden manufacture. The small groups of figures * « Travels in Europe," Pinkerton's Collection. 150 HISTORY OF PORCELAIN. [chap.viii. are remarkable for their spirit and elegance They are much admired, and are become very scarce. The productions of this fabric bore three different marks, and were divided into three different classes. The first and finest kind has at the bottom a Httle gilded wheel ; the second, a red wheel ; and the third, a blue one. As the figures, however, of the third class, often equal, and sometimes surpass those of the first in fineness and beauty, this classification may be presumed to have refer- ence chiefly to the fineness of the clay. The letter M. is engraved at the bottom of the greater and best portion of Melchior's productions. Notwithstanding the original manufactory has long ceased to exist, a Mr. Dahl, who has lately estabhshed one in the vicinity, has afiixed the Hochst mark to his fabric, with the addition of a D. KELTERSBACH. The manufactory of Keltersbach in Hesse Darmstadt, not far from Hochst, on the opposite bank of the Main, was established by a Saxon named Busch, during the Sev.en Years' War. It went on well for a time, but passing into the hands of the Court, was injured by a frequent change of directors, and at last subsided into a mere Fayence manufactory. cHAP.viii.j FURSTENBURG. 151 FURSTENBURG (BRUNSWICK). The discovery of the art of producing porcelain which had been made at Meissen, and carried from thence to Vienna and Hochst, caused at this period a general sen- sation in Germany. Charles, Duke of Brunswick, felt extremely anxious to possess an establishment of this kind in his own States, and succeeded in engaging one of the Hochst workmen, Bengraf, to come over to superintend the erection of a furnace. But while Bengraf was preparing to leave Hochst, Gelz, his master, received intimation of his design, and Bengraf was ordered by an electoral commission, before his de- parture for Brunswick, to communicate the knowledge which he alone possessed, to Gelz. His repeated refusals caused him to be placed under strict arrest, and to be kept without food till he should give up the secret, which having at length done, he was released, and having arrived at Furstenburg, established in 1750 the porcelain manu- factory known by that name. It was scarcely organised when Bengraf died, and had it not been for Baron Yon Lang, it must have been given up, but he having some knowledge of chemistry, undertook the direction of the works with success. A colour grinder, named Von Metul, escaped from Furstenburg with two workmen, and attempted to esta- blish a manufactory at Neuhaus, near Paderborn, but they were discovered and brought back. Subsequently, a flower-painter, Zieseler, escaped to Hoxter, a considerable town not far from Fiirstenburg, belonging to the Prince 152 HISTORY OF PORCELAIN. [chap.viii. Abbot of Corvei, and began to manufacture porcelain, but did not succeed. Shortly afterwards, a certain Paul Becker, who had been travelling on speculation with his secret through France, Netherlands, and Holland, came to Hoxter, and produced some good porcelain. This, how- ever, was no sooner known, than the Duke of Brunswick offered him a pension, on condition of his giving up por- celain making, and retiring for the rest of his days into Brunswick. He accepted the offer ; and the manufactory at Hoxter, after it had produced one baking, came to nothing. The ware made at Fiirstenburg is very similar to that of Dresden, though not equal in the quality of its material, nor in the beauty of its painting. Fiirstenburg has, how- ever, produced fine vases, groups, and busts. This manufactory, which has been carried on from its commencement as a government concern, does not exceed at present 5000/. annually in the value of its produce, which consists chiefly of household utensils, with few fancy or ornamental articles. The mark is the letter F. FRANKENTHAL (PALATINATE, NOW BAVARIA). The porcelain manufactured in the Palatinate originated with Ringler, who, when he found that his papers had been copied, and his secret made known, quitted Hochst in dis- gust, and went to Frankenthal, a town between Worms and Spire, where he offered his services to a merchant named Hanting, who possessed a good pottery, which, in CHAP. VIII.] FRANKENTHAL. 153 1755, he converted into a porcelain manufactory, and under Ringler's directions and instruction, succeeded in making good porcelain until his death, in 1761. On Haniing's death, the porcelain manufactory going to decay, was purchased by the Elector Palatine, Charles Theodore, a zealous promoter of the arts, and was by his patronage raised to the eminence which it long maintained. He employed above sixty workmen, among whom were accompKshed modellers and painters, who had travelled at his expense in foreign countries to acquire knowledge in their art. When this prince became Duke of Bavaria, the manufactory losing his immediate superintendence, greatly declined. During the French Revolutionary War it was reduced to so low an ebb, as to be carried on in an old barrack, until in 1800 the stock and utensils were sold to a Mr. Von Recum, who took them and the workmen to Grein- stadt, where he established a manufactory which still exists, and at present belongs to a person of the name of Franz Bartolo, whose mark is F. B. The Frankenthal mark of the early period, under Haniing, was a Lion Rampant, the crest of the Palatinate. That of the second period, when it became a govern- ment establishment, was the initials of Charles Theodore under the electoral crown. That of the third period, when the Palatinate was annexed to Bavaria,* was a shield almost round bearing the chequers (fusilly), the arms of Bavaria. Haniing's initials, I. H. are sometimes found impressed ; the best * In 1799, this manufactory was transferred to Nymphenburg, but tlie same mark was retained. 154 HISTORY OF PORCELAIN. [chap. vm. workmen, also, were accustomed to place their own initials under the mark. Haniing likewise estabhshed porcelain manufactories in his native town of Strasbourg, and also at Hagenau (Dept. of the Lower Rhine), but from the arbitrary restrictions then imposed in favour of the Parisian fabrics, and the wars which devastated that country, they were abandoned. It was, also, through Haniing and his sons that hard porcelain was made at Sevres (see Chap. X.) NYMPHENBURG (BAVARIA). The Bavarian porcelain manufactory dates its origin from 1747, when, under the orders of the Elector Maximi- lian Joseph, Count Hainshausen established a manufactory at Neudech on the Au, where experiments were made to produce porcelain by a potter named Niedermeyer, and a burner called Lippich. Count Hainshausen sent for Ringler, who, in 1756, organised the establishment, and, during the few years he remained there, it was successfully carried on. In 1758, the manufactory was transferred to the palace of Nymphenbiu-g, a few miles from Munich, where it was continued and supported by Maximilian's successor, Charles Theodore, the Elector Palatine, who, in 1777, succeeded to the Electorate of Bavaria. Reisbach, how- ever, who visited it in 1780, states, "There is a china manufactory here, but it seems fallen to decay. They applied themselves to manufacture porcelain, which could only be managed by artificial means, of which the most CHAP. VIII.] BADEN. 155 honourable was a small lottery ; at the same time the country is in unspeakable want of many necessaries." On the death of Charles Theodore in 1799, the Palatine manufactory at Frankenthal was discontinued, and part of the workmen who had been employed there were trans- ferred to Nymphenburg, which is still in activity as a royal manufacture, and well supported. The colours and gilding of this porcelain are excellent. The landscapes, painted by Heintzmann, and the figures copied from the best pictures in the gallery at Munich by Adler, are very superior to any other of the paintings of this manufacture. The marks of this manufacture are two, the one a shield (fusilly) the arms of Bavaria ; the other, two triangles interlaced, an ancient mystic device used especially by the Free Masons, the triangles being surrounded by numerals.* A manufactory has been lately established by Schwerdt- ner, at Ratisbon. BADEN. A porcelain manufactory, undertaken by the widow Sperl, at Baden, in 1753, under the patronage of the reigning Margrave, was carried on with considerable suc- cess by the aid of workmen from Hochst, until the year 1778. But having become the property of a man of the name of Pfalzer, who was in debt, it was obliged to be sold, when a tanner of the name of Meyer bought it, and at a later period got permission to make an inn of the * See <* Marks," Appendix. 156 HISTORY OF PORCELAIN. [chap. viii. building, and as such it exists at present under the name of the " Grun Winckel." The Baden porcelain partakes of the general character of that made in the Palatinate. A mark representing the blade of an axe is supposed to be the mark affixed to this porcelain. Howitt, in his " Rural and Domestic Life in Germany," gives us the following singular picture of an old feudal mansion, still existing, fitted up a century and a half ago : — " The old Palace of La Favorite, about six miles from Baden Baden, was built by the famous Sybilla, wife of the Margrave of Baden, the friend of Prince Eugene, and his fellow champion against the Turks. It is more Hke an old house in a romance, than one in real life, and its present desertion, and some traces of decay, give it a more lively touch of interest. The furniture comprises splendid pieces of china. The walls are lined with fine porcelain tiles. There are numbers of noble china jars, brought by the good Margraf Wilhelm out of Turkey. In the corners of the room are large projecting fire-places, the front of the chimney running up in a retreating pyramidical style, covered with porcelain * tiles, and ornamented with all sorts of figures standing upon them. The kitchens are not less curious. These are full of schranks or cupboards, filled with old glass and china. Here, too, you have a curious old china f dinner service ; many of the dishes with the covers being in the form, and painted exactly to * Dutch tiles, not porcelain, t Not porcelain, but delft, of which, indeed, the greater part of what is here called China really consists ; a common error, which persons not cognisant of the distinction between these substances are apt to make in their descriptions. CHAP. VIII.] LUDWIGSBURG. 157 resemble the particular bird or beast which was served up in them. Accordingly, you have turkeys, peacocks, fish, a boar's head, ducks, partridges, pheasants, and a variety of others. There is a large figure of a Chinese Mandarin seated on the dresser, whose hands and feet, when laid hold of, come out as drawers ; the whole figure, in fact, constitutes a spice cupboard. Similar things the visitors to the Japanese Palace at Dresden have seen, but here they do not make part of a mere collection of china ; they make, on the contrary, a characteristic part of the furnish- ing of a singular house, and are regarded with a different feeling." LUDWIGSBURG (WURTEMBURG). Under the auspices of Charles Eugene, the reigning Duke, Ringler established the porcelain manufactory at Ludwigsburg in 1758, and was appointed director of the establishment. But the situation had been injudiciously chosen ; the clay having to be conveyed from France, and the fuel from a great distance, it proved a very expensive and losing speculation. It was not, however, finally abandoned till 1824. This manufactory was celebrated on account of the excellence and beauty of its productions, and particularly for the very fine paintings on vases, as well as upon dinner and other services. The groups of figures were also excel- lently modelled. This porcelain, from its mark, (the double C), has often been called Kronenburg Porcelain. This may have arisen from the place of its manufacture being equally known by 158 HISTORY OF PORCELAIN. [chap.viii. the name of Ludwigsburg (Louis-town), and of Kronenburg (Crown-town). It had its greatest sale in Holland. The first mark was a C. in cypher, under a ducal coronet. In 1806 it was changed to the letters T. R., under the same. In 1818 to the letters W. R., also under the same. BERLIN. The earliest attempt at a porcelain manufactory in Berlin was made in 1751, by a merchant of the name of WiUiam Gaspar Wegeley, who had obtained the secret from some of the Hochst workmen, who were in possession of copies of Ringler's papers. The manufactory does not appear to have remunerated its first projector, as he entirely abandoned it. He was succeeded, in 1761, by John Ernest Gottskowski, celebrated as a banker during the Seven Years' War, who brought it to greater per- fection ; and the war having much depressed the Meissen manufactory, the Berlin productions soon found pur- chasers. When Frederick the Great occupied Dresden, in the Seven Years' War, he perceived the importance of the porcelain manufactory. He sent large masses of the clay to Berlin, and also caused a portion of the collection to be transferred thither ; and commanded that many of the best modellers and painters of Meissen* should be removed to * Among these were Meyer, Klipsel, those of modem war, allow of transport- and Bbhme. Wraxall thus writes on this ing the male and female manufacturers forcible removal of the Saxon artists : — of a conquered state into the dominions '* There are acts imputable to Frederick of the invader. This infraction of jus- over which no casuistry can throw a tice was nevertheless committed at gloss. Neither the laws of nations, nor Meissen, in Saxony, famous for the CHAP. VIII.] BERLIN. 159 Berlin for the formation of a Royal Manufactory in that city, and employed the most skilful chemists in the com- position of the paste. At the close of the war, this monarch purchased the then existing establishment at Berlin, en- larged it, and supported it so well, that seven hundred men were constantly employed there. The Seven Years' War had so much injured the manufactory at Meissen, that the pro- ductions of Berlin came very soon into repute. The manufacture yielded the King 200,000 crowns annually, besides the magnificent presents which he occasionally made, and the large quantity reserved for the use of the Court and the household. The Berhn manufacture stands second only to Dresden in point of form and painting. The mark affixed during the time that the fabric was in the hands of Wegeley and Gottskowski was a W., two strokes of the letter shorter than the others, and resembling the mark of Meissen at that period, but notwithstanding meant to be a W. When the manufactory became a royal establishment, the marks adopted were, on painted and gilded porcelain, a sceptre and an eagle (brown) ; on white porcelain, a sceptre (blue). Since 1833 the marks have been, on painted and gilded porcelain, the sceptre, eagle, and Imperial globe (brown) ; manufacture of porcelain, so generally become the involuntary denizens of an- admired under the name of Dresden other soil, the subjects of Frederick II." china. All the best artists were forcibly — Memoirs of the Court of Berlin^ 1777- sent to Berlin, and there compelled to 79, vol. i., p. 212. continue their labours for the benefit of Our readers will also recollect Miss a sovereign the inveterate enemy of their Edgeworth's tale of " The Prussian country. They and their descendants, Vase." or their scholars, who are still here, have 160 HISTORY OF PORCELAIN. [chap.viii. on the white porcelain the mark, in blue, is a sceptre and the letters K P M (Kciniglich Porzellan Manufactur).* Another royal manufactory, two miles from Berlin, was founded in 1790, of which the mark up to 1830 was an eagle, burnt in colour in the bottom, and since that period, impressed in white. Berlin is now celebrated for the manufacture of litho- phanes, or transparent pictures, in white porcelain ; and at Charlottenburg is made the argillaceous porcelain called by the French " Porcelaine de Sante," or Hygiocerame.f CASSEL (HESSE CASSEL). Though a porcelain manufactory is stated to have been established at Cassel by one of Ringler's workmen about 176 3, J no record of its existence has been found in the public archives. It is certain, however, that this city was celebrated for its porcelain, which, if not the product of the place itself, was probably that of the neighbouring manufactories of Fulda§ and the district of Thuringia. At all events, from its being an entrepot for the ware, Cassel, like Mayence, gave its name to a large quantity of porcelain. About the period of the Seven Years' War, when the * His present Majesty takes great " Hygioc^rame." interest in this royal establishment, X Kriinig's Cyclopedia, article, « Por- which is admirably conducted. Under zellan." his superintendence, the celebrated § Fulda, the residence and burial- highly finished paintings were executed, place of the English Winifred, or St. which, however, brought blindness upon Boniface, the Apostle of the Germans, many of the best artists. M. Frick is was not raised to the rank of an episcopal the present Director. city until 1752, but had been previously t See Glossary, « Lithophane," and governed by its own Prince Abbots. CHAP. VIII.] HESSE CASSEL. 161 principal German porcelain manufactories were in a state of great depression, and before the alienation to Bavaria of the district of Hohe Rhon, which produces the fine clay, Arnandus, the Prince Bishop of Fulda, established a porce- lain manufactory in that city. This establishment soon rose into great celebrity, being carried on under the Bishop's direction in a building adjoining the Episcopal Fig. 61. Coffee Pot. Fulda. (Coll. Marry at.) Palace, and able artists were procured from other states to decorate the porcelain, which was brought to great perfection both as regards the goodness of the material and external decoration of the pieces, being generally of a very quaint style, such as the coffee-pot (Fig. 6i). The pro- ducts of this manufactory consisted of figures, medal- lions, and other fine articles, but principally of mugs, tea, and dinner-services for the use of the Bishop and his 162 HISTORY OF POECELAIN. [chap.viii. establishment. The expenses, which were great, were defrayed from the episcopal frmds. The friel used was very expensive, being composed solely of the best beech- wood, the cutting of which greatly injured the forests. Notwith- standing these drawbacks, the undertaking would have answered very well, had not every one of the church dignitaries residing there, as well as their numerous rela- tions, made free to take out of the manufactory the most beautiful and elaborately wrought objects, without ever thinking of paying for them. These causes induced the Prince Bishop Henrich von Buttlar to discontinue the manufactory ; and in 1 780 the moulds and all the utensils were sold by auction, and a short time ago the building itself, being in a ruinous state, was pulled down. Two marks were affixed to this porcelain, viz. : — FF., signifying FurstUch Fuldaish (belonging to the Prince of Fulda), often surmounted by a prince's crown and a cross, the arms of Fulda. THURINGIA. It is a very remarkable fact that the porcelain manu- factures of Thuringia * appear to have originated in this country, and not to have been, like all the others above mentioned, introduced from Meissen, Vienna, or Hochst. * The ancient kingdom of Thuringia Schwarzburg, Hesse Cassel, Saxe Gotha, extended from the Elbe to the Danube. Saxe Meiningen, Saxe Weimar, Saxe In 1128, Thuringia was erected into a Coburg, Saxe Altenburg, &c. The name Landgraviate, which comprised part of is still preserved in the ThUringerwald, the modern divisions of Prussian Saxony, which extends over 3400 English miles. CHAP. VIII.] THURINGIAN MANUFACTORIES. 163 It was at Rudolstadt, near Jena, that first arose the great branch, from which emanated all the porcelain manufac- tories of Thuringia. In 1 758, an old woman brought some sand for sale to the house of the chemist Macheleid. His son, a student of Jena, made some experiments with it, by which he obtained a substance similar to porcelain. Repeated experiments produced the most happy results, so that the following year young Macheleid was able to lay before the Prince of Schwarzburg the most satisfactory proofs, and he obtained permission to establish a manufac- tory at Sitzerode, which so far succeeded that it employed four workmen. It was then transferred to Volkstadt, and afterwards farmed by a merchant named Nonne, from Erfurt, who enlarged and improved the works, which, in 1795, employed above 120 workmen. Macheleid's discovery, and the abundance of fuel in the Thuringian forests, where there already existed many pottery establishments, led to the establishment of several porcelain manufactories in this region. We enumerate them according to the date of their foundation. Wallendorf, in Saxe Coburg, which was established by Greiner and Haman in 1 762, was early celebrated for its fine products. It furnishes especially Turkish ware, that is, small round cups, variously painted, and strongly gilt. At present, pipe-bowls are chiefly manufactured. Limbach, in Saxe Meiningen, was the next manufactory that arose in the Thuringian forests, under the direction of Gotthelf Greiner. The Duke Anthony Ulrich made a grant to the manufactory, and promised that government should give him the necessary supply of wood ; but Greiner' s commissions for porcelain were so numerous. m2 164 HISTORY OF PORCELAIN. [chap.viii. that, unable to extend his works at Limbach, he pur- chased the porcelain manufactory at Grosbreitenbach, in Rudolstadt, and also that of Kloster Veilsdorf The mark of his three manufactories is the trefoil. Greiner died in 1797, and left the works to his five sons, by whom they were carried on. The manufactory at Rudolstadt still exists, but makes only common blue and white ware; and the Limbach and Veilsdorf establishments are chiefly confined to the manufacture of pipe-bowls, in which they excel. A manufactory was founded at Gotha, in 1780, by Rothenberg, which, as well as that of Hildburghaus, is supposed to have been a branch from the manufactory at Berlin. This establishment was afterwards carried on by Henneberg, by whose name the fabric is known. The best collection of this porcelain is at Teifiurt, a hunting-seat of the Duke of Saxe Weimar. Establishments also existed at Anspach (Briichberg), at Ilmenau, at Breitenbach, and Gera. The ware of the latter is white, prettily painted with blue or red flowers. We give all the marks of these manufactories which are accurately known. JHarfts : Greinee's, 3 manufactories . . a clover leaf. EuDOLSTADT Italian E. Veilsdorf a line in blue. Limbach . . . . . . a cross with four dots. Gotha Eoman E. Gotha G or Gotha in 1802. Gotha no mark in 1845. Anspach letter A. Ilmenau, Breitenbach, and Limbach double L. G-EEA letter G. CHAP. VIII.] PETERSBUKG. 165 RUSSIA. The government of Russia at an early period tried to obtain the secret of the porcelain manufacture, the close aUiance subsisting between Peter the Great and Augustus of Saxony having given the former an opportunity of appreciating its importance. But Peter's constant wars and other occupations did not allow any progress to be made in establishing the contemplated manufactory. The Eoyal Dispensary at Moscow, — a superb building, and one of the greatest monuments of the city, — founded by that Monarch in 1707, is described by Motley,* as " being decorated with a great number of syrup-pots and others, made of china with his Czarish Majesty's arms enamelled upon them." These pieces were most probably made of delft, manufactured in Holland to order, as no porcelain was produced in Europe at that early period. Elizabeth having succeeded to the imperial crown, founded, in 1756, a manufactory near Petersburg, which has continued to the present period to make very good porcelain, the materials for which are drawn from the Russian dominions. Catherine II. patronised the porcelain establishment founded by Elizabeth, and, in the year 1786, enlarged it considerably. In 1825, two workmen from Sevres came over to direct the fabric ; since which time the manufac- tory has employed two hundred workmen, and is scarcely inferior in its productions to that of any other European nation. * « Life of Peter the Great." London, 1739. 166 HISTOKY OF PORCELAIN. [chap.viii. The mark is the doubled-crossed Russian E., with a stroke through it. An estabhshment was also formed at Twer, near Moscow, by Garnier, in 1756. HOLLAND. During the Seven Years' War, in which the Dutch availed themselves of their position as neutrals to carry on a profitable commerce between the belligerent Powers, porcelain manufactories were established in consequence of the ruined state of those in Germany. A Count von Grosfield formed one on the Amstel, near Amsterdam, having brought over workmen from Saxony, and succeeded in making a porcelain celebrated for its fineness and beauty. But after the cessation of hostilities, the revival of the German manufactures, and the greater cheapness of Oriental porcelain, owing to the large imports, led to the failure of the enterprise, and to the total ruin of the Count. Everything belonging to the estabhshment was sold by pubHc auction at the close of the last century, and the buildings were afterwards demolished. The mark of Amstel is either a capital A., Amstel, or some abbreviation of that name. At the Hague, Lynker, a German, established, in 1778, a porcelain manufactory on the Canal, which was after- wards transferred to the " Nieuwe Mol" street. The quahty was excellent. The political events of the period from 1785 to 1793 brought to a stand-still this branch of industry, which also laboured under the disadvantage of being restricted to home consumption, the importation CHAP. VIII.] COPENHAGEN. 167 into other states, which had their own manufactories, being prohibited. This ware, as well as that of the Amstel, has the general characteristics of the German porcelain ; the clay is fine, and the paintings, particularly that of the Hague manufactory, are generally well-executed. The mark of the Hague porcelain is a stork standing upon one leg, — Blue. The letters MOL are supposed to refer to the site of the manufactory. At Arnheim on the Rhine, the ancient residence of the Dukes of Guelderland, an estabhshment also existed in the last century, but it shared the same fate as the preceding. DENMARK (COPENHAGEN). The porcelain manufactory at Copenhagen was com- menced in the year 1772 * by an apothecary of the name of Miiller ; the capital was created by shares ; but in 1775, the parties interested, finding it did not answer, applied for assistance to the government, which thereupon took it into their own hands, paying the shareholders at par. It has since been continued on as a government estabhshment, but has never paid its expenses ; the annual deficit, in some years, amounting to from 10,000 to 15,000 rix dollars (4^. 6d. each). At present, however, the annual loss does not exceed 6000 rix dollars. * It is supposed that Von Lang, who least known that he entered the Danish was employed in the FUrstenburg manu- service about the same period. This, if factory, was instrumental in the forma- a fact, would give it a much earlier date. tion of the one at Copenhagen. It is at (See FUrstenburg). 168 HISTORY OF PORCELAIN. [chap.viii. Miiller, who carried on the works until 1802, made figures, but this branch of the business ceased in 1807, and few ornamental articles were produced.* Latterly, however, the copying of Thorwaldsen's works in biscuit, has given a great stimulus to the establishment ; the value of the articles sold having increased from a few hundred dollars to four thousand annually. Some curious specimens of Copenhagen china were sold at Marlborough House — black jugs, with a large gilt Latin cross embossed upon the side of each. They had been presented to the Queen Dowager during her stay at Malta. The mark is three parallel wavy hues, signifying the Sound, and the Great and Little Belts. SWITZERLAND. The origin of the manufactory at Zurich is ascribed to one of Ringler's workmen, who came to that town from Hochst, but at what period is not exactly known. It was carried on by Spongier and Hearacher, from 1763 to 1768. The fabric has the general character of German porcelain. The mark is the letter Z. * In one of Lord Nelson's letters to is to take charge of it." Lady Hamilton, dated April 14, 1801, off And again, on the 15th of the same Copenhagen, he writes : — " I was in month, — hopes that I should have got off some " I can get nothing here worth your Copenhagen China, to have sent you by acceptance, but as I know you have a Captain Bligh, who was one of my valuable collection of china, I send you seconds on the 2nd. He is a steady some of the Copenhagen manufacture ; seaman, and a good and brave man. If it will bring to your recollection that he calls, I hope you will admit him. I here your attached friend Nelson fought have half promised him that pleasure, and conquered." — Pettigrew^s Memoirs and if he can get hold of the China, he of Lwd Nelson, vol. ii., pp. 31 and 33. CHAP. VIII.] SWITZERLAND. 169 The town of Nyons, or Nions, in the Canton de Vaud, is described* as famous for its "papeterie et poterie.'' Maubree, a French painter of flowers, who had an estab- hshment at Paris, went, at the close of the eighteenth century (1790-1800), to Switzerland, where he established this manufactory. The character of the porcelain resembles the French. The collection at Wolseley Hall, near Staf- ford, contains many specimens. It appears to be soft paste. The mark is a fish, suggested, no doubt, by the Lake of Geneva, on which the town is situated. FRANCE. ITALY. Hard porcelain has been made at Sevres since 1 760 ; but, in order not to disturb the topographical arrange- ment of the work, we include the hard porcelains of France and Italy in the chapters devoted to a description of the manufactures of those countries. * Dictionnaire Universelle. CHAPTER IX. POECELAIN.— (Natubally Soft Paste.) Chelsea. Account of Manufactory by Lister. — Patronised by William Duke of Cumber- land. — Rise, Progress, and Final Abandonment. — Experiments of Dr. Johnson. — Beauty of Ware. — Forms. — Claret Colour. — Marks. — Collections. — Strawbeny Hill. Bow. Early Establishment and Abandonment. — Marks. Derby. Established from Chelsea. — Progress, and Present State. — Ware. — Marks. Salopian. Mark. Worcester. Establishment by Dr. Wall. — Beauty of the Blue. — Marks. Nant- GARRow, Swansea, Bristol, Rockingham, and others. The term " soft paste " refers both to the softness of the paste as well as to the feeble resistance which it offers to the action of a high temperature, compared with hard paste ; and also to the softness of the glaze, which may be scratched with the knife. The term " naturally soft,'^ is applied to the nature of the substances of which the paste is composed, which are naturally soft ; whereas, the term " artificially soft " is intended to imply that substances naturally hard are rendered soft by the application of alkaline salts and other substances. The naturally soft porcelain is almost exclusively of English production ; * the artificially soft, of French and Italian. The first English manufactories of porcelain were those * The only manufactory of hard paste porcelain in England was established by Cooksworthy in 1768, but was soon afterwards abandoned (see Worcester). CHAP. IX.] ENGLISH PORCELAIN. 171 of Bow, and at Chelsea. In these, however, nothing but soft porcelain was made : this was a mixture of white clay and fine white sand, from Alum Bay, in the Isle of Wight, to which such a proportion of pounded glass was added as, without causing the ware to soften, so as to lose its form, would give it, when exposed to a full red heat, a semi- transparency, resembling that of the fine porcelain of China.* The four original English manufactories of Chelsea, Bow, Derby, and Worcester, with several minor ones, are the exclusive sources of the " naturally soft paste " produc- tions ;t while the ware of Sevres, Chantilly, and various others in France, that of Capo di Monte (Naples) and El buen Retire (Madrid), consist of the latter description. The paste of the Sevres porcelain was in 1769 changed from soft to hard. Other manufactories made both soft and hard paste ; but these and some other incidental anomalies are not of sufficient importance to render it necessary to depart from the primary distinction laid down in this treatise between hard and soft paste. * Aikin on Pottery, Lond. 1832. in larger kilns, and with less loss and f Bone is a very important ingredient risk to the manufacturer. — Technology, in EngUsh porcelain, and enters largely by Ronalds, Lond., 1 848. The bones into its composition. The phosphoric are chiefly brought from Ireland and acid of this ingredient diffuses itself at from America, and are principally those a high temperature through all the of bullocks, the bones of pigs and horses materials, and unites them in a translucid being rejected as giving a colom' to the enamel, which is less apt to sink and paste. Mr. Spode, in 1800, first intro- lose its form than porcelain of hard duced, or rather brought to perfection, paste. It may, consequently, be baked the mixing of bones into tlie paste. 172 HISTORY OF PORCELAIN. [chap. ix. CHELSEA. Of the origin of the porcelain manufactory at Chelsea, there does not exist any authentic record, though some information as to its early date has been incidentally gleaned. Dr. Martin Lister, an English physician and eminent naturalist, who travelled in France in 1695, remarks,* in his account of the "Potterie of St. Clou," that the " gomroon ware,'' at that time made in England,f was very inferior in quality to the porcelain of St. Cloud. He further observes that " our men (meaning the workmen employed) were better masters of the art of painting than the Chineses," alluding no doubt to the circumstance of Oriental porcelain being painted at Chelsea before the native ware attained its excellence. From the above, it may be inferred that there existed at Chelsea, previously to 1698, the date of Lister's account, a manufactory of porcelain (little better at first than opaque glass), and also that good painters were employed to embellish Oriental porcelain, in consequence of its quality being very superior to that produced at home. It may well bo supposed that the general introduction of Oriental porcelain into England, which had taken place so far back as 1631, would have led to the establishment of manufactories in imitation of that ware. Indeed, the early specimens were painted closely to resemble the Chinese * Jovirney to Paris in the Year 1698. By Dr. Martin Lister. London, 1 699, 8vo. t From this expression it would appear that the term " Gomroon ware" included the English imitations, as well as the genuine porcelain of China brought from the Persian Gulf (see p. 104). CHAP. IX.] CHELSEA. 173 porcelain in order that they might be sold for it.* Horace Walpole, in his " Strawberry Hill Catalogue," mentions " specimens of early Chelsea blue and white/' which were no doubt an imitation of the Nankin. It appears, however, that the manufacture existed pre- viously to 1745, from the fact that the French company who solicited about that period an exclusive privilege to estabhsh a manufactory of soft porcelain at Vincennes, urged in their memorial the benefit France would derive by counteracting the reputation of the English and German fabrics, and reducing their importation into France. Macquer mentions particularly in his Dictionnaire de Chymie (1778), "the English porcelain of Chelsea." The early specimens of Chelsea show a rudeness and want of finish, which is usual in the first stage of every manufacture. Being coeval with that of St. Cloud, it is probable that some intercourse took place between these establishments, the porcelain of both fabrics being of soft paste, the decorations also of a similar character, and the flowing lines of the style of Louis XIV. being often seen in the plates and dishes of the early Chelsea. The manufacture appears to have made little progress during the reign of Queen Anne, nor was it until the accession of the House of Hanover to the throne of Great Britain that it acquired any celebrity. The custom, so frequent among German princes, of attaching a porcelain manufactory as an appendage to their court, no doubt influenced George II. to give his especial patronage and * When the French manufacturers from the Chelsea porcelain, they pro- of Vincennes in 1740 complained of the bably meant the Oriental, which was injury which resulted to their fabrics painted and decorated at Chelsea. 174 HISTOKY OF PORCELAIN. [chap. ix. encouragement to the Chelsea estabhshment then existing. He caused models, workmen, and even materials, to be procured from Brunswick and Saxony, with which States he was intimately alhed, and thereby infusing a fresh spirit into the manufactory, he enabled it to produce articles for the use of the court and the nobility, which rivalled in excellence and splendour those of the more esteemed fabrics of Dresden and Sevres. The Duke of Cumberland also took the Chelsea manufactory under his special protection, and allowed an annual sum for its support. Sir Robert Faulkner likewise interested himself greatly in its success. It is related that during the period of its great excellence, viz., from 1750 to 1765, while under the direction of M. Spremont, a foreigner, " the china was in such repute, as to be sold by auction, and as a set was purchased as soon as baked, dealers were surrounding the doors for that purpose."* Horace Walpole, in a letter to Sir Horace Mann, dated 4th March, 1 763, writes : — " I saw yesterday a magnificent service of Chelsea china, which the king and queen are sending to the Duke of Mecklenburg. There are dishes and plates without num- ber, an epergne, candlestick, saltcellars, sauceboats, tea and coffee equipage. In short, it is complete, and cost 1200/. ;'' and Watkins, in his "Life of Queen Charlotte,'' tells us, " That there are several rooms in Buckingham Palace full of curiosities and valuable moveables, but not ranged in proper order. Among other things, I beheld with admiration a complete service of Chelsea china, rich and beautiful in fancy beyond expression. I really never saw any Dresden near so fine. ' Her majesty made a • " Stephensiana," Monthly Magazine. CHAP. IX.] STATEMENT OF M. GROSLEY. 175 present of this choice collection to the duke, her brother, a present worthy of so great a prince." * The death, however, of its illustrious patron, the retirement from the concern of Spremont, who had reahsed a large fortune, and the want of skill and enterprise in his successor, together with the prejudice against the employment of foreign workmen, caused the manufacture to decHne, and, in a few years, to be abandoned. Monsieur Grosley, in his account of London, to which he paid a visit in 1765, states, under the head of Earthen- ware, that "the manufactures of this sort lately set on foot in the neighbourhood of London, have not been able to stand their ground. That at Chelsea, the most im- portant of all, was just fallen as I arrived at that capital. A nobleman belonging to the Court of France undertook a voyage to England in order to impart to that nation the knowledge he had acquired in this branch by repeated experiments. I do not know whether the English thought proper to make use of it. I have been informed that the county of Cornwall supphed them with the sort of earth fit to make porcelain." He also observes that, " Plate in England is less for real use than parade, porcelain being all the fashion ; this custom is of long standing. In the reign of Charles II., secretaries of state themselves had no plate." t Previously to the dissolution of the establishment, the proprietors presented a memorial respecting it to the * Life of Queen Charlotte, vol. i., p. 45. f Mons. Grosley 's Tour to London, translated by Tlios. Nugent. Lond., 1772, vol. ii., p. 76. 176 HISTOKY OF PORCELAIN. [chap. ix. government, requesting protection and assistance,* in which they stated that, " The manufacture in England has been carried on by great labour and large expense. It is in many points to the full as good as the Dresden, and the late Duke of Orleans told Colonel York, that the metal or earth had been tried in his furnace, and was found to be the best made in Europe. It is now daily improving, and already employs at least one hundred hands ; of which is a nursery of thirty lads, taken from the parishes and charity schools, and bred to designing and painting, arts very much wanted here, and which are of the greatest use in our silk and painted linen manufactures." This appeal, however, was disregarded. It is supposed that the Government were not able to resist the jealousy and hostility shown towards it by the English manufac- turers, whose remonstrances were backed by powerful interests, and who thus succeeded in putting an end to this splendid manufactory, which was, consequently, broken up, and the workmen, models, &c. transferred to Derby. Faulkner states, that " the Chelsea China Manufactory was situated at the corner of Justice Walk, and occupied the houses to the upper end of Lawrence-street. Several of the large old houses were used as show-rooms. The whole of the premises are now pulled down, and new houses erected on the site.''t The celebrated Dr. Johnson figures in a new character in the following extract from Faulkner's " History of Chelsea" :— "Mr. H. Stephens was told by the foreman of the Chelsea China Manufactory (then in the workhouse of * Faulkner's History of Chelsea. t Ibid. CHAP. IX.] DR. JOHNSON. 177 St.Luke's, Middlesex), that Dr. Johnson had conceived a notion that he was capable of improving on the manufac- ture of china. He even applied to the Directors of the Chelsea China Works, and was allowed to bake his com- positions in their ovens in Lawrence Street, Chelsea. He was accordingly accustomed to go down with his house- keeper, about twice a week, and stayed the whole day, she carrying a basket of provisions with her. " The Doctor, who was not allowed to enter the mixing room, had access to every other part of the house, and formed his composition in a particular apartment, without being overlooked by any one. He had also free access to the oven, and superintended the whole process, but com- pletely failed both as to composition and baking, for his materials always yielded to the intensity of the heat, while those of the Company came out of the furnace perfect and complete. " The Doctor retired in disgust, but not in despair, for he afterwards gave a dissertation on this very subject in his works ; but the overseer (who was still hving in the spring of 1814) assured Mr. Stephens that he (the over- seer) was still ignorant of the nature of the operation. He seemed to think that the Doctor imagined one single sub- stance was sufficient, while he, on the other hand, asserted that he always used sixteen ; and he must have had some practice, as he had nearly lost his eyesight by firing batches of china, both at Chelsea and Derby, to which the manu- facture was afterwards carried." The Chelsea porcelain is of soft paste, and from the peculiarity of its composition, will not bear any fresh exposure to the heat of the furnace without splitting and 178 HISTORY OF PORCELAIN. [chap. ix. cracking to pieces, so that it cannot be repainted, or " doctored,'' as it is commonly termed. The early forms of this porcelain are in a great degree after the French models. Those of the latter period, how- ever, are evidently in the style of the best German, and the vases, dishes, figures, flowers, branches, &c., are equal in execution to the Dresden. A deep coating of vitreous glaze is generally spread over the surface. The colours are fine and vivid, especially the claret colour, which appears to be peculiar to Chelsea. Many of the cabinet specimens approach the best productions of Royal Sevres in colour and painting. Beaumont painted the best landscapes. Foreign artists designed birds and insects in great perfection, in the style of Sevres and Dresden. A great deal of Oriental china was painted and decorated at Chelsea with great taste. No marks appear to have been affixed to the earlier specimens, and even the later ones are often without them. The earliest mark is a white embossed anchor. Then fol- lowed the anchor, painted either in red or in gold. The latter is found upon the finest specimens. Three dirty spots without glazing, on the bottom of the piece, caused by the tripod on which it was placed in the furnace, cha- racterise this china, and show the rude method in use, in the first period of the manufacture. Fine specimens of Chelsea porcelain have always been much esteemed, and still retain their value. At the sale of the effects of her late Majesty, Queen Charlotte, the Chelsea porcelain, of which her Majesty had a large collection, brought very high prices. CHAP. IX.] BOW CHINA. 179 The collection at Strawberry Hill contained some beau- tiful cabinet specimens of this manufacture. A pair of " singularly fine cups '^ (without saucers), of " the rare old porcelain of claret ground, enriched with figures in gold,'^ sold for twenty-five guineas. They were pur- chased for Mr. Beckford, but were accidentally broken before dehvered. Another pair, " the ground blue, with gold figures,^' sold for seventeen guineas. A similar pair, " with groups of flowers upon a gold ground, quite unique," sold for 11/. 6^. The Earl of Cadogan possesses a splendid collection of this porcelain : at a late sale of a portion of it, a set of dessert plates sold for four guineas each, and other spe- cimens at equally high prices ; and no doubt much is dispersed over the country, locked up in various china cupboards in old mansions. BOW. The porcelain known to collectors as " Bow china,'' was made at Stratford-le-Bow, and the establishment of the manufactory was coeval with that of Chelsea, to the early specimens of which, the ware bears a great resemblance. It is generally embossed, and of quaint devices. The quality of the clay is inferior. The paintings, which are generally upon a plain ground, consist of flowers, and sometime landscapes, in bistre. The manufactory appears to have been abandoned in the early part of the eighteenth century, and was mostly confined to tea and dessert sets. A bee was embossed or painted either on the handle, or N 2 180 HISTORY OF PORCELAIN. [chap. IX. under the spout, of the cream-jug. The specimen (Fig. 62,) was purchased at Stowe by the late Mr. Bandinel for five guineas. It is not above four inches high, and is remarkable as having the "bee" above mentioned. From Fig. 62. Cream Jug. Bow. (Coll. Bandinel.) its position, the bee is seldom met with in a perfect state, being very liable to be broken. The author possesses a similar specimen to the one figured, upon which the bee is uninjured. Horace Walpole, in his Strawberry Hill Catalogue, enumerates "black and white tea-cups and saucers from Bow." It is stated in the " Lives of eminent English Painters," that " Mr. Frye, who died in 1763, aged fifty-two, an emi- CHAP. IX.] DERBY. 181 nent painter in oil, crayons, and miniature, was for some time employed to superintend a manufactory of useful and ornamental china established at Bow, but which has long since been dissolved." A triangle is generally found stamped on this ware. DERBY. This manufactory was founded by Dewsbury in 1 750, and afterwards, from having the advantage of possessing the Chelsea models, and the assistance of many excellent workmen and artists, who came from Chelsea on the discon- tinuation of that manufactory, it rose to great celebrity. Boswell mentions Dr. Johnson's visit to the manufactory at Derby in 1777. He states that " the china was beau- tiftil, but Dr. Johnson justly observed it was too dear, for that he could have vessels of silver, of the same size, as cheap as what were here made of porcelain.'' ■^''" The Derby porcelain is very transparent, of fine quality, and is characterised by a beautiful bright blue, which is often introduced on the border or edge of the tea-services : the ground is usually plain. The figures made at this manufactory are not equal in execution to those of Chelsea, though the white biscuit figures peculiar to the Derby fabric, rival in beauty and elegance those of Sevres. The earhest mark previously to its junction with Chelsea, is not known. After that period, the Chelsea anchor was joined to the Derby D, and, subsequently, the mark was a D surmounted by a crown. * Croker's Boswell's Life of Johnson, vol. iv., p. 11. 182 HISTORY OF PORCELAIN. [chap. ix. SALOPIAN. The Salopian ware is very similar to the Derby in pat- tern and quality, and is distinguished by the mark of the letter S. The place of manufacture appears to have been Caughley, near Broseley, not far from the actual works at Coalport (near Colebrook Dale), which were founded in 1772, and were directed by John Turner, who came from the manufactory at Worcester, and to whom is attributed the invention (1780) of printing in blue upon earthenware and soft porcelain. WORCESTER. The establishment of a porcelain manufactory at Wor- cester is attributed by Nash* to the exertions of Dr. Wall,t a physician of that city, who was skilled in che- mistry, and who made assiduous researches, in conjunction with some other eminent chemists, to discover materials proper for the imitation of China ware. In 1 751, Dr. Wall, with several other individuals, established a manufactory under the title of the Worcester Porcelain Company.^ The idea of printing upon porcelain, in order to avoid the trouble and difficulty of reproducing the Oriental and other patterns then in vogue, appears to have originated with Dr. Wall, who was skilled in printing. To him, * History of Worcestershire, vol. ii,, of Doctor in Medicine in 1759, and P- 124. continued to practise in Worcester t Dr. Wall was a native of Powick, until 1776. near Worcester. He was elected Fel- X History and Antiquities of Worces- low of Merton, 1735, took the degree ter. Valentine Green. CHAP. IX.] WORCESTER. 183 therefore, is generally assigned the ingenious method of transferring printed patterns to biscuit ware, which is now universally practised.* This process was subsequently introduced in the Caughley manufactory by a partner in the original Worcester manufactory, named Holdship. It was unknown in France until 1775; and was first employed in a service ordered, in 1777, for the Empress of Russia, but was little used until 1806. A mug in the possession of Albert Way, Esq., is decorated with a portrait of Frederick the Great, in armour, dated 1 757. He is represented point- ing towards a trophy, with banners inscribed with the names of the places celebrated in Frederick's campaign of that year — Prague, Breslau, &c. — also a figure of Victory, and the monogram, R H, Worcester, with an anchor painted over it. The whole is printed in black, with remarkable distinctness and precision. The paste is not very white, but is of tolerable transparency and good glaze. Another mug, with English portraits, but similar in style and painting, has been pre- sented by Mr. Way to the Museum of Economic Geology. Specimens of inferior execution, and apparently earlier date, occur, printed in a pale, purplish colour. The designs are sometimes curious — pastoral subjects, tea-drinkings, or other scenes of polite life ; the costumes being those of the reign of George II. The original Company confined themselves principally to making blue and white ware in imitation of the blue and white Nankin, and some fine specimens in bright colours were also copied from the Japan. Subsequently, * M. Brongniart, however, states that this style of printing was first used in the Liverpool works (Traite des Arts Ceramiques, torn, ii., p. 648). He also says (p. 174), that the art of printing was practised upon enamelled pottery at Marieberg, in Sweden, in 1760. 184 HISTORY OF PORCELAIN. [chap. ix. the Sevres style was followed in imitating the Bleu de Roi and salmon scale grounds, and the Dresden in the paintings of birds, insects, and flowers. Many vases and tea-sets were made after these models, in which the colours are rich, the forms good, and the paintings accurate, though sometimes stiff. The paste, however, is very inferior to the Chelsea and Derby. Much of the early Worcester bears a wavy mark, appa- rently a W, for the name of the city or that of Dr. Wall. The other marks are chequers, in imitation of the Oriental, or a small crescent. The early imitations of the Japan have the Japan marks affixed to favour the deception. The following extract from a correspondent in the " Annual Register " of 1763, shows the estimation in which this ware was held at the period he wrote : — " I have seen potteries of all the manufactories in Europe. Those of Dresden, and Chatillon in France, are well known for their elegance and beauty ; with these I may class our own of Chelsea, which is scarce inferior to any of the others ; but these are calculated rather for ornament than for use, and if they were equally useful with Oriental china, they could yet be used by few because they are sold at high prices. We have indeed many other manufactures of porce- lain, which are sold at a cheaper rate than any that is im- ported, but except the Worcester, they all wear brown, are subject to crack, especially the glazing, by boihng water." Cookworthy, in 1768, having discovered, in Cornwall, certain mineral earths,* of which ware could be formed similar to the porcelain of China, took out a patent for his invention. He was the first person who made porcelain * Kaolim (China clay) and felspar (pegmatite or Cornish granite). CHAP. IX.] NANTGARROW. 185 of hard paste in England, and was highly successful as far as related to the quality of the manufacture, which he appears to have carried on in "Worcester. In 1783, the manufactory was purchased by Mr. Thomas Flight, of Hackney, from whom it was transferred to Messrs. Flight and Barr. WALES. Porcelain of a superior quality was for some time made at Nantgarrow and Swansea, but the manufacture has been abandoned on account of the expense. The Cambrian pottery at the last mentioned place, conducted by Haynes and Co. in 1800, is particularly described by Donovan.* The porcelain there made is much valued by collectors. The manufactory was afterwards carried on for some time by Mr. Dillwyn, who gained great credit for the beauty of its productions ; but it is now turned into a fine pottery establishment, where the classical forms have been studiously adopted. The mark is a trident stamped, under " Swansea,'^ in red. The wares produced at Nantgarrow and Swansea were perhaps superior in quality to any porcelain that had hitherto been made in this country. No expense was spared either in procuring the materials or in conducting the manufactures ; and the want of success on the part of the spirited proprietors is to be attributed solely to the deficiency of public patronage, it being found impossible to obtain a remunerative price for the porcelain. Since the discontinuance of these establishments the excellent quality * Descriptive Excursions, 1 805. 186 HISTORY OF PORCELAIN. [chap. IX. of the ware has been more justly estimated, and the prices which are now eagerly given by amateurs and collectors for pieces of Nantgarrow porcelain, in particular, are much greater than those originally demanded by the makers.* * Porcelain, " Larduer's Cyclopaedia." We subjoin a letter received by the author from L. DiLLWYN, Esq., on the subject of Swansea and Nantgarrow Porcelain ; — My dear Sir, It was, I believe, about the year 1750 that earthenware was first made at Swansea on a small scale, and 1790 the manufactory, with the name of Cambrian Pottery, was much extended under the management of Mr. George Haynes, but it had not attained to half its present size when I purchased the estate in 1802. Throughout it has been carried on in the same way as the Staffordshire potteries, and it was not till 1813 that any attempts to make China commenced. At this time two persons, under the assumed names of Walker and Beely, set up a small kiln at Nantgarrow, and sent a specimen of beautiful porcelain, having a granulated fracture much like fine lump sugar, with a claim for Government patronage, and through my friend Sir Joseph Banks, as a member of the Board of Trade, I was requested to visit Nantgarrow, and to report my opinion of its quality. From the great number of broken and imper- fect articles which I found, it was quite plain that they could not be produced with any certainty, but I was made by the parties to believe that the defects arose entirely from the inconveniences of their little factory, and was induced to build a small China work adjoining the pottery, that the granulated body might have a fair trial. While engaged in some experiments for strengthenmg this body, so that the ai'ticles might retain their shape in the kihis, and for removing their liability to craze and shiver, I was astonished by receiving a notice from Flight and Barr, of Wor- cester, that the persons who called themselves Walker and Beely had clan- destinely left their service, and warning me not to employ them. Flight and Barr, in the most gentlemanlike way, at the same time convinced me that this granulated body could never be made of any use, and as it was not worth their while to prosecute them, the run- aways went back for a few months to Nantgarrow, and I do not know what afterwards became of them. Beely, under the name of Billingsly, though he had another alias, was well known in all the British China manufactories to be a first-rate modeller of flowers, and Walker, whose other name I forget, had married his daughter, and was employed with his father-in-law in Flight and Barr's mixing room. Except for a few trials, in which the transparency was mjured, I believe that all the China with granulated fracture was marked "Nantgarrow," and that with a compact fracture was mostly stamped " Swansea," or sometimes with a <' Trident." With the aid of some scientific friends, I made a tolerably good sound porcelain witli a compact fracture, but in 1817 I removed to Penlivgan,and relinquished all attention to this the more troublesome part of the pottery concern, which now belongs to my son, Mr. L. L. Dillwyn. I remain, my dear Sir, Yours very truly, L. W. Dillwyn. Skelty Hall, June 5, 1849. CHAP. IX.] MODERN MANUFACTORIES. 187 BRISTOL. The name of "Bristol china " is given to a white ware which was formerly not uncommon in the west of England. The groups of figures resemble the white Dresden, but the costumes are, in their fashion, decidedly Enghsh. They are said to have been made by Cookworthy, in which case they must be of hard paste, (see page 170 and 184), which would at once identify their being of his manufac- ture ; but the author has had no opportunity of seeing a specimen. It is not known whether this porcelain was actually made in Bristol* or whether that city was merely the depot for its sale. In the latter case, the manufactory was probably in Wales. Besides the above, there have existed, and stiU exist, many other manufactories of porcelain in various parts of England and Wales, but being of modern date, they do not come within the compass of this sketch. The principal are at Worcester and Derby, and those in Staffordshire of Messrs. Spode and Copeland, Davenport, Minton, &c. We must further notice the Rockingham works, near Rotherham, in Yorkshire, on the property of the Earl of Fitzwilliam. Of the produce of this establishment, two magnificent specimens exist in Wentworth House, which are deserving of more than .* M. Brongniart states, on the authority of Mr. Rose, that soft porcelain was made at Bristol, about 1776, by Champion. 188 HISTORY OF PORCELAIN. [chap. ix. common attention, as denoting the degree of advancement of the art in England. One of these pieces is a copy in enamel colours, made on a porcelain tablet, from a painting by Vandyke, the subject, " The Earl of Strafford occupied in dictating his defence to his Secretary.'' In regard to expression and colouring, this piece has been pronounced equal to the most admired productions of Sevres. The other specimen is remarkable not only for its design and workmanship, but also because it is believed to be the largest piece of porcelain that has hitherto been made in this country. It is a scent jar, forty-four inches high, made and fired in one entire piece. The plinth is triangular, with lions' paws supporting the vase. Branches of oak, with their rich foliage, rise from the base, and are spread gracefully over the Hons' paws, whence they entwine round the handles. The cover of the vase is also decorated with oak and by a figure of a rhinoceros. The three compartments of the jar are painted in enamel colours from designs by Stothard, the subjects taken from Cervantes.* The English soft porcelain is susceptible of receiving the most brilhant and richest decoration, as well in painting and coloured ornaments as in gilding.f In France, porcelain of the " naturally soft " or English paste is now made at Creil and at Bordeaux. * Porcelain, p, 22, " Lardner's Cyclo- As the English manufacturers are now a." protected by law, from having their + One English manufactory is, we marks put upon foreign goods, they regret to state, occupied in imitating themselves should in justice be restrained the ware and copying the marks of the from committing similar frauds upon foreign fabrics of Sevres and Dresden. others. Seep. 139. CHAPTER X. POECELAIN. — Artificially Soft Paste (tendre anificieUe.) Manufacture of Porcelain at St. Cloud. — First mentioned by Lister. — Alluded to by Voltaire. — Privileges granted by Louis XIV. — The Minister OiTy engages the Brothers Dubois. — A Company established under the name of Charles Adam, at Vincennes. — Patronised by Madame de Pompadour. — Perfection of the Porcelain. — Manufactory transferred to Sevres. — Purchased by Louis XV. — Endeavours to make Hard Paste. — Negotiations with Haniing. — Guettard discovers Kaolin at Alen9on. — Madame Darnet makes known the Kaolin of S. Yrieix. — Hard Porcelain made. — Manufactory spared in the Revolution. — M. Brongniart appointed by the First Consul. — Beauty of the Pate Tendre. — Its most Celebrated Colours. — Rose Dubarry, &c. — Style of Decoration. — Porcelain Flowers of Vincennes. — Exclusive Privilege to gild Porcelain. — Historical Series of Forms. — Marks of the Different Periods. — Fraudulent Imitations of Sevres Porcelain. — Celebrated Collections. — Beau Brummell. — Strawberry Hill. — Various Private Collections. — Stowe. — Chantilly Porcelain. — Its Quality and Mark. — Villeroy. — Sceaux. — Clignancourt. — Etiolles. — Bourg-la-Reine. — Soft Paste of Flanders. — Tournay. — Lille. — Arras. The history of the manufacture of porcelain in France may be divided into two distinct eras ; the first, which dates from 1695, and extends to 1768 or 1770, is that of soft porcelain. This period (1 770) we may consider the begin- ning of the second era, which comprises the manufacture at Sevres of hard porcelain. In this chapter we give the history of this celebrated manufacture. Although porcelain was brought to perfection at Sevres, it was not there that it originated. From 1695, a soft porcelain was made at St. Cloud, though at first coarse and heavy, of a yellowish paste, and thick lead glaze. The 190 HISTORY OF PORCELAIN. [chap. x. manufactory of St. Cloud may be considered as the parent of the porcelain manufactories of France. In 1735 an unfaithful workman carried the art to Chantilly, and again, in 1740, the brothers Dubois, "transfuges" from Chantilly, sold the secret of its porcelain manufacture to the infant estabhshment at Vincennes. The first recorded notice of the porcelain manufacture of France is contained in the published travels of Martin Lister, who visited the establishment at St. Cloud in 1698, and whose work we have before quoted. His account is as follows : — " I saw the potterie of St. Clou, with which I was mar- vellously well pleased, for I confess I could not distinguish between the pots made here, and the finest China ware I ever saw. It will, I know, be easily granted me, that the painting may be better designed and finished (as, indeed, it was), because our men are far better masters of the art than the Chineses, but the glazing came not in the least behind theirs, not for whiteness, nor the smoothness of running without bubbles ; again, the inward substance and matter of the pots was to me the very same, as hard and firm as marble, and the self-same grain, on this side vitrification. Further, the transparency of the pots the very same. " I did not expect to have found it in this perfection, but imagined this might have arrived at the Gombron ware, which is, indeed, little else but a total vitrification ; but I found it far otherwise, and very surprising, and what I account part of the felicity of the age, to equal, if not surpass, the Chineses in their finest art. " They sold these pots at St. Clou at excessive rates, cHAP.x.] Reaumur's porcelain. 191 and for their ordinary chocolate cups asked crowns a-piece. They had arrived at the burning in gold in neat cheque work. They had sold some furniture of tea-tables at four hundred livres a set. " There was no moulding or model of China ware which they had not imitated, and had added many fancies of their own, which had their good effects, and appeared very beautiful."* Lister adds, that, although its proprietor, M. Morin, had been practising the secret of his paste for more than twenty- five years, yet it was only within the last three that he had succeeded in bringing it to perfection. This makes the discovery of soft porcelain in France to have been in 1695, consequently at a period fifteen years anterior to the discovery of hard porcelain by Bottcher. Voltaire observes, in his Siecle de Louis XIY., " On a commence a faire de la porcelaine a St. Cloud, avant qu'en en fit dans le reste de I'Europe.'^ Notwithstanding the high eulogium of Lister, it is clear, from an examination of the specimens of the products of that period, in the Museum at Sevres, which are coarse, and little better than " Fayence," that no good porcelain was made at St. Cloud at the time of Lister's visit, nor, indeed, any fine ware until 1718, when Chicoineau was Director of the Works. He was succeeded by Trou.f The manufacture of porcelain occupied much of the attention of R^aumur,| and he succeeded in producing a * Page 138. Several specimens are in the Musee + A blue and white fayence, similar to C^ramique, one of which bears the date that of Rouen and Nevers, appears to of 1688. The porcelain manufactory have been made at St. Cloud in the still existed in 1773. seventeenth and eighteenth centuries. X From 1727 to 1729. 192 HISTOEY OF PORCELAIN. [chap. x. substance known as "Reaumur's Porcelain/' a designation which it owes to its appearance rather than to its real properties, it being merely a devitrification of glass. Having afterwards procured from China the petuntse and kaolin employed in that country, he made numerous re- searches to find similar substances in France ; and although he did not completely succeed, Macquer and others, pro- ceeding upon the indications which he pointed out, pro- duced, when the requisite materials were discovered, the fine porcelain afterwards made at Sevres. Louis XIV. appears to have interested himself in the success of this manufacture, and rewarded Morin by granting him, in 1 702, exclusive privileges. In 1740, the brothers Dubois, who had been carrying on the manufactory at Chantilly, proposed to the Marquis d'Orry, Minister of Finances, to reveal to him the secret of the composition of porcelain paste. The minister, desirous that France should possess a manufactory that would rival that of Saxony, and thereby make herself independent of a foreign country, received the brothers Dubois, and gave them a laboratory at Vincennes for their experiments. J3ut they did not realise the promises they had held out, and were dismissed, after three years, for bad conduct, after an expenditure of 60,000 francs. Gravant, an active and intel- hgent man, succeeded them, made soft porcelain, and sold the secret to M. Orry de Fulvy, brother of the minister, who, in 1745, formed a Company, under the name of Charles Adam,* for which he obtained exclusive privileges for * Charles Adarn was a celebrated lence of the modelling of the Dresden French sculptor, who had been employed porcelain, he brought back with him by Frederick, King of Prussia, to execute on his return to Paris specimens of at Berlin a statue of Field-Marshal the manufacture which attracted the Schwerin. Being struck with the excel- admiration of Madame de Pompadour. CHAP.x.] MADAME DE POMPADOUR. 193 thirty years, and a place for their manufactory in the Chateau of Yincennes. It was then placed under the control of M. Boileau, who introduced great improvements into the manufacture of its porcelain ; the secret of gilding was purchased from Hippolyte, that of managing the colours from a Sieur Caillat, and the services of Hellot and other eminent chemists, artists, and painters were secured. The decorations at this period were almost entirely imitations of the Chinese.* In 1 753, the privilege of Charles Adam was sold to Eloy Brichard, and Louis XV. took a third share in the esta- blishment, and granted it the title of a royal manufactory. In 1754, it had arrived to a high degree of perfection, and had become celebrated for the beauty of its pieces, particularly a magnificent service, executed for the Empress EHzabeth of Russia. The buildings at Vincennes were found too confined for the manufactory, and the Company caused a large edifice to be built at Sevres, to which it removed in 1756. In 1760, Louis XV. bought the establishment of the Company, and became sole proprietor of the manufactory, appointing M. Boileau, Director, with a grant to the manufactory of 96,000 francs. Madame de Pompadour, who reigned supreme in France for twenty years, was a strenuous patroness of the Keramic art. Her taste for luxury, and her love for the fine arts, were unbounded. Among other useful projects, she estabhshed upon its present splendid scale, * In the Mus^e Ceramique at Sevres, 1829, and it was not until some time are two small vases, belonging to the afterwards that, in cleaning the pieces, period from 1780 to 1785, which had the error was discovered by finding the been purchased as Chinese porcelain in Sevres mark at the bottom. 194 HISTOEY OF PORCELAIN. [chap. x. the Rojal Porcelain Manufacture of Sevres, and gave it every encouragement. It is recorded in her Biography : " Apres plusieurs tentatives faites en France pour imiter les porcelaines de Saxe, et suppleer a des mediocres con- trefa9ons de celle de la Chine, elle fut frapp^e en voyant quelques echantillons que Charles Adam presentait au Roi, elle encouragea de nouveaux essais, et des lors la manufac- ture de Sevres ne redouta plus aucune rivale." The manufactory had not as yet produced any other description of porcelain except the "pate tendre," the composition of which was very compHcated, as well as very expensive, from the frequent accidents arising from the liabiHty of the soft paste falling in the process of firing. Besides it differed essentially from the porcelain of China and Japan, which alone were considered as real porcelain. Consequently, notwithstanding the briUiant quality of the pate tendre of Sevres, researches were still made to dis- cover the secret of hard porcelain, which had been made for sixty years in Saxony. Haniing, the founder of the Frankenthal manufactory, being dead, his youngest son, Peter Anthony, who was possessed of the secret of the process, sold it, in 1761, to the Sevres Manufactory, who had previously been in negociation with his father, for an annuity of three thousand livres. But the impossibility of carrying out the manufac- ture was evident, owing to the want of the kaolin, which had not been discovered in France. Louis, Duke of Orleans, son of the Regent Philip, had founded, in about 1750, a laboratory at Bagnolet, under the direction of Dr. Guettard, in order to discover the art of making hard or Chinese porcelain. Guettard discovered CHAP, x] CHANGE TO HARD PASTE. 195 kaolin near Alen^on, with which he made porcelain, but the kaolin was grey, and very inferior to that used in China or Saxony. Guettard published the result of his researches in a memoir, which he read at the Academy of Sciences, in November, 1765. Chance led to the discovery, in the same year, of the quarries of St. Yrieix, near Limoges, producing kaolin of the finest quality, and in the greatest abundance."^' Madame Darnet, the wife of a poor surgeon at St. Yrieix, having remarked in a ravine near the town, a white unctuous earth, which she thought might be used as a substitute for soap in washing, showed it, with that object, to her husband, who carried it to a pharmacien at Bordeaux. This person having probably heard of the researches which were making to obtain a porcelain earth, suspecting its nature, forwarded the specimen to the chemist Macquer, who recognised it immediately as kaohn. Having deter- mined the abundance of the kaolin of St. Yrieix, in 1768, Macquer, after several experiments, estabUshed at Sevres, in 1769, the manufacture of hard porcelain,f which was soon carried on upon an extensive scale, but the two kinds of porcelain continued to be made until 1804. Thus did this accidental discovery lead to a most important change in the Keramic manufacture of France. ;j; * The quarries of St. Yrieix produce, is indebted for the means of attaining not only the kaolin itself, but it is also the highest rank in the manufacture of accompanied by the pure white felspar porcelain, was living imknown, and in (Petunse) so indispensable in the manu- misery, in 1825, when she applied to facture of porcelain. M. Brongniart for the means of return- t In the Musee C^ramique there is ing on foot to St. Yrieix. Louis XVIII., a small figure of Bacchus, made with the immediately on being acquainted with first specimen of Limoges kaolin brought her situation, granted her a pension from by Darnet. the civil list. I Madame Darnet, to whom France o 2 190 HISTORY OF PORCELAIN. [chap. x. Before this, the porcelain was remarkable for its creamy and pearly softness of colour, the beauty of its painting, and its depth of glaze. But, upon the change to hard paste, the artists could not manage the colours so as to obtain the same effect upon the more compact and less absorbent material ; and very indifferent specimens were produced. The direction of the manufactory passed, on the death of M. Boileau, successively in the hands of Parent and Regnier. The latter was deprived of his appointment, and imprisoned in 1 793. It is a singular circumstance, that the Sevres manufactory, a royal establishment, which had, by its immunities and privileges, excited the hatred of private manufactories, and which made only objects of luxury, should, at a time when simplicity was in repute, not only have escaped being sold or suppressed, but, on the con- trary, should have received the support of the revolutionary Government. It was managed by three Commissioners until 1800, when the First Consul appointed the late M. Brongniart sole Director. At his death, in 1847,^^ * Alexandre Brongniart, who for nearly ralogy, the " Traite des Artes Cera- fifty years was director of the manufac- miques,"&c. His early study of chemistry tory of Sevres, was at the same time one well fitted him for the post of Director of of the most eminent of modern geologists. the manufactory at Sevres, which owes It is to him and to his friend Cuvier that to his talents and exertions much of its we are indebted for the first insight into modern celebrity. He was the originator the more recent formations of our globe, of the Musee Ceramique, a zealous and and from their united labom*s has re- kind encourager of artists, and it was by suited the modem science of Pal aeon- his patronage that the talents of Madame tology, or the history of organic bodies Jaquotot, Philippine, Constans, and buried in the depths of the earth. M. other celebrated artists of Sevres, were Brongniart wrote, in conjunction with developed. M. Brongniart was the son Cuvier, the celebrated essay on the geo- of the distinguished architect of that logy of the environs of Paris, the text- name, who built the Bourse at Paris, book of tertiary geology. He was also and father to the present professor of the author of several works on mine- botany. cHAP.x.] BEAUTY OF THE SOFT PASTE. 197 he was succeeded by M. Ebelman, a celebrated chemist, under whom it continues in a very prosperous state. Sevres Porcelain, for common or domestic use, had generally a plain ground, painted with flowers in patterns or medallions. Articles " de Luxe,'' and pieces intended for royal use, had generally grounds of various colours, such as " Bleu de Roi," " Bleu-turquoise " yellow (jon- quille), green (vert-pre), and lastly, that lovely colour, "Rose Dubarry," so called in comphment to the last of the mis- tresses of Louis Xy. Very skilful artists were employed upon the highest class of porcelain, which is decorated with landscapes, flowers, birds, boys, and Cupids, most gracefully disposed in medallions of every variety of beautiful form. Some of the latter were painted by the celebrated Bouchet. The portraits and miniatures are of a later date. There exist some beautiful specimens of pear-shaped cups in the "style de Saxe," painted at Vincennes by Saxon artists before the French artists attained so much celebrity at Sevres. Little more need be said as to the value and rarity of the genuine soft paste, especially those specimens which are painted with subjects after Watteau and other cele- brated masters : the celebrated jewelled cups of the best period must not be omitted to be mentioned. The latter, however, unless they have the Bleu de Roi ground, may be suspected as spurious. The beauty of the painting, the richness of the gilding, and the depth of colour, deter- mine the value of the Sevres porcelain. Flowers of great beauty were made in porcelain at the beginning of the manufacture, only when it was at Vin- cennes, the fashion for them having passed away about the 198 HISTOEY OF PORCELAIN. [chap. x. time of the transfer of the estabhshment to Sevres. These flowers were the work of women, and so highly were they esteemed, that two bouquets which were mounted in 1748 for the King and the Dauphine cost the enormous sum of 3,000 hvres each. By an arret issued in 1766, and renewed in 1784, all manufactories, excepting the Royal Sevres, were prohibited from using gold in the decoration of their porcelain. This exclusive privilege accounts, therefore, for the rarity of ancient French gilded porcelain, how rich soever the paintings on the piece. As regards the forms of the Sevres porcelain, there is not to be seen, in the large pieces at least, the classical and elegant designs of the Dresden, but on the contrary, forms stiff and inelegant. (Fig. 63.) A visit to the collec- tion at Sevres will convince every one that the antique models have rarely been studied for imitation.* Here examples of all the several forms produced from the first commencement of the manufacture are ranged in regular series, each with their respective date ; and it is said to have been the pride of the Royale Fabrique never to con- fuse the stately succession by a repetition of the same shapes in any subsequent year.f * Drawings of these forms, with the would at once betray the piece not to be periods of their adoption, taken from the genuine. Archives of the Royal Manufacture, f Louis XVI., in 1785, obtained from would be not only extremely interesting, M. Denon a rich and interesting coUec- but would afford a simple test as to the tion of Greek vases, to serve as models frauds practised with regard to this de- of pure and simple forms, and thus scription of porcelain : for it would be change the bad contours given to the almost impossible to combine with porcelain in the preceding reign, which accuracy on a spurious piece the precise was then considered to be in bad taste, form, with the date and artist employed The elegant style common to all other in its decoration. As the form decides the French productions in the time of date of its manufacture, any discrepancy Louis XIV., certainly did not extend to between it and the two last particulars the porcelain. CHAP. X.] FOEMS OF THE SEVRES PORCELAIN. 199 Little regularity appears to have existed in aflBjxing their marks. Sometimes one piece only in a set was Fig. 63. Vase. Sevres. Stiff style. (Coll. Dresden.) marked, the others having no mark at all. Most frequently the double L. only is found without the letters denoting the date. On other pieces the decorator's monogram is added to the above marks. On the other hand, it is stated that the want of the mark denotes that some imperfection existed in the piece, which was for that reason not allowed to bear the royal cypher. The fact that the mark was always affixed before the glazing, at a very early period of the process, is much against this hypothesis. On the porcelain made at St. Cloud, from 1740 to 1753, the distinctive mark is the letters S. C, with a T. under them, standing for Trou, the director. The ancient mark, when the manufactory was first privileged by Louis XIV., in 1702, is a sun. 200 HISTOEY OF PORCELAIlSr. • [chap. x. At Yincennes, in 1 753, was introduced the rojal cypher, which was stiff and formal, until 1 760, when a more flowing style in the form of the L. was adopted. A letter inside the cypher denotes the year of the manufacture. A monogram under the cypher designates the artist or decorator employed upon the piece. The crown, or fleur-de-lis, was especially used to denote that the piece was painted for royal use. The finest specimens of royal porcelain are those produced from 1760 to 1769, and these are marked with the peculiar crown of Louis XIV. Kevolutionary France, in 1 793, abohshed all the insignia of royalty wherever placed, and substituted for the cypher the letters R. F. (Repubhque Fran9aise), or Sevres with the date. Napoleon, during the Empire, affixed his imperial mark, the eagle. Louis XYIIL, at the Restoration, replaced the royal cypher, with the addition of a fleur-de-lis in the centre. Charles X. affixed his cypher over a crown. Louis Philippe affixed his initials with a crown. ■*''" The Sevres porcelain, as it is without comparison the most beautiful in colour, and also the most rare and valuable, is consequently the most difficult to procure in a genuine state, the real "pate tendre" having been made only from 1740 to 1769. A great quantity of common ware was made during that period, but not much of the fine Bleu de Roi, turquoise, and Rose Dubarry. At the conclusion of the last war, the old stocks in the Royal Manufactory of Sevres, were put up to auction, and * For other marks of this period, see Marks and Monograms. oHAP.x.] FRAUDS ON SEVEES PORCELAIN. 201 bought by certain individuals, who also collected all the soft ware they could find in the possession of other persons. The object of this proceeding for a long time remained a mystery, but at length the secret transpired, that the parties had discovered a process, which consisted in rub- bing off the original pattern and glaze, and then colouring the ground with turquoise or any other colour, and adding paintings or medallions in imitation of the style of the old "pate tendre ;" thus enhancing a hundred fold the value of the pieces. With any other description of porce- lain the adoption of this process would have been imprac- ticable without discovery, but the soft paste was found to have absorbed in the first baking such an excess of glaze, that the second application of heat had the effect of bring- ing out a fresh portion, sufficient to cover the surface where the original glaze had been filed away, and thus giving the appearance of the original process. The turquoise was found to succeed the best, and therefore there exist more revivals of this colour than of any other.'"* A china dealer, lately dead, obtained the immense fortune which he left, by this artful process. It is very difficult to detect the fraud, but the want of vividness in the colour, and of evenness on the surface of the glaze, will sometimes afford an indication. Also something may be learnt by comparing the date of the forms with the period of the style of painting and colour (the turquoise and rose being of latest date), and thus any incongruity in this respect will detect the imposture. This comparison can, however, be only completely made at Sevres, where the model of every piece is preserved. * The white Derby soft paste is now said to be used for the purpose, the supply of Sevres being exhausted. 202 HISTORY OF PORCELAIN. [chap. x. A dejeuner service, with portraits of Louis XIV. and the principal ladies of his court, having been offered to Louis XVIIL, in 1816, as having belonged to his grand- father, Louis XV., was sent to Sevres to ascertain its authenticity. The irregularity of the marks, added to the anomaly in the forms, particularly that of the plateau, which was of a form that was not invented until 1788, furnished easy proof of the fraud. It being of no further interest to the king, it was placed in the Museum at Sevres as a specimen of fraudulent imitation. In some pieces, the marks of a second firing may be detected, in consequence of the unskilful way in which the work has been done. Amidst the destruction and havoc made in the royal palaces of France, and the chateaux of the nobility, at the Revolution, a great quantity of this valuable porcelain was broken, and perhaps the finest specimens were transported to foreign countries. Mr. Beckford possessed, at Fonthill, one splendid vase, which was rescued from the pillage at Versailles, its companion being lost. We learn, from his biographer, that the celebrated Beau Brummell was a virtuoso in Sevres china. Captain Jesse states,* that to meet the demands made upon him (Brummell), he " had a sale of his buhl furniture, which sold for a considerable sum. His Sevres china had been bought some time before by Mr. Crockford, jun., then an auctioneer; who, according to his own statement, went over to Calais solely for the purpose of making this pur- chase. Mr. Crockford described this china as ' the finest and purest ever imported into England.' George the Fourth gave two hundred guineas for one tea-set, and a * Life of Geo. Brummell, by Captain Jesse. Vol. ii., p. 22, /^a^^— C^acJi>^^zi/ a/ ula/^ z/^t '€^t^t£j. cHAP.x.] COLLECTION-S. 203 pair of the vases was sold for three hundred pounds. Some of these rare specimens of porcelain are now in the possession of the Duke of Buccleugh/' Horace Walpole, in his Catalogue, mentions a tea-service of "white quilted china of St. Cloud;" and the collection at Strawberry Hill was very rich in Sevres porcelain of the old dates. The private collections existing in this country are very numerous, and some of them are extremely valuable and extensive. Among these may be mentioned that of Her Royal Highness the Duchess of Grioucester, which is very rich in the finest colours of Sevres porcelain ; that of the Earl Lonsdale, who possesses a dinner-service of turquoise which was either made by order of the Empress EUzabeth II. of Russia, or presented to her; it bears her monogram. Mrs. Byng, at Wrotham Park, has a set of splendid green and purple banded vases* of exquisite beauty, which belonged formerly to Mr. Auriol. Mr. Bernal possesses a splendid set of Bleu de Roi vases. Mr. Charles Mills has lately procured a matchless set of the same colour, as well as a set of Rose Dubarry from the collection of the late Princess Sophia ;'"'' the latter vases are unrivalled in beauty of form (not usual with Sevres porcelain,) as well as in delicacy of colour. Capt. Ricketts possesses some cups, on which are painted the most highly finished miniatures. Numerous other amateurs of this most exquisite porcelain might be men- tioned, were their collections more generally accessible, and the specimens they contain made known to those who wish to describe them. The very choice collection of Sevres porcelain at Stowe * See coloured Plates. 204 HISTORY OF PORCELAIN. [chap. x. sold at high prices. A small coffee cup, which weighed scarcely three ounces, realised 46 guineas ; and another, similar, but somewhat inferior, sold for 35 guineas. A chocolate cup and saucer, Bleu de Eoi, with beautiful miniatures of two ladies of the Court of Louis XV., and four paintings of Cupids, though slightly injured during the view, realised 45 guineas. The prices obtained for most of the cups and saucers were from 10 to 12 guineas. A beautiful specimen of a Bleu de Roi cup, saucer and cover, jewelled in festoons, cameos, and imitation of pearls, sold for 35/. 10^. ; and another, somewhat inferior, for 21 guineas. A salver, mounted in a table with ormolu ornaments, sold for 81 guineas ; the companion piece for 100/. CHANTILLY (DEPT. OISE). This manufactory owed its origin to Siroux, a " trans- fuge" from St. Cloud, in 1735. It was carried on by the Brothers Dubois, who left it in 1740, in order to make experiments at Vincennes, where they were dis- missed for bad conduct. The Prince of Conde especially favoured this establishment by his patronage. Horace Walpole, in his Catalogue, mentions blue and white coffee cups and saucers of Chantilly, most probably imitations of Nankin China. The mark is a hunting horn. MENECY— VILLEROY (DEPT. SEINE-ET-OISE). This manufactory was founded in 1735, under the auspices of the Due de Villeroy, by Fran9ois Barbin, who "^^^^^ ^.^^A^^^^l^- <^ e'l/^t^. CHAP.x.] OTHER MANUFACTORIES. 205 was succeeded by Jacques Julien. The manufactory was in full activity in 1773. The pieces are richly decorated, and of all the manufactures of that period it approached nearest, by the perfection of its products, to the soft porcelain of Sevres. The mark is DY. An ewer of this ware was sold at Strawberry Hill. SCEAUX-PENTHIEVRE (PARIS). Soft porcelain ; established in 1751, and carried on by Glot in 1773. The mark is SX. CLIGNANCOURT (DEPT. SEINE). Hard as well as soft porcelain was made here under the protection of the Duke of Orleans, from 1750 to 1770. During this period the mark is C, under a label of three points. From 1775 to 1780 hard porcelain was manufactured here by M. Deruelle. The mark is his cypher. From 1785 to 1792 hard porcelain was still made, but under the protection of Monsieur the King's brother. The mark is M under a crown. ETIOLLES (DEPT. SEINE-ET-OISE). Situated near Corbeil. Soft porcelain ; Monnier was the manufacturer in 1766. The mark is the letters MP. joined together. 206 . HISTORY OF PORCELAIN. [chap. x. BOURG LA REINE (PARIS). Soft porcelain ; Jacques Julien, the manufacturer, in 1773. The mark is BR. LILLE (DEPT. NORD). A manufactory of soft paste is stated to have been estabHshed here in 1708, when the Dutch were masters of this town. Also a manufactory of hard paste, founded by M. Lepene-Duroo, directed by M. Roger, and afterwards by M. Regnault. Experiments were made here in 1785-86, which interested M. de Calonne, to employ coal instead of wood in the manufacture of hard porcelain. A table service was made for the Dauphin, under whose patronage the manufactory was placed. On the whole, the experi- ments may be considered to have been successful, although the paste was often yellow, and spotted with the fine ashes of the coal which penetrated the seggars. There is a saucer of this manufacture in the Musee Ceramique, inscribed "Fait a Lille, en Flandres, cuit au charbon de terre, 1785."* ARRAS (DEPT. PAS DE CALAIS). A manufactory of soft porcelain was established at Arras, about 1782, by the Desmoiselles Deleneur, under * Coal is uow chiefly used at Meissen, is used at Sevres ; in otlier manufac- and wood-coal (lignite) is employed at tories that of birch, silver fir, Scotch fir, Elbogen. The wood of the aspen only and oak. CHAP.x.] HAKD PORCELAIN. 207 the patronage of M. de Calonne, who was at that time Intendant of Flanders and Artois, the government being desirous of raising a rival fabric to that of Tournay, which supphed a great part of France, but the manufacture at Arras lasted only four or five years. The mark is A. R. TOURNAY. A manufactory of soft porcelain was established at Tournay in 1750, conducted by Petrinck. It employed sixty workmen in 1752, and two hundred and forty in 1762. The mark is two swords crossed, with four small crosses in the angles. When Tournay was separated from France in 1815, a manufactory on the same principles was established at St. Amand-les-eaux, near Valenciennes. These fabrics, together with that of Arras, are classed by M. Brongniart under the denomination of "pate tendre artificielle commune,'^ in contradistinction to the finer wares. The porcelain is very strong, of a yellowish white, and almost opaque. We subjoin the principal manufactories of hard por- celain in France, which completes our notice of French porcelain. PARIS (FAUBOURG ST. LAZARB). Hard porcelain; Haniing the manufacturer in 1773. The mark is the letter H. 208 HISTORY OF PORCELAIN. [chap. x. PARIS (FAUBOURG ST. ANTOINE). Hard porcelain ; Morelle, manufacturer in 1773. The mark is M A P. Hard porcelain ; Souroux, manufacturer in 1773. The mark is S. PARIS (GROS— CAILLOU). Hard porcelain ; Advenir-Lamarre, manufacturer, 1773* The mark, his initials in Italian letters. PARIS (RUE THIROUX). Hard porcelain ; Lebeuf, manufacturer ; called " Porce- laine de la Reine f 1785 to 1792. The mark is A under a crown, for Marie Antoinette. PARIS (RUE DE BONDY). Hard porcelain ; Dihl and Guerhard, manufacturers. The mark is their initials. Hard porcelain, called " Angouleme,'' 1785 to 1792. The mark is the same initials as above, enclosed in an oval, and surmounted by a crown. PARIS (RUE DE CRUSSOL). Hard porcelain ; Charles Potter, manufacturer ; called "Prince de Galles^' (Prince of Wales), 1790. The mark is C P under a crown. CHAP. X.] HARD PORCELAIN. 209 PARIS (RUE DE LA COURTILLE). Hard porcelain, called "De la Courtille ;" manufactured by M. Locr4 1773. The mark is two arrows crossed. NIEDERVILLER (DEPT. MEURTHE). Hard porcelain ; Francois Lanfray, manufacturer, suc- cessor to General Custine ; end of the eighteenth century. The mark is F. L. in cypher. There is a specimen in the Musee Ceramique signed "Francois," with "Terre de Lorraine" stamped under- neath. In concluding this sketch of the porcelain manufacture of France, we must not omit to mention the Musee Ceramique of Sevres. This institution owes its establish- ment to the exertions of the late M. Brongniart, who, convinced of the usefulness of such a collection, appUed to the French government for the furtherance of his plans. The collection of Greek vases presented by Louis XVI. as models for the manufactory were the only Keramic pro- ductions it possessed ; but Napoleon immediately appHed to the various manufactories in Germany for specimens of their porcelain, and sent orders to the French prefects to furnish collections from all the potteries in their depart- ments. These contributions, collected from 1805 to 1812, 210 HISTORY OF PORCELAIN. [chap. x. formed the beginning of the present extensive Museum, which is admirably arranged, so as to afford every facility for the study of the Keramic art in its different bearings. The manufacture of pottery is seen in all its various stages, from the making of a brick to the fabrication of porcelain. The collection is also geographically arranged, so that the pottery of each nation may be compared ; and the pieces are all classed chronologically, in illustration of the progressive stages of improvement in the manufac- ture. The Museum also contains a series of painted glass, models chronologically arranged of all the forms manufac- tured at Sevres, specimens to show the various improve- ments in the paste and colouring, and models of kilns, utensils, &c. belonging to the technical department of the art. The Museum is now under the direction of M. E-iocreux, the able coadjutor of M. Brongniart in the interesting " Catalogue du Musee Ceramique.'' It were much to be desired that England possessed a similar institution, or indeed some public collection of the Keramic productions even of our own country. We learn, therefore, with satisfaction, that such a collection has been within a few years commenced, under the judicious direction of Sir Henry De la Beche, at the Museum of Economic Geology, to which many individual collectors have already contributed. Were this Institution liberally encouraged by the Government, specimens would quickly be contributed which might tend to throw some light upon the history of our own pottery, at present involved in much doubt and obscurity. CHAPTER XL MANUFACTURES OF ITALY AND SPAIN. Florence. Marquis of Ginori's Manufactory at Doccia. Venice. Bassano, at Le Nove. Turin, at Vineuf, by Dr. Gioanetti. Naples. Capo di Monte, established by Charles III. — Chatham Correspondence. — State of the Manufactory under Ferdinand. — Extract from a Letter of Lord Nelson. — Decline and Ruin. — Character of the Porcelain. — Collection at Portici. Spain. Charles III. establishes the Manufactory at Buen Retiro. — Secrecy observed. — Extracts from Swinburne. — Bourgoanne. — Rev. J. Townsend, Don A. Ponz, and Laborde. — Destruction of the Manufactory by the French. — Southey. — Mr. Ford. — Beauty of the Ware. Portugal. Vista Alegre. In the beginning of the eighteenth century, when the Duke of Lorraine acquired the Dukedom of Tuscany, Charles, Marquis Ginori, of a noble and wealthy family, established, on his own account, after the example of the petty sovereigns of Germany, a large manufactory of pottery (Terraglia)* and porcelain at Doccia, near Florence, which, being carried on with spirit and ability, met with great success, for De la Condamine, f who visited it only two years after this period, thus writes of it : — " I was struck with the large size of some of the pieces of this porcelain. Statues, and even groups of figures, half as large as nature, and modelled from some of the finest antiques, were formed of it. The paste of the porcelain appeared to be extremely beautifiil, and to possess all the * See page 71. f Memoires de I'Academie des Sciences. p 2 212 HISTORY OF PORCELAIN. [chap. xi. qualities of the best Oriental porcelain. The glazing employed seemed to be inferior in whiteness, a circum- stance supposed to be owing to the desire of using those materials only which are found in the country.'' Two kinds of porcelain are made here : a fine, hard porcelain, like the French {all uso di Francia), as the Italians term it : this is made with the kaolin of St. Yrieix, combined with the native materials. The other ware is of a singular character, being, as M. Brongniart describes it, a "hybrid porcelain," a mixture of porcelain with pottery. The early specimens of this ware show a close imitation of the white Oriental, particularly of the raised and pierced varieties, with few attempts at colouring or painting ; so much so, that at the sale at Strawberry Hill, where there were many specimens which had been sent home by Sir Horace Mann to Horace Walpole, about 1760, it was described and sold as Oriental. As long as high prices were obtained for the products of this manufactory, its managers took pains to produce good articles ; but when competition arose and prices fell, they were compelled to manufacture common and cheap ware to meet the demand. It is now worked under the same family of Ginori to some extent^ but its products are very ordinary. A pair of vases with blue and white oblique flutes of this manufacture, sent by Sir Horace Mann to Horace Walpole, were sold at Strawberry Hill. They are of coarse workmanship, although the form is good. The mark is two triangles crossed, or rather a star of six points, being apparently intended as a variation of the Ginori arms, which are three stars. CHAP. XI.] VENICE — BASSANO — TURIN. 213 VENICE. Venice formerly possessed a porcelain manufactory, but it has ceased since 1812. The ware was of soft paste, coarse manufacture, and painted. The mark was a large double anchor (red). LOMBARDY (BASSANO). Le Novo, near Bassano, also had a manufactory of soft paste porcelain. The mark was an asterisk of six points. TURIN. A porcelain manufactory was established at Vineuf, near Turin, by a Dr. Gioanetti, towards the end of the last century. It was carried on with little success till 1810, when an alteration in its management took place, and since that time it has succeeded better. The pieces are well shaped, generally small, and sometimes finely painted and gilded. The glaze, however, is wavy and yellowish. Though of hard paste, it does not resist much heat. The mark is V, with a cross in the centre, and the letters D. G. underneath, marking the epoch of the direction of Dr. Gioanetti. 214 HISTORY OF PORCELAIN. [chap, xi NAPLES (CAPO DI MONTE). The manufactory of porcelain of Capo di Monte was founded by Charles III. in 1736. This beautiful ware, from its pecuhar character, could not have originated from any German source. Independently of its bearing very little resemblance to the productions of that country, there was scarcely time for the art, which was kept a great secret, to have reached Naples in so short a period after its first discovery at Meissen. It may, therefore, be con- sidered of native origin, though there is Httle doubt that the manufacture was afterwards greatly improved in the time of Queen AmeHa of Saxony, the consort of Charles. Charles often worked in the manufactory with his own hands, and took great interest in its proceedings. Stanien Porter, in a letter to Mr. Pitt (Lord Chatham), dated 28th April, 1760, speaking of Charles III., says,* "He is par- ticularly fond of the china manufacture at Capo di Monte. During a fair held annually in the Square before his palace at Naples, there is a shop solely for the sale of part of this china ; and a note was daily brought to the King of what was sold, together with the names of those who bought ; and it is said he looked often favourably upon the persons who made any purchases.'' When, shortly afterwards, he left Naples to assume the Crown of Spain, he took away with him twenty-two persons to form the intended establishment at Madrid. One of these individuals, * Chatham Correspondence, vol. ii., p. 34. CHAP. XI.] CAPO DI MONTE. 215 now ninety-five years of age, was still living near Naples in 1844. Under his successor, Ferdinand, permission was given to his subjects to establish other porcelain manufactories ; and in the case of two of them, the King allowed his own workmen from the royal manufactory to assist in their first setting to work. One of the first consequences of giving up his own exclusive privilege, was, that the work- men he permitted to go into the private manufactories, entered into a conspiracy with those remaining at the Royal establishment, dilapidated it, and robbed it of the most valuable effects, particularly the gold and silver arti- cles employed for models. These two private establish- ments had but a very short existence, possessing no capital ; and as soon as the property stolen from the Royal esta- blishment was expended, the works stopped. Lord Nelson, in a letter to Lord St. Yincent, mentions the china of Capo di Monte. He writes : — " A httle circumstance has also happened, which does honour to the King of Naples, and is not unpleasant to me. I went to view the magnificent manufactory of china. After admiring aU the fine things, sufficient to seduce the money from my pocket, I came to some busts in china of all the royal family ; these I immediately ordered, and, when I wanted to pay for them, I was informed that the king had directed whatever I chose should be delivered free of all cost : it was handsome of the king I" * The porcelain manufactory naturally languished during the succession of Revolutions which afterwards took place, and finally became extinct in 1821. There are still * Pettigrew's Memoirs of Nelson, vol. i., p. 152. 216 HISTORY OF PORCELAIN. [chap. xi. remaining, however, in the Royal Estabhshment, situated " Alia vita della Sanita " (in the valley under the bridge of the new road leading to Capo di Monte), many valuable specimens. Lately, two vases were found valued at 1000 ducats each (150/.). The existing Government requiring some part of the locality for an Hospital for the Albergo dei Poveri, much injury was done to the machinery and uten- sils generally, by piling them up in a small space ; and this appears to have put the finishing stroke to the ruin of the establishment. The character of this porcelain bespeaks its originahty. Shells and corals, embossed figures, &c., exquisitely moulded Fig. 64. Basin. Capo di Monte. (Coll. Marryat.) in high rehef, constitute its pecuHar beauty and excellence.* A basin (Fig. 64,) or ewer,t for example, is formed of a variety of native sea shells grouped together, interlaced with branches of coral, and ornamented with shells of a smaller size, all being moulded and coloured from nature. The later specimens consist, for the most part, of tea- * In the sale at Strawberry Hill, Sicilies. 4to., with plates." This rare seventh day, Lot 72, was sold a book, work the writer has been unable to entitled " Description of a Table-service trace. of China, painted after the Antique, f See coloured plate for the ewer by order of the King of the Two belonging to the basin, Fig. 64. ^WM/, ^aAc^ c/(/ y/^u^n^^. CHAP. XI.] PALACE AT PORTICI. 217 services and small pieces of the finest quality, and of ex- quisite design and execution. The salt-cellar (Fig. 65,) is a specimen of the taste shown in this manufacture. Fig. G5. Saltcellar. Capo di Monte. (Coll. Marry at.) The Capo di Monte tea and coffee services are perhaps the most beautiful description of Porcelain which has ever been manufactured in Europe, both as regards the trans- parency and thinness of the paste, (equal to Oriental egg- shell,) the elegant form of the pieces, and the gracefully twisted serpent handles ; but more especially the delicate modelling of the ornamental groups of classical and mythological subjects laid on the surface in high relief These groups being painted and gilt, form a pleasing con- trast with the ground, which is left plain. This rare Porcelain is found but in few collections ; the late Lady Blessington had of it two services of cups and saucers, which fetched the very high prices of eighteen guineas a pair, at the late sale of her effects at Gore House. The cream-ewer sold for 26 guineas, and a smaller one for 20/. 218 HISTORY OF PORCELAIN. [chap. xi. These high prices set to work the ingenuity of China fabricators, to produce specimens which might be sold for the genuine ware, and a few sets were sent from Italy to try the market. Some were at first purchased at high prices, by persons who had not an opportunity of comparing it, or who perhaps were not acquainted with the genuine specimens. But its inferiority is very apparent, the paste is coarse and thick, the form of the cup is very ordinary, and there is nothing resembhng the real but the ornaments, which are skilfully imitated, so much so as to lead to a presumption, that the parties had by some means obtained possession of the original moulds. The colouring as well as the gilding of these groups is, notwithstanding, very indifferently executed. The best collection existing, is that in the Royal Palace at Portici, of which Lady Blessington, in her " Idler in Italy," gives the following graphic description : — " One of the saloons at Portici particularly attracted our attention. The ceiling and walls were covered with panels of the most beautiful China, of the ancient and celebrated manufactory of Capo di Monte, of which specimens are now become so rare. The panels have landscapes and groups finely painted, and are bordered with wreaths of flowers the size of nature, of the richest and most varied dyes, in alto-relievo, among which birds of the gayest plumage, squirrels, and monkies, all of china, are mingled. The chandeliers and frames of the mirrors are also of por- celain, and the effect is singularly beautiful. The floor was formerly covered in a similar style to the panels in the walls, but the King, when obliged to fly from Naples, intended, it is said, to remove the decorations from this CHAP. XI.] EL BUEN RETIRO. 219 chamber, and had only detached those of the floor when he was compelled to depart." The mark is N., or n. under a crown. SPAIN (EL BUEN RETIRO). This manufactory was established by Charles TIL, near Madrid, soon after his accession to the Spanish throne in 1 759 ; and as he brought with him, from his late kingdom of J^aples, workmen and models, the porcelain bears a great resemblance to that of Capo di Monte. Swinburne, who visited Spain in 1775, speaking of the Palace of El Buen Retire, in the gardens of which the porcelain manufactory was situated, says, — " The Court of Spain resided during a part of the year at a sort of country house, situated on an eminence at the opposite extremity of the town, called by them Buen Retire. Philip V. was highly partial to it, and made it his sole residence after the destruction of the ancient Palace by fire. Ferdinand VI. had no other ; and Charles III. passed the first years of his reign in it, greatly against the inclination of Queen Amelia of Saxony, who was continually drawing vexatious comparisons between the magnificent horizon about Naples, which she had just left, and the naked and confined pro- spect of this residence." He remarks upon the amiable character of Charles, his patronage of the fine arts, and his passion for sporting, observing that "there are but three days in the whole year he does not spend in going- out shooting. No storm, heat, cold, or wet can keep him at home." 220 HISTORY OF PORCELAIN. [chap. xi. Bourgoanne, who visited Spain in 1777, in the reign of Charles IV., makes particular mention of the porcelain manufactory at El Buen Retire. He writes that — " In the gardens of Buen Retire the monarch has established a China manufactory, which strangers have not hitherto been permitted to examine. It is undoubtedly intended that experiments shall be secretly made, and the manufac- ture brought to some perfection before it be exposed to the eyes of the curious. Its productions are to be seen nowhere except in the palace of the sovereign, or in some Italian Courts, to which they have been sent as presents. Charles III. rendered then due homage to our French manufactories, when he excepted the Court of Versailles from his distribution, notwithstanding the latter regularly forwarded some of the finest works of our Sevres manu- factory to the Princess of Asturias. Louis XV. established this custom on account of his granddaughter, and his successor did not discontinue the practice." The same secrecy as to showing the manufacture, and distrust of strangers, seem to have continued to a still later period. The Rev. James Townsend, who visited Madrid in 1785, writes, — "I tried to obtain admission to the china manufacture, which is likewise administered on the King's account, but his Majesty's injunctions are so severe, that I could neither get introduced to see it, or meet with any one who had ever been able to procure that favour for himself I was the less mortified upon this occasion, because, from the specimens which I have seen both in the Palace at Madrid and in the provinces, it resembles the manufacture of Sevres, which I had formerly visited in a tour through France." CHAP. XI.] INVASION OF THE FRENCH. 221 Don Antonio Ponz, in his " Viage de Espaiia/' notices this estabhshment in 1793 ; and Laborde, as recently as 1808, in his "View of Spain/' says, — " No China is made except at Alcora and Madrid, the former very common and inconsiderable as to quantity. The china manufac- tured at Madrid is beautiful, and without exaggeration may be considered as equalling that of Sevres. It is a Royal Manufactory, but it is impossible to give any de- scription of its state, because admission to the interior of the manufactory is strictly prohibited." During the events so disastrous to Spain, which occurred in the early part of the present century, the establishment and everything connected with it was destroyed. Southey states, that, " On the invasion of the Peninsula by the troops of Napoleon in 1808, Madrid was taken possession of by Murat. Buen Retire was occupied by 25,000 men on that memorable massacre. King Joseph was subsequently compelled to evacuate the town upon the news of the battle of Baylen. In the following December, Napoleon entered Madrid in person to re-establish the royal fugitive on his precarious throne, when an attack was commenced on the Buen Retire, which had been fortified with some care, and a breach being made in the walls, the place was carried, but not till after one thousand Spaniards had fallen in defending it." Mr. Ford, speaking of subsequent events, says, — " Near this quarter was La China, or the Royal Porcelain Manu- factory, that was destroyed by the French, and made by them into a fortification, which surrendered August 14th, 1812, to the Duke. It was blown up October 30th by Lord Hill, when the misconduct of Ballasteros compelled him to 222 HISTORY OF PORCELAIN. chap, xi.] evacuate Madrid. Now La China is one of the standing- Spanish and Afrancesado calumnies against us, as it is stated that we, the Enghsh, destroyed this manufactory from commercial jealousy, because it was a rival to our potteries." The real plain truth is this : " The French broke the * OUas,' and converted this Sevres of Madrid into a Bastille, which (not the pipkins) was destroyed by the English, who now so far from dreading any Spanish competition, have actually introduced their system of pottery, and accord- ingly very fair china is now made at Madrid and Seville by Enghsh workmen. Ferdinand VII., on his restoration, re-created La China, removing the workshops and ware- houses to La Mancha, once a villa of the Alva family in the Manzanares." M. Sureda, the ancient director, upon the destruction of the manufactory in 1812, established another in 1827 at Moncloa, near Madrid. That this porcelain was celebrated for its quality is evident, from a published letter addressed from Madrid by M. Proust to M. Vauquelin, in which mention is made of a beautiful kind of porcelain, produced in that city, and which is described to be of a texture even harder than the porcelain of France. This ware, as before remarked, is very similar in cha- racter to that of Capo de Monte, and is highly embossed with various patterns which are finely moulded in high reUef. It consists of ornamental as well as useful articles. It is very much esteemed, and has become very rare. The mark is a fleur-de-lis, or C. in cypher. [CHAP. XI. VISTA ALEGRE. 223 PORTUGAL. Yista Alegre, near Oporto, has a manufactory of hard porcelain, carried on by Senhor Pinto-Basto. The mark is V. A. under a crown. As long as the manufacture of porcelain in Europe con- tinued to be a royal privilege, and supported by funds from the" government, the expense of production was not regarded, the price obtained being in proportion. The charge for a first-rate service of Sevres is stated in some old accounts to have been 30,000 livres ; one made at Chelsea is said by Horace Walpole to have cost 1200/., and the price of the Dresden ware was equally high. The use of porcelain at that period was considered as a mark of nobility or great wealth, there being no gradation between it and common pottery. When the manufacture got into private hands, an inferior and cheaper ware was made for general use. In consequence of this, the superior and high-priced qualities were no longer required ; and porcelain ceased to adorn the tables of the rich. Silver and gold plate was substituted as the distinguishing mark of rank and station ; and now even the supremacy of these glittering materials is threatened by the facility of imitation which the electrotype process affords. APPENDIX. ^lo^sarg of Eerms USED IN THE DESCRIPTION OF POTTERY AND PORCELAIN. Where the Foreign syinxmyme is almost the same as the English word, it is omitted. Adobe, 8p, — Sun-dried bricks, introduced into Spain by its African * conquerors, and found at the present time, under the same name, in Mexico and other parts of the New World. The ancient temples of Peru were built of bricks sun-dried and hardened by pressure. Pietro deUa YaUe compares the sun-dried bricks of Babylon with the Spanish tappia,"^ or mud walls, which were known in the time of PHny, who thus mentions their general adoption.f In warm, dry cHmates, these bricks, made by simple compression, are very durable. The Egyptian brick was sun- dried. Straw, or some fibrous substance, was generally worked up with the clay to assist the cohesion, as we learn from the complaint of the Israelites in the fifth chapter of Exodus ; and * Tappies, or Tapia (Arabo-Spanish), l^Zlj^'Coh-^BW^^'hy Richard Ford, Esq. "mud wall," — the case of boards or wat- i* Quid? non in Africa Hispaniaque ex ties which served to support the earth terra parietes, quos appellant Formaceos, in making the wall. The word is Arabic quoniam in forma circumdatis utrinque — Cob; whence the Spanish, Adobe duabus tabulis interjiciuntur verius, quam — sun-burnt bricks. The use of these construuntur, aevis durant, incorrupti imbri- wooden cases was introduced by the bus, ventis, ignibus, omnique cemento fir- Moors. — See " Quarterly Review," April, miores ? — Plin., lib. xxxv., chap. xiv. 226 ADOBE. — ALCARAZZA. [appendix. the modern Egyptians almost always introduce straw in their bricks to tliis day. Pocock describes a pyramid on the plains near the Nile, which is bmlt of sun-dried bricks. He found some of these bricks 13i inches long, 64 broad, and 4| thick, chopped straw having been mixed up with the clay. In the cata- combs, the Theban brickmaker's occupation is represented. A painting upon the wall exhibits slaves, in one part employed in procuring water, inmixing, tem- pering, and carrying the clay, or in turning the bricks out of the mould, and arranging them in order on the ground to be dried by the sun ; whilst, in another part (Fig. 66), one man is carrying the dried bricks, by means of the yoke, to the spot where they are to be used in building; and another is returning, after carrying the bricks."^ A L^AiB,, Fr. — This term is applied to articles through which the air passes, as in reticulated and basket-work patterns. Alcarazza, Sp. — From Al-Karazah, the Spanish-Moresco term for those vessels of porous texture used for cooling water, which M. Brongniart classes under the term of hydro-cerames. The alcarazza (Fig. 67) is called in Portugal alcaradza. The hucaro, made in Estremadura, is red, and less porous than the alca- razza.f These vessels have been made from the most remote period, in all warm climates, in Spain, Egypt, and Asia. The Fie. 66. Brickmakers. From the paintin^;s at Thebes. * Wilkinson's Manners and Customs of the Egyptians, vol. ii., p. 99. The figures in Fig. 66 are taken from a large woodcut representing foreign captives employed in making bricks at Thebes. f Spain has been ever celebrated for its manufacture of Hydroc^rames or water- coolers. " The ancient Qooleh of the Arabs is identical with the modem Alcarazzas of Spain. They were made of various shapes, many and especially in Valencia and Anda- lusia being of the unchanged identical form of those similar clay drinking vessels dis- covered at Pompeii. They are the precise * Trulla.' Martial, iv. 46, xiv, 106, speaks both of the colour and the materials of those GLOSSARY.] ALCARAZZA. 227 water-coolers of Egypt (Fig. 68), called hardach, are now made at Khenneh, in Upper Egypt, in large numbers; and are so Fig. 67. Alcarazaa. (Coll. Auldjo.) Fig. 68. Water Cooler. Egypt. (British Museum. cheap, that one is seldom used a second time. They are very tliin, and are perfumed by placing a piece of gum mastich upon a Kghted coal, and inverting the vessel over it.^ They have not varied in form from the ancient type.f Water-coolers are made in Persia, at Cora, according to Chardin, who was in that city in 1672. They are white, and are first moistened with rose- made at Saguntum, where they are still prepared in great quantities ; they are not unlike the ancient Choolehs of Egypt, which are made of the same material, and for the same purposes, and represent the ancient Canobic a-rariKa (Statika). They were seldom destined to be placed on the table, as their bottoms being pointed and conical, they could not stand upright. This singular form was given to the * vasa fictilia,' or cups used at the sacrifices of Vesta, which would have been defiled had they touched the ground. The Alcarazzas are now made in large quantities at Andujar, in Andalusia," — Hand-Book of Spain. * Athenseus mentions that vases were made at Coptos perfumed with myrrh, mastick (Schinus, Gr. ; Pistacia Lentiscus), and other aromatic plants, which deprived the wine of its intoxicating property. These substances must have been introduced after the baking of the vessel. + A great portion of the population of modern Egj'pt is engaged in making pottery, q2 228 ALCARAZZA. — AMPHORA. [appendix. water, and afterwards suspended enveloped in wet cloths. These coolers can be used only five or six times, as the pores are soon stopped up.* The ancients were well acquainted with the pro- cess of producing cold by the evaporation of water. "We find that the soldiers of the army of Antiochus cooled water in vessels of clay, which they put during the night upon terraces, where children were employed to keep them moist; thence it was poured into large amphorae covered over with straw, which kept it fresh. In the time of Galen, vessels of earth filled with water were suspended in the windows, in order that the current of air might render it cool.f These vessels are not of use in the temperate climates of Europe, their ef&cacy depending upon a high degree of temperature, and a dry atmosphere. Amphora, Lat., from a/xa««im, through- out this article. 232 BASE. — 'BEAKER. [appendix. painted and enamelled, with the arms and motto of the tings of Granada, — "There is no conqueror but God/^ The date of its manufacture appears to be about 1300. This tile appears, by another specimen, to have been copied in a very inferior style in 1400. A Tile : Moorish, fine quality ; pattern a star, to imitate inlaid work. This also appears to have been copied, in a stamped and inferior style, at a later date. A Tile : Moorish, forming part of the paneUing of a dado of a wall, inlaid, fine, and as early as 1300. Tliis has also been copied, in a stamped and inferior style. A Tile of Spanish manufacture, from the Alcazar of Toledo, previously to the time of Charles Y., about 1490. The pattern is stamped ; colours wliite and yellow. A Tile of the same class, from Toledo, with the arms of Castile and Leon, of the period of Charles Y., about 1525. The pattern is stamped. In the Mayor's Chapel, at Bristol, there exists a pavement of tiles of Spanish manufacture (Azulejos), which were probably imported for this special purpose by some one of the numerous Bristol merchants who had great traffic with Seville in bottles. They are engraved in " Lyson's Antiquities of Glou- cestershire." Base. Pied, Ft. — ^The bottom or solid support of a vessel, which is either simple, or formed of various ornamental shapes, or consists of feet, and thence called a tripod (Fig. ii) base. Basin. Bacino, Ital. — ^A cup or bowl used to hold water for wasliing the hands, and other purposes; that used for broth {houillon), with cover, handles, and saucer, is called " JEcuelle." Beaker, Becher, Ger., Beher, Butch, Bocal, Fr. — Menage derives the Italian Bicchiere from the Greek /3tKos, "va-s sive uma habens ansas'' (FLesych). '^A beaked cup."" — Skinner. '^A cup that has a spout." — Thomson's Dictionary, In the Langue Eomane, " Bee " signifies a drink. GLOSSARY.] Bl^NITIER. — BOTTLE. 233 "Did they coin * * * ^ bowls, and flagons Int' officers of horse and dragoons ? And into pikes and musqueteers Stamp beakers, cups, and porringers ? " ffvdibraSf p. i, c. ii. ** He lives, and o'er his brimming beaker boasts." Cowper's Task, b. vi. From the above, it is clear that the Beaker is a vessel having a handle, and a spout or beak, and not having a cover as a tankard. It corresponds, therefore, with the publicans' common pewter pot in general use. The Chinese beaker, so called (Fig. 48), has no resemblance in shape to the above, being without beak or handle. It probably owes its name to some local term with which we are not acquainted. Benitier, Fr. — ^A small vessel (the lip of which is generally in the form of a shell), for holding holy water ; often made of enamelled pottery. (Fig. 9.) Biscuit. — ^This term is applied to hard porcelain before it is glazed, and when it is without gloss {matte). Body. Bauch, Ger. — That part of a vase, bottle or jug, which may be said to correspond with the body in the human figure. Its shape is either simple, or a combination of two {hiforrne) or more forms. The IVench term it jtanse. They also use the word pourtour, to indicate the body or area of a vase or dish. BoTTCHER Ware. — A fine red stoneware which was made by a chemist of that name, at Dresden, and which led to the discovery of porcelain in Europe. (See page 77.) Bottle. Bouteille, Fr, — A vessel used to contain liquids, with a long neck and narrow mouth, in the form of the ancient leathern bottles, and mostly spheroidal (Fig. 71). When it is flattened at the sides it is termed a pilgrim's bottle {bouteille de voyage, bidon). (Fig. 13). The horizontal handles and perforated base, which we find on such bottles, are for a cord or strap to be passed through, for the convenience of carriage. (See coloured plate, '^ Pilgrim's Bottle." ) These bottles were of very early use. Many 234 BOTTLE. — BOX. [appendix. have been found in the Theban tombs (Fig. 72). The gourd-shaped Oriental bottle (Fig. 54) finds its prototype in South American Fig. 71. Bottle. Persian Fayence. (Coll. Marryat.) Fig. 72. Pilgrim's iJottle. Egypt. (British Museum.) pottery. The double or yoked bottle {bijugue) is found in Egypt (Fig. 73), and again in Chili (Fig. 74), and Peru (Fig. loi). Fig. 73. Twin-joined Bottle. Egypt. (British Museum.) lig. 7^. Double Bottle. Chili. {British Museum.) Bowl. Bol, Jatte, Ft. Schale, Ger. — Hemispherical vessels, wider than they are deep, and larger than the cup, which is deeper thaiwt is wide. Thejatte is larger than the dol. Box. Dose, Ger. — A snuff-box, or, when of larger size, called a Casket ; always with a cover. The Dose (Ger.) is flat. The Bilche (Ger.) is high. GLOSSARY.] BRICKS. — CANDLESTICK. 235 Bricks. Brique, Fr, Backstein, Ger. — The simplest form of pottery made in a mould. They are either sim-dried (See " Adobe") or burnt in the kiln. The building of Babel attests the antiquity of brick-making. The Babylonians used both kinds of bricks, and the cuneiform characters with which many of them are inscribed, are subjects for interesting, though hitherto unsuccessful research. The Greeks employed bricks to a great extent. The walls of Athens were of brick, so was the house of Croesus, and the celebrated tomb of Mausolus, the seventh wonder of the world, though ornamented with such costly decorations in marble as to call forth the indignant exclamation of the pliilosopher, was built of brick. Augustus is said to have found Rome of brick, but to have left it of marble, yet brick was stiU employed in many of the most sumptuous edifices, — ^the Pantheon, the Temple of Peace, the Thermae, &c. Every Eoman brickmaker had his peculiar mark, wliich he was enjoined by law to affix to his work, such as the figure of a god, a plant, or an animal, encircled by his own name ; often with the name of the place, of the consuls, or of the owner of the kiln or the brickfield."^ BucAROS. — ^Vessels of Japan stoneware (red and brown), so called by the Portuguese, who first introduced this pottery into Europe. The same ware was afterwards made by Bottcher at Dresden, and by the Elers at Bradford. Burnt in. — A term used to distinguish the painted from the enamelled porcelain, the colours of the former being burnt in with the glaze ; whereas, in the latter, the colours are laid on after glazing. Camaieu, Fr. — A surface of one uniform colour, burnt in at the first baking, such as the lapis lazuli blue of fine Oriental porcelain. Can. Kanne, Ger. Canette, Fr. — Of metal or earthenware, of cylindrical form. (Fig. 35.) The Scotch term *r a chimney-pot. Candlestick. Bougeoir, Fr. — These were anciently made solely of pottery. A specimen of the rare Eaience of Henry II. is given * Seroux d'Agincourt. Revue des Fi-agmens, p. 32. 236 CANDLESTICK. — COLOUE. [appendix. (Fig. 28), and a curious one of old English manufacture (Fig. 44). The porcelain chandeliers made at Dresden are extremely beautiful. Canister. Buchse, Ger, — A box used for holding tea, introduced from China. Celadon. — " Couleur entre le bleu et le verd. Par le caprice des Dames de la Cour cette couleur a ete ainsi appelee de Celadon, personage du Roman de T Astree. — Menage, The term was originally applied to the soft sea-green colour upon pieces of old Oriental porcelain, wliich command a very high price. The colour is put on while the clay is yet moist, and burnt in at the first baking {le grand feu), which process gives a peculiar softness to the colour. (See page 111.) This term has, however, since been applied in Prance to all porcelain, of whatever colour thus manufactured.* China. Porcelaine, ¥r. Porzellan, Ger. — ^Is formed of paste which is translucid, whereas the paste of pottery is always opaque. Coffee-Pot. CAFETiiiRE, Ff, — A vessel used for coffee, generally with a long spout (gargoulette). (Fig. 61.) Cologne Ware. Gres-Cerame, Ft, — Stoneware of very singular forms and designs, made on the Ehine and in Planders, and which was imported from Cologne in the sixteenth century. (Figs. 35 to 42.) In one of the Lansdowne MSS. mention is made, that in the year 1581, " the potts made at CuUein, called drinking stone potts," were first imported into England by Garret Tynes, of Aken, or Aeon, (Aix-la-ChapeUe) who had previously suppHed all the Low Countries. Colour. The fracture, not the surface, determines the colour of the paste of common pottery, which, according to the material employed, is either dirty white, yellowish, red, brownish, or ashy grey colour, increasing in darkness up to black. In the fine stoneware of Wedgwood the paste is artificially coloured See Catalogue du Mus^e Ceramique (page 277), where above twenty varieties of colour are enumerated. GLOSSARY.] COLOURS. — COMPOTIER. 237 throughout by the mixture of a metallic oxide. In porcelain the paste is, or should be, nearly white and translucid, and the colours are laid over it. As regards the external colouring, the fine blue upon the old Nankin Porcelain, the ruby upon the egg-shell plates as weU as the soft sea-green, the verdigris, and the imperial citron yellow, constitute the choicest specimens of Oriental colours. The best European colours are the ruby found upon the old Majolica of Pesaro, the Bleu de Roi, Turquoise, and Eose du Barri upon that of Sevres, the claret of Chelsea, and the blue of Derby and Worcester. Colours. These are all prepared from metallic oxides, ground down with fluxes or fusible glasses. When painted, the por- celain is placed on the enamel kiln [moufle), when the fluxed colours melt and fasten to the glazed surface, forming coloured glasses. (See " Kiln.") Blues are made from cobalt, varied by the addition of the oxides of tin and zinc. Green — Oxides of copper. Fine greens from protoxide of chrome. Bed — ^Nitrate of iron, chromate of lead, and muriate of man- ganese. Pink — Subchromate of tin Bose Colour — Gold and tin (precipitate of cassius) with a little silver. Brown — Chromate of iron or antimony, lead and manganese. Orange — Antimony and tin. Yellow — Antimony, tin and lead, and chromate of lead. Blach — Oxide of platinum or iron, cobalt, nickel and anti- mony. White — Arsenic and tin. Gold is appHed to china in the state of amalgam, ground fine in turpentine, with a metallic flux, and afterwards burnished with agates. CoMPOTiER, Fr. — A shallow dish in which dried fruits are served up at table. (Fig. 16.) 238 CONES. — CRACKLE. [appendix. Cones, Sepulchral. — Small Egyptian conical vessels, in wliicli are found the mummies of birds and other animals. (Fig. 75.) Fig. 75. Mummy Cone. (British Museum.) Conjuring Cups, Tasses a Surprise Hydraulique, Fr. — See page 112. Cover. Couvercle, Fr. — The portion which serves to cover any vessel, &c., and is either flat or dome-shaped, conical, &c., with or without a knob {boiiton) at the top. Crackle. Craquel:^e, Fr. Krack-Porzellan, Ger. — The name given to those pieces of Oriental manufacture, in which the glaze appears cracked all over into^ small fissures, occasioned, in the opinion of M. Brongniart, either by its being suddenly cooled, or by the unequal expansion of the glaze and the paste {biscuit). Dr. Klemm, however, states that though the glazing seems at first sight to have cracked, and has quite the appearance of stoneware cracked or marked by long use, on closer observa- tion the surface is found to be perfectly smooth, and the vein-like numberless cracks are under the glazing, and in the material itself. When these cracks [trezalures or tressaillures) occur in small regular figures, the china is most esteemed and sold at a liigh price. Tlie French call it Porcelaine truitee. It is also called "Snake Porcelain,'^ and, by the Chinese, GLOSSARY.] CEAZE. — CRUET. 239 Tsoui-ki. It is said that the Chinese do not know now how to produce this crackle, and none is now imported with tliis peculiarity. The blackish colour of the cracks appears to have been applied after the baking. Craze. — A technical term to denote the cracking of the glaze, owing either to its imperfect fusion in the kiln, or to the ware being withdrawn from the kiln before it is properly cooled, when the glaze cracks at the sudden variation of temperature. Crock, Crockery. Crocca, Ang. Saxon, Krug, Ger., KauiCK, Butch, Of uncertain etymology: perhaps so called from its brittle- ness or liability to crack. A vessel made of clay, and dried by heat. *' Like foolish flies about a honey-croc^." Fairie Queen^ Ixv., c. ii. '' As she was hurrying him away, his spurs take hold of her petticoat, his whip throws down a cabinet of china. He cries. What! are your crocks rotten?" — TatleVj No. 37. '* As he began to twist and sprawl, The loosen*d stones break from the wall : Down drops the rake upon the spot, And after him an earthen pot. Reeling, he rose, and gazed around, And saw the crock lie on the ground." SoMERviLLE.^" Thc Happy Disappointment.'" The word crock is still in common use in Kent and Sussex to denote a vessel of earthenware. Crockery. Paience fine. Ft. — Fine earthenware, as Queen's ware, &c., first made in Staffordsliire about 1760. Crouch Ware. A kind of pottery made at Burslem in 1740, in moulds of brass or metal (Figs. 32 and 33), It is also caUed " salt glaze ware.'' Cruet. Burette, Ft. — Cruets or Crewetts, small vessels of glass or metal, to contain the wine and water intended for consecration at the altar. The bodies should be made of crystal, glass, or some other transparent substance, to enable the celebrant to 240] CKUET. — CUP. [appendix. distinguish between the wine and water : and this is positively ordered by the existing Eoman Catholic rubric, although few crewetts are made in the present time in accordance with it. In the old English inventories they are generally described as of silver. In Dom Filibien's Description de I'abbaye de St. Denys, Plate III. of the Treasure, he has figured a pair of crewetts which formerly belonged to the Abbe Suger ; they are of crystal, mounted in silver, gilt, and set with precious stones."^ "Deux enfants de Chceur en tuniques portent chacun une grande burette d^ argent de la mesure d'un pinte oii sort 1' eau et le vin, ces grander burettes sont du temps qu ^on communioit sous les deux especes."t They have sometimes the initials A (aqua), and V (vinum), introduced when made of metal. Much larger vessels were used when the communion was received under both kinds. (See "Magon.'^) A basin was sometimes added, with a separate cruet for the celebrant to wash his hands. The term is now applied to the common domestic vessels used at table. Cup. Tasse, Fr. Tazza, ItaL Napf, Ger. — A small hemi- spherical vessel, more or less flat, used for drinking. Those for hot liquids have handles attached. The Chinese have a double cup, without handles, the exterior one serving the purpose of protecting the fingers. (See page 117.) The ChaHce [Jcelch, Ger.) and the classical Italian Tazza have both stem and base. Cup, Tea, Coffee. — The forms of these are various, and are described in the " Description du Musee Ceramique " as cyHndrique, hemis- pherique, caHce, campaniforme, turbiniforme, oviforme, semi-ove, ovoide, semi-ovoide, cylindro-ovoide, turbino-cyHndrique, quad- rangulaire, polygone, &c. Sometimes without a handle, some- times with one or two. Cup, Drinking. — ^Drinking cups have been made in every variety of form, those of the civilised nations of antiquity bearing much resemblance with the ruder designs of the New World. From * Pugin's Ecclesiastical Ornaments. + St. Galien de Tours. GLOSSARY,] DEINKING VESSELS. 241 Chili, we have a drinking vessel in the form of a fish (Fig. 76), and it is interesting to compare a Peruvian drinking cup in the r FiK.76. Drinking Vessel. Fish. Chili. (ColL Marryat.) form of a human head, used by the Incas (Fig. 77) with a Greek vessel (Fig. 78) of similar design. Perhaps one of the most singular forms of a drinking vessel that has been suggested is Fig. 77- Drinking Cup. Peru. (Coll. Beckford.) that of the human leg, of which a figure is given (Fig. 79) from one in the British Museum, which was found at Vulci, and 242 DRINKING VESSELS. [appendix. similar specimens exist in the collections of Italy. One at the Museo Casuccini at Chiusi^ is in the shape of a leg, kneeling, with a human face at the upper part. Fig. 78. Drinkinff Cup. Greek. (Coll. Museo Borbonico.) Fig. 79. Drinking Cup. Vulci. (British Museum). A similar form is found in old Swiss pottery, and puzzled collectors until it was explained that Marshal de Bassompierre, when about to return from his embassy to Switzerland,* had called his friends together that he might drink their health in a parting cup, and finding the usual cups too small for the purpose, he took off one of liis military boots, filled it with wine, and drained it to the bottom, before he parted from the company. In the Musee Ceramique there is an earthenware goblet in the form of a military boot, painted in blue, and ornamented with arabesques. This form is also to be found in glass. The Germans sometimes imitated a helmet to form a drinking cup, but the origin of this is more readily accounted for. Tor other curious forms we refer to "Ehyton,'' and we * He was sent in 1625. [glossaby. delft ware. ELIZABETHAN WARE. 243 also give a figure of one of those singular drinking cups painted with eyes, which are common in Sicily, and are found more plentifully at Vulci than in any other site (Fig. 80*) in Fig. 80. Cylix. Vulci. (From Brongniart.) Etruria. The meaning of these eyes has not yet been satis- factorily determined. There is some plausibility in the opinion that these eyes were charms against the evil eye, in which the ancients believed as strongly as the modem inhabitants of southern Europe. Delft Wahe. Faience Hollandoise, Fr. — ^Fiue earthenware painted and glazed, so called from the town of Delft, where it was first made. Dish. Plat, Ft, — A broad wide vessel in which food is served up to table. The small Greek dish is called a Patiua. The German Schale mostly denotes a dish without rim (Fig. 53); Schussel (Ger.), always with a broad rim. (Figs, l, 18, 19, 47.) Ears. Oeeilles, Fr. — Small protuberances upon a vessel, serving the purpose of handles. (Fig. 43.) Egg-shell China. — A very thin and transparent description of porcelain made in Chiua, somewhat similar in appearance to an egg-sheU. Elizabethan Ware. — A kind of fine earthenware supposed to have been made under the patronage of Queen Elizabeth, and to * This cup is placed in a foot or support, which is not given here. r2 244 ENAMEL. — FAIENCE. [appendix. have been moulded from the enriched chasings of the silver plate of that period. (Figs. 29, 30, 31.) Enamel. Email^ Ft. {en-email). — An opaque vitrifiable composi- tion used for coating pottery, in which tin forms an essential ingredient. (See "Glaze.'') Enamel colours are placed over the glaze. EwEE. AiGUiEEE, Ft. — A vcsscl with beak and handle for holding water for washing the hands. Ewers and basins are very fre- quently ornamented with the same pattern. See coloured plates, " Majolica Ewer " and " Capo di Monte Ewer/' with Basin. (Fig. 64. Also Figs. 7 and 26.) Eaenza. Ware. Majolica. — So called from the little town of Faenza, near Bologna, which was one of the earliest sites of this peculiar product. The synonymous distinction is nevertheless curious, for Majolica does not appear to have been first manu- factured there, nor is it ever contended that its fabric attained greater or earlier celebrity than its neighbours and competitors — Pesaro, Gubbio, or Urbino. The designations of EaffaeUe and Umbrian ware are more natural and intelligible. Eaience, Fr. — Faience, Fayence, or Fayance,* is the old French term, under which were comprised all descriptions of glazed earthenware, even inclusive of porcelain, and, to a certain extent, continues so, — corresponding in its general use to the EngHsh word crockery. The name is commonly supposed to be derived from Faenza ; but it may well be doubted whether upon any authority much to be relied upon, since neither histo- rians nor topographers seem to have considered the matter worthy of their attention or examination. Moreri's opinion can only be guessed at ;t while Menage, after distinctly stating the term to be taken from Faenza, says : — " II se fait aussi de la Faiance * " Maty ecrit * Fajence,' — c'est une (Fayence) avec Faenza, ville d'ltalie, au faute ; il faut ' Fayence ' par un y grec, ou sujet de la vaisselle qu'on fait dans cette * Faience,' comme M. Corneille." — Diet. derniere ville." ^- Moren, Diet. Hist, de Trevoux, Paris, 1721, torn. ii. Paiis, 1 75 1 . t "Quelques auteurs confondent ce bourg GLOSSARY.] FAIENCE. 245 en Provence dans la petite ville de Paiance;'^* and then adds, upon the authority of Le Duchat, — " Mezerai^ dans sa Grande Histoire, Paris, 1651, torn, iii., p. 978 — pretend que c'est de- la, et non pas de Paiance d'ltahe, que cette poterie a pris son nom."t A reference, however, to the above passage at once shows the danger of a bHnd quotation. Mezerai is enumerat- ing the fortresses, rapidly reducing by Lesdiguieres in his pursuit of the Duke of Savoy in 1592. It is the only mention he makes of the Httle town, and his words are simply these : — "Payence, plus renommee par les vaisseUes de terre qui s'y font, que par sa grandeur, ny par son importance.'^ His testi- mony, therefore, goes no further than to establish the fact of the early celebrity of the pottery of Payence. In like manner, Hofmann corroborates its high keramic reputation, and caUs the town by its ancient name ; | but is quite silent as to its rise and origin. On the other hand, the only evidence we have in favour of the higher antiquity of its fictile fame, as weU as in support of its claim to originality of title, is that incidentally cited in a work of M. Petit Eadel, the hbrarian of the '' Biblio- theque Mazarine.'^ § Although simply suggestive and unex- amined, it becomes, as opposed to the aU but total silence of his more indifferent predecessors, fairly entitled to the attention of the present age. The opportunities they had of determining the point may possibly have escaped us. He says in a note : — "Parmi les lettres de St. Gregoire (elu Pape, a.d. 590) on en Ht une, dans laqueUe ce pape remerciait Etienne, Abbe de Lerins,|| pour ecueUes et assiettes que cet abbe lui avoit * Now the chief place of a canton in the J " Faventia, vulgo Faience. Urbec : district of Draguignan, in the Department of Provinciae in Gall : — cujus figlina laudan- the Var ; between which and the old town tur. Prope amnem Bensouem. 5 leuc : a of Grasse, it lies nearly equidistant. It is Grassa in Occ : totidem a Foro -Julio in only a few miles from the old castle and Bor." — Lexicon Universale, Leyden, 1698, now obsolete port of Frejus (Forum-Julii), § Recherches sur les Bibliotheques Anc. and the same from Cannes, where Napoleon et Mod, par Louis C. F. Petit-Radel. landed on his return from Elba. Its pottery Membre de I'lnstitut et de la Legion is still admired, and in request. d'Honneur. — Paris, 1819, p. 41. t Menage, Diet. Etymol., Paris, 1750, || Lerins— two small islands opposite to tom. i., p. 571. Cannes, in the Mediterranean : — the Lero 246 FAIENCE. [appendix. envoyees. H est done bien probable que la petite cite de Tayence, dont on lit le nom sur nos cartes entre Grasse et Draguignan, existait avant le Sixieme Siecle. Nous avons observe, par nous-memes, que les villages de toute cette cote sont encore occupes h ce genre de manufacture ; et nous y avons appris que les Genois exercent de temps immemorial ce commerce sur toute la cote d^Espagne et de Portugal ... On voit assez d'ailleurs les rapports du nom de la petite ville de Fayence avec celui de I'ancienne Faventia, dont Tite-Live et Pline ont parle.'' If there are no records to throw a doubt upon the existence of a manufactory of pottery at Fayence during the sixth century; nor any local evidence to invalidate the statement made to M. Petit-Radel by the present inhabitants of the country, that a trade in the article had been carrying on upon their coast from time immemorial, — the inference is fair enough that the Abbot's present was of crockery. There can be notliing more natural than that an abbot of a monastery so near its site, who was desirous of making a present to his superior, should select for the purpose a product of the neighbourhood in which he lived ; nor anytliing more probable than, if that fabric produced cups and plates, that he should send what was in his day considered a great luxury. As regards Faenza, — ^if that town produced ornamental pottery at the period (and the abbot was hardly likely to have sent any other), it must not only have been of a very superior quality, since it conferred its name on the pottery of other countries, but as such, must doubtless have become common among the wealthy citizens of Eome ; in which case it would have been a poor compliment to send the pope a present of articles he could procure so much better at home. But ornamental pottery, in point of form or colour, does not appear to have been revived in Italy until the tenth century; and and Planasia of the ancients. Lero — the name of St. Honorat, in honour of that larger of the two is now called St. Mar- saint, who was the founder of the celehrated guerite. Planasia or Lerina bears the monastery so long existing there. GLOSSARY.] PAYENCE. — FLAGON. 247 Faenza, in particular, is nowhere mentioned as having dis- tinguished itself in '' poterie de luxe " before the fourteenth century. The geographical connection between Fayence and the Faventia of the Eomans, suggested by M. Petit-Eadel is perhaps not less probable. The colony mentioned by PHny as situated at the foot of the Pyrenees, on the coast of the Mediterranean, in the country of the Gascons (Vascones), and surnamed Paventia (cognomine Paventia), comes too near to the present site of Payence to be altogether disregarded. It might be useful to trace the origin of a name so frequently given by the Romans to their settlements. Besides Paenza, there is the above district in their colony of Barcino (now Barcelona), and another in Andalusia, which is supposed to have been situated somewhere between Alcala Eeal and Ante- quera. The old word Payence from the Latin " fagus " — a beech tree, has become almost obsolete in Prance. In Geneva, however, to the present day, beech-wood is still sold in the timber markets as '' De la Payance.^' Payence de Henei Deux. — ^A hard pottery of peculiar character and design, supposed to have been made in the reign of that monarch, in Prance, by an Italian artist, probably one of the Delia Eobbia family. (Figs. 26, 27, 28.) PiCTiLE. PiCTiLiA. — An adjcctive, meaning " fashioned," as " Yasa fictilia," but the plural is now generally used as a substantive to express any vessels made of clay. PiGURES. — These are single, in groups, or attached as ornaments to a piece, and are of every form and variety. Under this descrip- tion may be included the Pictile Deities of the Egyptians, Mexican, and other nations, as weU. as the exquisite productions of the Meissen and other manufactories. Plagon, Plaggon, PLA90N, Ft. — '^ A two-quart measure," (Thomp- son) ;« of wood," (Dr. Lye) ; "of leather," (Cotgrove). The original form appears to have been that of a wine skin, or flask, such as that of Plorence, which is supposed to be derived from a drop of water on the point of falling. Rabelais (b. i., c. 5) 248 FLASK. — FORMS. [appendix. calls a riapon " une bouteille a vis ; '^ that is, with a screw or cover over the top. It was probably shorter in the neck, and less spheroidal than the flask. When the communion was administered under both kinds to the laity, much larger vessels were required than when the priest only received it. The crewet (See "Cruet'''), which contained at most two or three wine glasses, was put aside for the flagon which was ordered to be used in the rubric at the Reformation. Either from motives of economy or from bad taste, a vessel in the form of the tankard, only higher, has been substituted for the flagon in most of the communion plate in this country. It is to be hoped, in this age of conformity with the rubric, the flagon will be restored. Tlask. Elasche, Ger. — A bottle with a spherical body and narrow neck, but longer than the flagon. EoRMS. — These are very numerous, and are derived from a resem- blance to such simple forms as a globe {spherique) (Fig. 81); a Fig. 81. Cooking Pot, Vellore. (Sir E. Buraes.) cyhnder {cylindrique) , a disk {discmde), (Fig. 41); an egg [ovmde), (Fig. 56) ; flowers, such as the lotus, the campanula, lily, tulip. GLossABT.] FORMS. — FUNEREAL. 249 &c. : these prevail in the ancient Greek pottery. Also from fruits, such as the oHve (which form in later products has been so elongated, compressed, blown out and distorted, as to lose all na- tural grace), the apple (joomiforme) , the pear {p^riforme), (Fig. 85); the gourd, double and triple (Fig. 54). Other forms are derived from a leathern bottle or flask {lageniforme) , a spiudle (fusiforme), a helmet [forme de casque), a purse {hursiforme) , a riQg {annuliforme) y (Fig. 82) ; a cylinder [cylindriqiie), funnel- Fig. 82. Annular Vase. Campanian. (From Brongniart.) shaped {infundibuliforme), (Fig. 80). Another form is derived from the shell Turbo [turbiniforme), but might more clearly be defined as resembling the stem of a ship. Angular shapes are formed in a mould, such as the cubic, the hexagonal, polygonal, &c. and lastly, the forms of the head (Figs. 77, 78), legs (Fig. 79), and other members of the human figure, of animals, birds, fishes (Fig. 76), reptiles, &c. Two or more vessels are sometimes found joined together in Egyptian and South American specimens. (Figs. 73, 74, 101.) The forms of the latter pottery are extremely bizarre. (Figs. 102, 103, 104, 105.) FuNEEEAL. — ^This term has been erroneously applied to all pottery found in tombs, even where the utensils have no relation to funereal purposes, but were probably in common use. There have been found, however, in Corsica vessels of earthenware, which may strictly be called " funereal.'^ Though the precise period of the fabrication of the funereal 250 FUNEEEAL. [appendix. vessels found in Corsica is not ascertained, they must be con- sidered of very ancient date. These vessels, when found entire, at first ap- pear completely closed up, and no trace of joining can be discovered. But it has been ascertained that they are com- posed of two equal parts, the end of one fitting exactly into the other, and so well closed that the body, or at least the bones which they contain, appear to have been placed witliin them before they were baked upon the kiln. Dio- dorus Siculus,* in speaking of the usages of the inhabitants of the Balearic Isles, states that these people were in the habit of beating, with clubs, the bodies of the dead which, when thus rendered flexible, were deposited in vessels of earthenware. This practice of the Corsicans coincides singularly with that of the Coroados Indians, who inhabit a village on the Paraiba river, near Campos, in the Brazils. They use large earthen vessels, called camucis, as funereal urns. The bodies of their chiefs, reduced to mummies, are placed in them in a bent posture, decked with their orna- ments and arms, and are then deposited at the foot of the large trees of the forest. In a note, J we give the whole extract from Fi(C. 83. Half of a Funereal Urn Corsica. (From Bron?niart.t) * Book V. chap. i. + Brongniart, torn, i., p. 456. X " Les Coroados avaient anciennement la coutume d'enterrer leur chefs d'une maniere particuliere : la depouille mortelle do ce chef revere etait renfermee dans un grand vase de terre cuite nomme ' Camucis^ que Ton eiifouissait assez profondement au pied d'un grand arbre ; on en decouvre quelquefois aujourd'hui dans les ddfriche- ments. Ce8momies,rev6tuesdeleurs insignes sont parfaitement intactes, et sont toujours placees dans leur urne funeraire, de maniere a conserver I'attitude d'un homme assis sur ses talons, position habituello du sauvage qui se repose. Voudraient-ilspar lafaircune allusion a lamortjceteternel repos? C'est ce que le faible ddveloppement de leur intelligence ne personne guerre de supposer le peu de place que le corps occupe dans cette position explique plutot la preference donnee k cette attitude." — Tom. i., page 19 ; Paris, 1834. " Coroados. — Suivant Topinion d'un ecrivain tres respectable, les sauvages du Bre'sil appelles ' Coroados,' seraient les an- ciens Ouaytohazes.- — Ce nom de ' Coroados,' (Couronnes) leur fut primitivement donne par les Portugais a cause de la coiffure de leur chefs, qui effectivement se coupent les cheveux de maniere a se rdserver une espdce de couronne isoMe sur le sommet de la ikiQ.*'— Ibid. GLOSSARY.] FUNEREAL. — GLAZE. 251 Debret's " Voyage au Bresil/' from whose work M. Brongniart's figure is taken (Fig. 84). It represents the funereal jar con- taining the chief as described ; the animal at his feet appears to be a panther or tiger cat. A discovery was made at Salona, in 1825, which proves that amphorse were used for funereal purposes : the amphora was divided in half, in the direction of its length, to receive Fig. 84. Coroado Chief in his Funeral Jar. (From Brongniart.; the corpse, and the two halves were put together again and buried in the earth. The skeletons were found still entire.* Glaze. Gla9UE,e. Yernis, Fr. — The composition used for coating pottery is composed chiefly of lead and silex. That for porce- lain is analogous to flint glass (whence the derivation " glass- ing,'^ or " glazing '') . In fact, this term may be apphed to any substance that covers the surface of the piece, as, for instance, that produced by the decomposition of salt on stoneware. M. Brongniart classes the different kinds of glazing, or vitreous * SteinbUchel, Altertlium, p. %1 . 252 GOMBRON. GREYBEARD. [appendix. substances with whicli pottery is covered when finished, iato three kinds : — Varnish — ^Every vitrifiable substance, transparent and plum- biferous, which melts at a low temperature, generally inferior to that required for the baking of the paste (common pottery, fine earthenware) . Enamel — A vitrifiable substance; opaque, generally stanni- ferous (majolica and common earthenware). Couverte — A vitrifiable substance ; earthy, which melts at a high temperature, equal to that of the baking of the paste (hard porcelain, some stonewares) . The mark caused by the absence of glaze is very apparent in oriental porcelain, the bottom edge being rough and sandy. This defective appearance is obviated m Europe by supporting the piece upon a tripod with very small points. The three ugly marks upon old Chelsea china are caused by the clumsy tripod which was employed. GoMBRON Ware. — The porcelain first imported into England came from the port of this name in the Persian Gulf, beiug the only place iu the east where any English factory existed in the seventeenth century. Erom this circumstance arose the name, origiually given to all Indian ware in England, of " Gombron or Gombroon Ware." When, subsequently, however, the ware came direct from China, the name was change'd to that of '^ China Ware," which it has retaiued ever since. (See page 105.) Greybeard. — An old-fashioned name for an earthen jar for holding spirits. " And, wife, ye may keep for the next pilgrim that comes over the grunds of the greybeard, and the ill-baked bannock which the children couldna eat." — Scotfs Monastery, chap. ix. The jar (Fig. 85), found at Lincoln, is a " Grey-beard." Stone pots, with a bearded mask on the neck, and resembling in shape Fig. 45 were called in the reign of James I. " Bellar- mines," in derision of Cardinal Bellarmin, and in compliment GLOSSARY.] GROTESQUE. — HANDLE. 253 to the king ; Bellarmin^s celebrated letter,* in which he sought to detach the English Eoman Catholics from their oath of Vifc. 85. Greybeard. Lincoln. allegiance, having called forth a rejoinder from the pen of the royal author. Grotesque. Grottesche, Ital. from Grotto. — Distorted in figure and proportion. Also paintings of creatures of imaginary form, chimserse, griffons, centaurs, women with wings, &c., interwoven with flowers and foliage. Such designs are found upon old Italian pottery of the sixteenth century. Prom this style of decoration having chiefly originated from the paintings found at Hercu- laneum, Pompeii, the Baths at Eome, and other subterranean ruins {i. e. grottoes), the term owes its derivation. Handle. Anse, Fr. — ^This is single (Fig. 86), double, and some- times triple, as in the ancient hydria or water-jars, in the Italian orcia, and the English " Tig" (page 63) . Where more in number, they are considered as mere ornaments. In the Musee * "De Potestate Summi Pontificis in Rebus Temporalibus ;" against Barclay, condemned in 1610, by Act of Parliament. 254 HYGIOCERAME. — IMAGE. [appendix. Ceramique, there is a Calabrian pitcher with nine. . Handles are simple, horizontal (Fig. 63, 80), perpendicular (Fig. 21), and interlaced, of various devices and forms, such as serpents, reptiles (Fig. 22), twisted cords, &c. (Figs. 5, 6). Fig. 86. Etruscan Cyathus.* (From BronKniart.) Hygiocerame. Porcelaine de Sante. Gesundheits-geschier, Sa-NITatsporzellan, Germ. — An inferior kind of porcelain, manufactured by M. Prsessel, at Charlottenburg, on the Spree, near Berlin. A considerable quantity of plastic clay is intro- duced into the paste, in order, by producing a less expensive porcelain, to supersede the use of earthenware with lead glazing, which often proves injurious and sometimes poisonous, from lead being soluble in acids in the juice of most fruits when hot, and in boiling fat. Hence its appellation of " porcelaine de sante.^' Above two hundred and fifty workmen are employed in this manufactory. Image. Imago, Lat. — This word was used, among the ancients, more particularly to denominate the portraits of their ancestors. The Greeks and Eomans entertained the greatest veneration for these images, and had them carried in their funeral pomps and in their triumphs. The imagines were figures painted, Cyathus, the single-handled drinking cup, was often represented on the painted vases in the hands of Bacchus, but the two handled cup (Cantharus) was particularly sacred to that divinity. GLOSSARY.] IRON STONE WARE. — JAR. 255 with masks of wax, and were placed in their houses, usually enclosed in cases, but were opened on festival days. The right of possessing these images was one of the exclusive privileges of the Patrician order. With us, the word has a less dignified signification; images being the vulgar denomination of china figures, and of the more humble plaster- ware of the wandering Italian. Ieon Stone Ware. Lithocerame, Fr. — A very fine pottery, made in England, approaching to porcelain in every character but transparency. Jar. Giarro, Ital. Jarre, Fr. Jarro, Jarra, Sp. Tinaja, Sjp. PiTHOS, Gr. — A vessel of simple form, used for holding oil. Fig. 87. Tinaja. Spain. (Coll. Auldjo.) Fig. 88. Tinaja. Spain. {Mus6e C^ramiqne.) fruit, water, grain, &c., and intended for domestic rather than for ornamental purposes. Enormous vessels of this class have been made in all countries from the earliest periods. The ancient amphora, the jars found near Antium,* the jar or tub of Diogenes (See "Pithos"), are all analogous in form to those now Above 6^ feet high. 256 JAE. [appendix. manufactured in various parts of the globe. Large vessels are made in France {cuvier, jarre), principally in Auvergne and in the Pyrenees;* in Tuscany, ia the neighbourhood of Leghorn, where they are called coppo, in Sienna cziro, and ordo m the Florentine territory, t Some of these are of enormous diameter, and of extraordinary capacity. In Spaia, similar vessels are termed tinaja (Figs. 86, 87), and are of the most gigantic size known, some of them requiring twenty men to Hft them from the kiln. A tinaja in the Musde Ceramique at Sevres (Fig. 87), is upwards of 10 feet high, by 5 feet 2 inches in diameter ; and Baron Percy, a surgeon of the Lnperial army, states to have Fig. 89. Koupchine. Caucasus (From Brongniart.) measured some four metres (13 feet 1^ iQches) high, by two metres in diameter. They had probably been tatroduced into Spain by the Moors, as similar vessels are found among the Arabs of Mount Atlas. The oil jars of the "Forty Thieves," in the " Arabian Nights," were probably of this description. They are called koupchines (Fig. 88) by the Caucasian tribes of Armenia,! by whom they are used to contain wine. The one (Fig. 88) copied * They are used for washing, and are 4 feet 7 inches by 3 feet 3 inches, about 3 feet high by 3 feet in diameter. J Parret and Dubois, Voyage autour dii + The orcio in the Musee Ceramique Caucase. measures 1,40 metre x 1,30 = about GLOSSARY.] JAR. 257 from the Atlas to M. Brongiiiart^s work, is nearly 10 feet high by 6 feet 6 inches in its largest diameter. * Gigantic vessels are also made by the Boshmen of the Cape, t and by the Indians of Java, who use them for water, and for holding gold-fishes. Fig. 90. VaseCercle. Egypt. (From Brongniart.) Fragments of gigantic vessels are found on the borders of the Ohio, and the camucio of the Brazilian Indians has been already described. (See " Funereal.") In the class of gigantic pieces may also be placed the vessel that was made to contain the famous turbot [rhomhMs) of Domitian, and for the baking of which he caused an oven to be constructed. % This vessel, according to the estimate of M. Brongniart, cannot have been less than between six and seven feet in diameter. We give a representation of an Egyptian jar from the ruins of Antinoe (Fig. 90) which is made in horizontal circles \cercle) ; sometimes they are striped longitudinally {strie). * 3 metres X 2 metres. The French metre is equal to 39| Engh'sh inches. + Dapiel, Voyage an Cap dc Bonne Esperance. J Juvenal, Sat. iv. 258 JAR. [appendix. Under the article " Jar/' we cannot omit " La Jarra/' or the celebrated Jar of the Alliambra, of wliich we give a representa- tion (Fig. 91).* It is of earthenware; the ground white, the Fig. 91. La Jarra. Alhambra. (From O. Jones's Alhambra.) ornaments blue of two shades, or of that gold or copper lustre so often found in the Spanish and Italian pottery. Tliis beautiful specimen, of old Moresco pottery, together with another similar to it, was discovered beneath the pavement of the Alliambra, and is said to have been filled with gold. Its size is 4 feet 3 inches in height, and % feet 11 inches in diameter. Its com- * It was copied in 1842 at the Manufactory of Sevres, from drawings made in Spain by Dauzats. GLOSSARY.] JARDINIERE. — KERAMIC. 259 panion was broken in the time of Montalla, who used the fragments as flower-pots, until a French lady carried them away. Jardiniere, Fr. — A stand or vessel for holding flowers, but the term is more generally applied to vases of a peculiar form, made at Sevres. Jug. — ^Vase for pouring ; similar to the pitcher. (Coloured plate, "GresPlamand Jug.") Kaolin, Chinese. — ^Decomposed Eelspar or porcelain clay, derived from the decomposition of granite rocks. It consists of silica, and of alumina; and, being mixed with petuntse (a strong clay), forms the composition of the Chinese porcelain. The Dutch, unable to find the materials necessary for imitating the Indian porcelain, imported the white porcelain from China and Japan, and decorated it at home. Kaolin, Fr. Porcelanerde, Ger. Porcelain Clay. — ^The porce- lain clays used in the various manufactures have been already mentioned. That which is used at Sevres comes from the rocks of St. Yrieix, near Limoges. The Dresden from Aue, in Saxony. The English from St. Stephen's in Cornwall. We refer to M. Brongniart's work for the history of the kaolins in use.* Keramic. Keramos, Gr. — ^Etymologists differ as to the derivation of KepaiJLOs. Some consider it, and Monsieur Brongniart among others, to have had its root in the word Kcpas, an animal's horn, which was also frequently used to denote a goblet or jug; either the horn itself, or a vessel made of metal or clay fashioned in that form, being among the earliest drinking cups known. Others, again, deem it to have been derived from epa, earth ; a word, however, which though introduced into every Lexicon, has no authority attached to it, and which Scott and Liddell distinctly state is not to be found in any classic author. TloWou S' €K Kepufiuu fiedviriveTo ro7o yepovTos. — Iliad, ix. 465. * Traite des Arts Ceramiques, t. i., p. 24. 200 KERAMIC. KILN. [appendix. The late M. Broiigiiiart, the talented author of the "Traite des Arts Ceramiques/^ to whom both science and literature, in every thing connected T^ith the plastic art, are much indebted, has furnished us with this term, which has the advantage of comprehending the product of, as well as the material used in, this very ancient handicraft. The Greek word, fcepajuoj, from whence heramic is derived, appears, from the earliest times, to have been applied in its several varieties of KepafMs, a tile; Kepci/xtoy, a drinking vessel; Kepaixlns yrj, potter's earth ; Kepa^xos, a large jar or amphora, — not merely to the plastic clay itself, but to every species of manufacture, in wliich it was used. Thus pots, jars, cups, and dishes, and even bricks and tiles, were all included witliin its range ; whereas the English words, " earthenware " and " pottery," have each a limited and tlistinctivc meaning ; the first being cliiefly applied to articles of tlie ruder and larger description, such as coarse jars and pans ; the second, to the finest products of the fictile art, including even porcelain. The Greek word Iceramens is identical with the Ij^im fyularim, the German topfer, the Ymi\c\\ potier, and English potter. KiT.N. Eouii, Fr — ^The furnaces employed to fire or bake pottery, Fit;'. M Coniinoii Pottery Kiln. and are of tlu-ee descriptions, of which we give representations from M. Brongniart's work, — viz., for common pottery (Fig. 92), GLOSSARY,] KlLiN 261 for hard pottery (Fig. 93), and for porcelaiu (^ig-^t^-.^-vTo pre- serve the fine pieces from the direct action of the smoke and flame of the kiln, tliey are inclosed in cases called " seggars/' Fi;?. y3. Hard Pottery Kiln. [cazettes). The seggars are piled up in layers, so as to fill the interior of the kiln, as represented. (Fig, 94 ) Fig. 94. Porcelain Kiln The first process is the firing, or first baking (le grand feu). 262 jiiLN. [appendix. in which the piece is exposed to a heat of 4717° of Fahrenheit. This transforms the paste into the state of biscuit. The glazing is next applied, the heat of the glazing furnace {le demi grand feu) being 1300° Fahrenheit. Fixing the colours by vitrification is the next process. They are put on the piece either before or after the glazing, according to their strength to resist heat. Those wliich will bear intense heat without volatilising {couletirs d^ grand feu) are put on before glazing. Those, on the contrary, which are of a more delicate nature {couletirs de movfley or enamel colours), are put on after the glazing. The former class is cliiefly employed in China, where the patterns are burnt in ; the latter in European fabrics, where variety of colours and fine paintings are required. The only colours yet discovered which will endure the extreme heat of the first baking without volatilising are, a blue prepared from cobalt, very much used in the Nankin China, and a brown prepared from iron, employed by Wedgwood. More recently a beautiful green, from clu-ome, was discovered at Sevres in 1802, to wliich have been since added yellows from titanium and uranium. These pigments will all resist the volatilising power of heat, and may be employed in the " grand feu." Violets, reds and browns, prepared from manganese and copper, compose an intermediate class [cmdeurs au demi grand feu). The soft paste enamel colours (as in the old Sevres) sink into and incorporate themselves with the glaze. In the hard paste, as in the oriental green enamelled, the Dresden, and modern Sevres porcelain, they remain prominent upon the surface. In fixing colours, it is necessary to ascertain the exact degree of heat they will individually stand without flying. For this purpose, a portion of the colouring substance is attached to a rod, which is passed through an orifice into the furnace, and thus the proper temperature for each colour is ascertained. As different tints require different degrees of heat to fix them. GLOSSARY.] KYLIN. — LATHE. 263 the piece is obliged to be passed through the kibi several times. So many processes are necessary to bring to perfection a piece of porcelain^ and so much risk attending the manufacture^ that it is most surprising there should be so small a number of perfect pieces, compared with the defective, produced in the manufacture of the highest class of porcelain. After having escaped the risk of the first firing and the glazing, a particle of sand scaling off from the seggar may fall upon the piece and injure it irremediably. An over degree of heat will destroy the fine and deHcate colours, which will thereby become absorbed in the stronger ones, and it wiU also cause the gilding to scale off. On the other hand, too little heat will render the tints duU, and this cannot be always remedied even by a fresh baking. Black spots will sometimes disfigure the glazing, and sometimes the colours will dry into streaks, showing the glaze between. Accidental exposure to acid will change the colour of the turquoise and other delicate hues. Kylin. — A strange hideous figure of a fabulous animal ; it is found upon oriental porcelaui (Fig. 49). Lamp. — An ancient vessel used for holding oil with a Kghted wick. It is found of every variety of shape and form, though mostly made of metal. Lathe. — Eccentric movements are sometimes used, by wliich the turner produces ornamental Hues and variations of the shape ; but there are few workmen who are able to execute such beautiful specimens of the turner's art as were common in former times. The Greek potter evidently possessed great mechanical skiQ, as well as taste, in the production of symme- trical forms, and in the application of the ornamental append- ages, wliich never clash with the origiual design of the piece, and he could easily copy the best standard models of excellence. From the similarity in the contours of the Greek pottery to certain geometrical curves, it has been ingeniously inferred that a knowledge of conic sections formed part of the acquirements 264 LEGEND. — LUSTROUS. [appendix. of the Greek potter ; * but as well miglit mathematical science be attributed to the common turner in wood and ivory of modem times^ whose productions show great geometrical accuracy^ though produced merely by mechanical skill. Legend. — ^The motto or words engraved in a circular manner round the head of a person or other representation on a coin, medal, &c. Tlie meaning of this term is similar to that of an inscrip- tion, but the latter chiefly relates to the writing placed in the middle of the coin, while the legend surrounds it. LiTHOPHANiE. Tableaux Lithophaniques, Ft. — ^Porcelain tablets cast in a mould from a model made in wax, which against the Kght have the appearance of being painted in grisaille, the various thicknesses of the tablet being so arranged as to give the effects of light and shade. These tablets are made in great perfection at the royal manufactories of Berlin and Sevres. They were invented, in 1827, by M. de Bourgoing. LuCA BELLA RoBBiA Ware. — ^Thc Ware of that celebrated artist who discovered the art of enamelling upon clay, usually called 'Herra invetriata," (vitrified earth). His works, consist- ing cliiefly of altar-pieces and figures, are much esteemed. Fig. 3 is an Altar-piece {rStahle). Lustre metallic. Lustre Metallique, Lustre Chatoyant, Ft. — A peculiar lustre which is found upon the old Moorish and Majolica wares, consisting of metals laid on so thin as to give them an iridescent appearance. The Burgos and copper lustres are remarkable upon the Spanish pottery, and Maestro Giorgio invented the ruby lustre of Gubbio (page 13). Lustrous, ad^. Lustr:e, Ft. — " Lustrous " glaze. A sHght varnish (vernis) laid on some kinds of pottery to make them capable of holding water {impermeable). Tlie peculiar glaze termed "lustrous" being the only one known to the ancients, and dif- ferent from any other, is found only upon the Greek and the * Sec Report of Proceedings of Society of Arts, held January 19, 1 Another mark. s r p Unknown. On bowl ; blue ground, ara- besque pattern in white. 1 318 MAKES AND MONOGRAMS. — PORCELAIN. ORIENTAL PORCELAIN. > Nankin. . ^m > M ^ 1 3 ^ K, From 1426 to 1436. From 1465 to 1488. ^ These marks were furnished to the Author by Dr. Klemm, Keeper of the Royal Collection at Dresden. MARKS AND MONOGRAMS. — PORCELAIN. 319 Cl^ina — (continued) . Bfl Nankin. From 1573 to 1620. > Other marks of ditto. ^'^ Ditto. i- Ditto. FoKlEN. Stamped. 1^ Mandarin. So called. Blue or red. 320 MARKS AND MONOGRAMS. PORCELAIN. EUROPEAN PORCELAIN. <^ Dresden. (Saxony). From 1709 to 1712. In blue. From 1712 tol715. In blue. X Usual mark. In blue. ,, 1720. During the directorship of HoROLDT. In blue. „ 1778. During the directorship of KoENiG. In blue. MAKES AND MONOGRAMS. ^PORCELAIN. 321 Crermang- \ / -(cwj/z'wtterf). Y Dresden. 1796. During the directorsliip A of Marcolini. In blue. /A J^.^J'C. ,, Royal Porcelain Manu- facture. In blue. ^ YiENNA. (Austria.) Imperial Manufactory. In blue. ® HoCHST. (Nassau.) Usually brownish red. ^ FURSTENBERG. (BrUNSWICK.) ^ Ducal manufacture. In blue. ^ " Another mark. S^ Prankenthal. (Palatinate.) "^ First period. In blue. f n Second. In blue. Mark of Charles Theodore, the Elector Palatine. / w " The initials of J. Hanung, the director. Stamped. i 322 MARKS AND MONOGRAMS. — PORCELAIN. (Kcrmanj)— (continued). Nymphenburg. (Bavaria.) Royal Manufactory. The arms of Bavaria. Stamped. e Blue i| !■ Baden. The blade of an axe in gold. LUDWIGSBURG. (WuETEMBERG.) Generally called Kronenburg por- celain. First period. ^fi^j/* ,, Second period. In blue. The cypher of Charles Eugene, founder of the j manufactory. JC Berlin. (Prussia.) \y\y Royal Manufactory. During the direc- ^ torship of Wegely. ,, First period. In blue. K?K ,, Second period. In blue. (See page 159.) MAEKS AND MONOGRAMS. — PORCELAIN. 323 -(^contintMd). t FuLDA. (Hesse.) In blue. „ On porcelain figures. R EUDOLSTADT. (ThUEINGIA.)* In blue. ^ Grosbrutenbach, #> Seltzerode, Wallendore. 1 Greiner's three manufactories. Yeilsdorf. In blue. L LiMBACH. oooo o ,, Another mark. ^ Ilmenatj, Breitenbach, and LiMBACH. A double L. p. GOTHA. C orGoTHA. 1802. A Anspach. 1 The Thuringiar I marks are taken from the German Economic Cydopeedia. Y 2 324 MARKS AND MONOGRAMS. — PORCELAIN. dSitvmanti—icmtmued), a Gera. (Thuringia.) JEtusiaita. Petersburg. Imperial Manufacture. In blue. Ji Monogram of the Emperor 1^ Nicholas. The porcelain of the time of the Empress Catherine II. ; bears her monogram or the Russian E. fgollanti. A Amsterdam. In blue. Mc L „ In blue. * ^ ^^% % Hague. In gold or blue, b ©enmarft. ^^^ Copenhagen. Royal Manufactory. In blue. MARKS AND MONOGRAMS. — PORCELAIN. 325 Stoitjerlantr. E Zurich. In blue. ^^ m ^ ^^^^N "^^ (Canton deVaud.) „ Another, Belgium. A ToURNAY. In blue or gold. h- Marks not known. Blue. ^ „ On figures. Blue. X „ Ditto. Blue. oEo » 326 MAEKS AND M0K0GRAM8. — FORCELAIK. M^tk^ not knabin—icmtinued). Marks not known. Stamped. Yb CtZ> i orj n, Blue. In red. A lion and cypher iu blue. In possession of Evelyn John Shirley, Esq. In blue. Thin trans- lucid porcelain ; probably German fabrication. In blue. Moulded or reeded surface, ! and a garland of blue flowers round | the rim. Paste and j glaze not unlike i Worcester. MARKS AND MONOGRAMS. — PORCELAIN. 327 CFnglanti. ;^t Ky" Chelsea. 3 Derby. (Earliest.) Imperfect kind of porcelain ; white ground, pale-green border. Mark generally about half the size of this ; the earliest stamped ; rust, red, afterwards gold or red. Usually in pink or violet. Derby-Chelsea. Usually pink or gold. ^ Worcester. In blue or red. c >> In blue, under the glaze. s Shropshire. L J Swansea. Stamped under '* Swansea," in red. Nantgarrow. Name in red, or stamped. 328 MAEKS AND MONOGRAMS.-rPOKCELAIN. miQlmi^—icontintied) . Marks t^ot known. Rather larger than original : mark in indigo hlue, or blue and white early-printed design, in imitation of Oriental. Early period. /T\ ^ tt On similar porcelain ; early- printed manufacture. ^. >> Or rather, perhaps, • JK On blue and white early- printed porcelain, an archi- tectural design of European character or a landscape, with remains of architec- ture. « >» Sometimes white porcelain, with gold edge ; sometimes white porcelain, with small flowers : the paste creamy- A white, light, and very porous ; the gold thickly / \ and well laid on. MARES AND . MONOGRAMS. PORCELAIN. 329 jFrance.* » St. Cloud. From 1702, when it was privileged by Louis XIV. (See page 199.) "^Q^ Chantilly. Blue, sometimes red, under the glaze. DV Menecy. Under the patronage of the Duke de Villeroi. Graved with the hand, rarely in colours. sx Sceaux-Penthi^vre. 1773. rm*. Clign AN COURT. Indicating the period of the protection of the Duke of Orleans. 1750 — 1770. Blue, graved in the moist clay. ■ii A ,^ c 0/^ ,, Cypher of M. Deruelle, manufacturer. 1775 — 1780. Stencilled in red. M , , Wheu under the protection of Monsieur, brother of the king. 1785—1792. Stencilled in red. * These marks are from the " Description du Musde C^ramique." 330 MAEKS AND MONOGRAMS. —PORCELAIN. dTrancc— ( continued). ' M^ Ellioles. Monnier the manufacturer. ' 1766. BR Bourg-la-Uf.ine. 1773. ^R Arras. Blue, under the glaze. H S A Si Paris. Faubourg St. Lazare. Hani'ing, manufacturer. 1773. Faubourg St. Antoine. Morelle, manufacturer. 1773. Faubourg St. Antoine. Souroux, manufacturer. 1773. Gros-Caillou. Advenir- Lamarre, manufacturer. 1773. RueThiroux. "Porcelaine de laReine." 1785— 1792. StencUled in red. Rue de Bondy. Dihl and Guerhard, manufac- turers. In gold or colour, traced with a brush. Rue de Bondy. •• Angou- leme Porcelain. " 1785 —1792. Stencilled in red. MARKS AND MONOGRAMS. — PORCELAIN. 331 iffvanct — (continued). Paeis. CP Rue de Crussol. *' Prince of Wales's Porcelain. " Manufactory of Charles Potter, about 1790. Stencilled in red. Rue Fontaine-au-Roi, called ** de la Courtille," 1773. Blue, in the moist clay. NiEDERVILLER (MeuSE). Cypher of Fr. Lanfray. Stencilled in blue, on the moist clay. Belleville (Seine and Marne). Blue, in the moist clay. SbfRES. 1753 to 1760. Blue. During this period the form of the double L was less flowing than later. (See page 200.) 1760 to 1792. Blue.» ^ Tlie letter or letters within the cypher denote the year in which tlie piece was made, and is explained in another table. 332 MAEKS AND MONOGRAMS. — PORCELAIN. ^XKVltt—icontiTmed) . S^VEES. Republican Period. From 1792 to 1800. These three mono- grams of the French Republic were indifferently employed, always followed by the word *' Sevres," but the custom of marking the date of the piece was not resumed until 1801. RT. cy^ „ At the beginning of 1800, the Republican monogram was dis- continued, and the " Sevres " ^ \ mark alone used. In 1803, eyr^tJ the mark "M NK Sevres" was stencilled in red, which was substituted in 1804—1809 by "M ImpK" (See page 200.) MARKS AND MONOGRAMS. — PORCELAIN. 333 Itals, Spain, antr ^Portugal Turin (Vineup). In blue. Yenice. In brownish red. ^ Bassano (Le Note). In blue or red. « Ploeence (Doccia). Stamped. In gold on the richest specimens. * Naples (Capo di Monte). First period ; stamped. Second period ; blue or red, graved in thp moist claj. K* ^X Madrid (Buen Retiro). In the fine pieces the fleur-de-lis is traced in blue above the glaze, in those of inferior quality it is applied in relief. The monogram of Charles III. is graved in the paste. VA Oporto (Vista Allegre). In gold or colours. i 1 TABLE OP MARKS AND MONOGRAMS OF THE PAINTERS, DECORATORS, AND GILDERS EMPLOYED IN THE aaoijal iHamtfactorg at ^tbxtgy FROM 1753 TO 1800. EXTRACTED FROM CATALOGUE OF THE MUS^E CI^RAMIQUE. MARKS. painters' NAMES. CLASS OP WORKS. j ARMAND. Birds, Flowers, &c. ^ A ASSELIN. 1 Portraits, Miniatures, &c. CA BAR. Detached Bouquets, &c. /3. BARRAT. Garlands, Bouquets. a^ BAUDOIN. Ornaments, Friezes, &c. G. BERTRAND. Detached Bouquets. t BIENFAIT. Gilding. ft T. BINET. Detached Bouquets. 336 SEVKES MAEKS AND MONOGEAMS. PAINTEBS' NAMES. CLASS OF WORKS. J'a f^^l, or M3 y 9- ? C. BINET, (M««) SOPHIA CHANOU. BOUCHET. BOUILLAT. BOULANGER. BULroON. BUNEL, (M«») nee MANON BUTEUX. BUTEUX, (Sen.) BUTEUX, (Eldest Son.) BUTEUX, (Younger Son.) CAPELLE. CARDIN. CASTEL. CATON. Garlands, Bouqiiete. Landscape Figure and Ornaments. Flowers, Landscapes. Detached Bouquets. Detached Bouquets. Detached Bouquets. Flowers, Emblems, &c. Detached Bouquets, &c. Pastoral subjects, Children, &c. Various Friezes. Detached Bouquets. Landscape, the Chase, Birds. Pastoral subjects. Children, Portraits. SEVRES MARKS AND MONOGRAMS. 337 MAEKS. PAINTERS NAMES. CLASS OF WORKS. h CATRICE. CHABRY. CHANOU, (M««) JULIA DUROSEY. CHAPUIS, (the Elder.) CHAPUIS, (the Younger.) CHAVAUX, (Sen.) CHAVAUX, (Jun.) CHOISY, (DE). CHULOT. COMMELIN. CORNAILLE. COUTURIER. DIEU. Mowers, detached Bouquets, &c. Mmiatures, Pastoral subjects. Detached Flowers, Light Friezes, &c. Flowers, Birds, &c. Detached Bouquets. Gilding. Detached Bouquets, Gilding. Flowers, Arabesques. Emblems, Flowers, Arabesques. Detached Bouquets, Garlands. Flowers, detached Bouquets. Gilding. Chinese, Chinese Flowers, Gilding, &c. 338 SEVRES MAEKS AND MONOGRAMS. painters' names. CLASS OP WORKS. DT. P • •• DODIN. DRAKD. DUSOLLE. DUTANDA. EVANS. FALOT. FONTAINE. FONTELLIAU. GERARD. GERARD, (M-") nee VAUTRIN. GIRARD. GREMONT. GRISON. Figures, various sub- jects. Portraits. Chinese, Gilding. Detached Bouquets, &c. Detached Bouquets, Garlands. Birds, Butterflies, Landscapes, &c. Arabesques, Birds, Butterflies. Attributes, Miniatures, &c. Gilding, &c. Pastoral subjects, Miniatures. Detached Bouquets, Light Friezes. Arabesques, Chinese, &c. Garlands, Bouquets. Gilding. SEVRES MARKS AND MONOGRAMS. 839 MABKS. PAINTERS NAMES. CLASS OP WORKS. rtyc^ . / or MR Ji(7h HENRION. HERICQURT. HILKEN. JOYAU. X JUBIN. LA ROCHE. LE BEL, (the Elder.) LE BEL, (the Younger.) LECOT. LE GUAY. LEGUAY. LEVE, (Sen.) Garlands, detached Bouquets. Garlands, detached Bouquets. Figures, Pastoral subjects, &c. Detached Bouquets, &c. Gilding. Detached Bouquets, Garlands, Emblems. Figures & Flowers. Garlands, Bouquets, &c. Chinese, &c. Gilding. Miniatures, Children, Chinese. Flowers, Birds, Arabesques. z 2 340 SEVRES MARKS AND MONOGRAMS. MABKS. s 9 77Z o' M. A J/.eJ. / painters' names. LEVE, FELIX. MAQUERET, (M-") BOUILLAT. MERAULT, (the Elder.) MERAULT, (the Younger.) MICAUD. MICHEL. MORIN. MUTEL. NIQUET. NOEL. NOUAILHIER (M-*) nee SOPHIA DUROSEY. PARPETTE, DLLE. LOUISON. CLASS OF WORKS. PFEIFFER. Flowers, Chinese. Detached Bouquets. Divers Friezes, &c. Bouquets, Garlands, &c. Flowers, Bouquets. Detached Bouquets. Marine and Military subjects. Landscape. Detached Bouquets, &c. Flowers, Ornaments. Detached Flowers, Light Friezes. Detached Flowers, Garlands. Detached Bouquets. SEVRES MARKS AND MONOGRAMS. 341 MABKS. painters' names. CLASS OF WORKS. A- PIERRE, (the Elder.) Flowers, detached Bouquets. A^- PIERRE, (the Younger.) Bouquets, Garlands. J^. €. PITHOU, (the Elder.) Portraits, historical subjects. -^■^ PITHOU, (the Younger.) Figures, Flowers, and Ornaments. i) POUILLOT. Detached Bouquets. HI>. PREVOST. Gilding. ■:>... RAUX. Detached Bouquets. ^-:^ ROSSET. Landscapes, &c. 6^^. ROUSSEL. Detached Bouquets. P.h.. SCHRADRE. Birds, Landscape. M SINSSON. Flowers, Groups, Garlands, &c. 342 SEVRES MARKS AND MONOGRAMS. .-7< ^ • • ♦ OfOOO f PAINTERS NAMES. CLASS OF WORKS. SIOUX. TAILLANDIER. TANDART. TARDI. THEODORE. TREVENET, (Sen.) TREVENET, (Jun.) VANDE. VAVASSEUR. VIELLARD. VINCENT. XROWET. Detached Bouquets, Grarlands, &c. Detached Bouquets, Garlands. Groups of Flowers, Garlands, &c. Detached Bouquets, &c. Gilding. Flowers, Cartels, Groups, &c. Ornaments, Friezes, &c. Gilding, Flowers. Arabesques, &c. Emblems, Ornaments, &c. Gilding. Arabesques, Flowers, &c. MARKS AND MONOGRAMS. 343 CHRONOLOGICAL TABLE OF THE LETTERS EMPLOYED AT THE SEVRES MANUFACTORY from 1753 to 1817 TO INDICATE THE YEAR IN WHICH THE PIECE WAS DECORATED. « Extracted from the '' Description du Musie C^ramique." A B C D E F G H I K L M N O P Q R S T U V X Y Z 1753 1754 1755 1756 1757 1758 1759 1760 1761 1762 1763 1764 1765 1766 1767 . 1768 *1769 1770 1771 1772 1773 1774 1775 1776 AA. BB. CC . DD. EE. FF . GG. HH. II . KK. LL . MM NN. 00. PP . QQ. RR. 1777 1778 1779 1780 1781 1782 1783 1784 1785 1786 1787 1788 1789 1790 1791 1792 1793 The change of era caused this mode of marking the date to fall into disuse, and, from this period until 1800, it is found only on rare examples. In 1801,the custom was resumed, and the letters replaced by the following signs : — An IX (1801) T. 9. X (1802) X XI (1803) . 11 XII (1804) ^ //- XIII (1805) ^^ XIV (1806) gi^ 1807 7. 1808 8. 1809 9. 1810 10. 1811 oz. 1812 dz. 1813 . tz. 1814 q.z. 1815 gn. 1816 . sz. 1817 d. s. From 1818 to 1834, when the date was commenced to be put in full, the year is ex- pressed by the two last figures only. Thus,— 18 for 1818, 19 for 1819, and so on until 1833. * The extraordinary event of the Comet of 1769, suggested to the directors of the Manu- factory the idea of transmitting the remem- brance of it by their productions. A vase was therefore made in a spherical form, with a bronze appendage, representing the long luminous taU of the comet ; and many of the painters substituted for the ordinary mark, which for this year was the letter R, the following figure : — LA FAYENCE. POEME.* Chantons, Fille du Ciel^ Thonneur de la Fayence, Quel Art ! dans FItalie il rcQut la naissance, Et vint passant les Monts, s^etablir dans Nevers, Ses ouvrages charmans vont au dela des Mers. Le superbe Plutus trop fier de ses richesses, Meprisoit de Pallas et le gout et Faddresse ; L'argent plait par lui-meme^ et les riches buffets A la beaute de For doivent tons leurs attraits. Ainsi parloit ce Dieu prive de ta liimiere. " Je me passerai bien de ta riche matiere/' Dit Pallas, " que sert For au besoin des humains ? L'argile la plus vile est prisee en mes mains/' Pallas dans le courroux dont son ame est saisie, De deux terres compose une terre assortie, La prepare avec soin, la place sur le tour. La presse de ses mains qu'elle etend a Fentour, Elle anime du pied la machine tournante, Et forme cette argile avec sa main s^avante. De ce fertile tour, (en croirai-je mes yeux,) Sortent dans un instant cent vases curieux : * Published in the Jfercure de France, for August, 1734. 346 LA FAYENCE. Ces vases sont d^abord faibles daus leur naissance, Sechant avec lenteur, ils prenuent consistance. Puis du feu par degres eprouvant les effets, Deviennent a la fois plus durs et plus parfaits, Ces ouvrages encore n'ont rien que la figure, II y faut ajouter Femail et la peinture ; Get email dont Feclat et la vivacite Des rayons du Soleil imite la beauts, Pallas qui de Plutus dedaigne la richesse, Compose cet email par son unique addresse ; Dans TEtain calcine, dans le Plomb, vil metail, Joints au sel, au sablon, elle trouve un ^mail ; Le tout fondu, devient plus dur que roche ou brique, Le broyant, elle fait une cbaux metallique, Un kit, qui n'est jamais de poussiere obscurci, Elle y plonge le vase en la flamme endurci, Le peintre ingenieux, de figures legeres, Embellit cet email, y trace des Bergeres, Des grotesques plaisans, d^agreables festons, Des danses, des Amours, des jeux, et des chansons, Des Temples, des Palais, des superbes Portiques, Respectables debris des ouvrages antiques. L^illustre Eapbael, de Peintres le Heros, Eaphael qui traita les sujets les plus hauts, A daigne quelquefois s^exercer sur Targile. Son immortel pinceau sur un vase fragile, Pla9a mille beautes, et plus habile encor, H rendit le Hmon plus precieux que l^or. Vous qui de Eaphael osez suivre la trace, Animez votre main d'une nouvelle audace. LA FAYENCE. 347 Cultivez avec soin les regies de votre art, A rinunortalite vous aurez quelque part. De la perfection ce n'est la qu'une image, C^est le feu seulement qui finit cet ouvrage. Pour la seconde fois, Vulcain, pretes les feux, Un email sans eclat ne s^auroit plaire aux yeux. Sans toi, Tazur n'est rien qu'une couleur ingrate, Tu rends cette couleur et vive et delicate, Et Tazur par Teffort de ta flamme, fondu, Dans le sein de Femail se trouve confondu. Muse ! dois-je parler de la noble elegance De Fouvrage, qui doit au moule sa naissance, Dois-je parler enfin, dans mes vers peu vantes Des emaux, des vernis par Pallas inventes ? Du jaune que forma Fantimoine perfide ; Du chimiste adore, mais souvent homicide ? Du verd, ne de Yenus ? du noir, de Mars le fils ? Du rouge, que PaUas montre a ses favoris ? Que vois-je ? j'aper9ois sur nos heureux rivages, UEtranger chaque jour affrontant les orages, Se chargeant a Fenvi de Payence a Nevers, Et porter notre nom au bout de FUnivers. Le superbe Paris, et Londres peu docile, Payent, qui le croira ! tribut a notre YiUe. Les toits de nos Bergers, et les riches Palais, De Payence parses, brillent de miUe attraits, Aux tables, aux jardins, la Payence en usage, Meuble le financier, et le Noble, et le Sage ; On estime son gout et sa simplicite, Et Feclat de Fargent cede a la proprete. 348 LA FAYENCE. Trop jaloTix des succes de rheureuse Fayence, Plutus en son depit exprime sa vengeance, " La Fayence, dit-il, n'a que freles attraits/' Mais Pallas de Plutus repousse ainsi les traits, '' La Payence est fragile ! en est-elle moins belle Le plus riche cristal est fragile comme elle, Un email delicat et qui charme les yeux. Par sa fragilite devient plus prdcieux ; La Porcelaine enfin oil le bon gout reside, Se feroit moins cherir en devenant solide. Plutus, ne blames point cette fragilite, L'argile toutefois a sa solidite, Mieux que For elle garde et sa forme et sa grace, Sur Targile jamais la couleur ne s' efface, Non, le temps qui d^truit la pierre et le metail, Ne sgauroit alterer ni I'azur, ni Femail/' Cest ainsi que PaQas etablit la Payence, Pallas par ce beau trait signala sa vengeance, Mortels, vous profitez du celeste courroux, Pallas en sa colere a travaille pour vous. PlEREE DeFRANAY. THE CASE OF THE UNDERTAKER OF THE CHELSEA MANUFACTURE OF PORCELAIN WARE. FROM LANSDOWN MS., NO. 829, FOL. 21. Many attempts towards this art have been made in Europe for a long course of years past ; the success which has been met with at Dresden, has revived these pursuits in many parts of Europe. The Empress Queen has a manufacture of her own. The Erench king has one, and has patronised and encouraged several ; the king of Naples has one ; the late Duke of Orleans was, at the time of his death, and had been for many years, engaged very earnestly in this pursuit, but none have come up to the pattern they have been endeavouring to imitate. vSeveral attempts have likewise been made here, few have made any progress, and the chief endeavours at Bow have been towards making a more ordinary sort of ware for common uses. This undertaker, a silversmith by profession, from a casual acquaintance with a chymist who had some knowledge this way, was tempted to make a trial, which, upon the progress he made, he was encouraged to pursue with great labour and expense; and, as the town, and some of the best judges expressed their appro- bation of the essays he produced of his skill, he found means to engage some assistance. The manufacture was then put upon a more extensive footing, and he had the encouragement of the public to a very great degree, so that the last winter, he sold to the value of more than £3,500, which is a great deal, considering the thing is new, and is of so 350 CHELSEA MEMORIAL. great extent that it has been beyond the reach of his industry to produce such complete assortments as are required in a variety of ways. This has been a great spur to his industry, so that, notwith- standing some discouragements, the ground-plot of the manufacture has gone on still increasing. The discouragements, besides the immense difficulties in every step towards the improvement of the art, have been from the intro- duction of considerable quantities of Dresden porcelain. It was known that, as the laws stand, painted earthenware, other than that from India, is not enterable at the Custom House, otherwise than for private use, and of course becomes forfeit when offered to sale, as weU as lace from France, or any other unenterable commodity ; and though it was publicly sold in a great many shops, and that there were even very frequent pubKc sales of it, it was hoped that what was exposed to sale, was chiefly the stock in hand, and when that should be got off, this grievance would cease. It has neverthe- less happened quite otherwise, for not only the importations continue, and considerable parcels are allowed to pass at the Custom House as for private use, by which means the shops abound with new stock, and public sales are advertised at the very beginning of the winter, and in large quantities; but there is reason to believe, from the diminution in the price of the Dresden china, that this is done on purpose to crush the manufactory established here which was a project threatened last year. It is apprehended that if recourse is had to the Custom House books, it win be found that considerable quantities have been entered there for private use, besides what may have been allowed to pass as furniture to foreign ministers. This earthenware pays eightpence by the pound when entered for private use ; but a figure of Kttle weight may be worth five pounds, so that the real value of what is sold here will be found to be considerable; and, indeed, it must be so, as this ware makes an important article in a number of great shops, besides the number of public sales during the course of a winter, and the other private ways there are of carrying it about. CHELSEA MEMORIAL. 351 It may be a motive to let it be entered for private use at the Custom House, that great names are made use of there ; but it is to be regretted that either these names are often made use of without authority, or that names are often given for very mean purposes ; and as nobody is named, it may be said that a certain foreign minister's house has been for a course of years a warehouse for this commerce, and the large parcel advertised for public sale on the seventh of next month is come, or is to come from thence. Even the right of entering this ware at all, is a doubtful point, and the affirmative is taken upon presumption, because the law says it shall not be entered for sale. The manufacture in England has been carried on so far by great labour and at a large expense ; it is in many points to the fiill as good as the Dresden, and the late Duke of Orleans told Colonel York that the metal or earth had been tried in his furnace, and was found to be the best made in Europe. It is now daily improving, and already employs at least one hundred hands, of which is a nursery of thirty lads taken from the parishes and charity schools, and bred to designing and painting, — arts very much wanted here, and .which are of the greatest use in our silk and printed linen manufactures. Besides the advantage, great honour accrues to the nation, from the progress made in so fine an art, without any of those aids by which it has been set on foot and supported abroad, nor has there even been any application for new laws or prohibitions in its favour, which has been a rule in every country upon the establishment of new manufactures. The execution of the laws which have all along been in force, and wliich can give no offence to anybody, it is apprehended will answer the purpose ; all that is therefore requested is, that the Commissioners of the Customs may be cautioned with regard to the admission of this ware under the pretence of private use, and that the pubHc sale of it may not be permitted any more than that of other prohibited goods. A few examples of seizures would put a stop to this, and which cannot be difficult, as aU Dresden china has a sure mark to 352 CHELSEA MEMORIAL. distinguish it by ; but if this commerce is permitted to go on, the match between a crowned head and private people must be very unequal^ and the possessors of the foreign manufactures will at any time, by a sacrifice of a few thousand pounds, have it in their power to ruin any undertaking of this kiud here. This must be the case at present with the Chelsea manufacture, unless the administration will be pleased to interpose and enjoin, in the proper place, a strict attention to the execution of the laws ; for if, while the manufacture is filled with ware, these public sales of, and the several shops furnished with, what is prohibited, are to take off the ready money which should enable the manufacture to go on, it must come to a stop, to the pubHc detriment and the ruin of the undertaker, as well as great loss to those who have engaged in his support. CHRONOLOGICAL TABLE THE DISCOVERIES AND PROGRESS OP THE KERAMIC ART. (fbom m. beongniabt.) CENTURIES. YBARS. B.C. KBRAMIC AUTHORITIES, NOTES, ERAS. ETC. COUNTRIES. XX. XIX XVI. X. VIII. VI. ^ 2060? 2122 1900 to 1800 1500 1200 900 to 907 715 592 to 590 507 500 434 to 284 418 Pottery in China. Babylon, embellished by Semiramis. Egyptian Potters. Chorcebus, inventor of pottery. Invention of the pot- ter's wheel, by Talus. The Potters of Samos. College of Potters in- stituted by Numa. Thurianus, Greek vase of the boar hunt. Anacharsis the Scy- thian. The potter's wheel brought to perfection. Etruscan Vases. Por- senna. The Greek cup of Arcesilas. I Grseco- Etruscan I Vases. Thericles of Corinth and Campanian There was at that time a superintend- ent of the Pottery (Stanislas Julien). China. Destroyed by Da- rius in 522 Ena- | Babylon, melled bricks. Figures foimd in the catacombs of Egypt. Thebes. In the time of Cecrops. Very apocryphal. Life of Homer, attributed to Hero- dotus. D'Harcanville. Probably ante- rior to 500. Athenseus. Panofka. Greece. Rome. Greece. Greece. Greece. Greece and Italy. Greece, Southern Italy, and Greek Colonies. 354 CHRONOLOGICAL TABLE. CENTURIES. YEARS. KBRAMIC ERAS. AUTHORITIES, NOTES, ETC. COUNTRIES. Anterior to the Christian era, but without any precise date. I. to III. VIII. III. r to ■{ x.l XII. XIV. XV. XVL-^ XVII. A.D. 150 711 to 780 1100 to 1146 1300 1415 1511 to 1540 1540 1547 1555 to 1600 1603 1695 Pottery : Gallic, Cel- tic, Breton, Ger- man, and Scandi- navian. Hard Mexican pot- tery, with hard silico-alkaline lus- tre. Roman lustrotis pot- tery. Gallo-Roman un- glazed pottery. Arabian varnished pottery. rPlumbiferous Glaze. I Enamelled Earthen- [^ ware. Plumbiferous and Stanniferous Glaze. Luca della Robbia, enamelled earthen- "j Majolica of Orazio, [■ and Flaminio Fon- j tana. Flemish stoneware. Fayence of Henry II. r Bernard Pallssy, ena- J melled fayence. L Fayence of Delft. Fayence of Nevers. French soft porcelain. I 2 u Epoch unknown, but very ancient, and perhaps, con- siderably anterior to the Christian era. Is dispersed in < Passeri. Alsatia Illustrata. Often with orna- ments in relief, enamelled with various colours. Found in France, Northern Germany, England, Denmark. Environs of Mexico, Guatemala, Mitla, Copan in Yucatan. Italy, Gaul, Gt. Britain. Pesaro,Italy. Schelestadt in Alsace. Persia, Spain, Alhambra. Florence. Pesarojtaly. Germany, Nuremberg. Maker and place ^^^^^ unknown. France. First fabric, tole- rably fine. Holland. France. St. Cloud. CHRONOLOGICAL TABLE. 355 CBNTURIBS. YEARS. A.D. KBRAMIC AUTHORITIRS, NOTEb, ERAS. ETC. COUNTRIES. XVIII. XIX. 1706 1725 1741 1745 1763 1770 1800 1830 Bottcher, Saxon por- celain. Fine faience with silex. Soft porcelain, French. Soft porcelain, English. Wedgwood fine earthenware. Sevres hard porce- lain. Spode, soft English porcelain brought to perfection. Fine faience brought to perfection. "So il Spread over Ger- many from 1710 to 1760. Second fabric, very fine. Introduction of phosphate of lime and boracic acid. Introduction of kaolin into the paste, and harden- ing of the glaze. Meissen, Vienna, Berlin, &c. &c. England. Sevres. Chelsea. England. Sevres. England. France. a2 CHEONOLOGICAL TABLE OF THE ESTABLISHMENT OF ENAMELLED POTTERY. (FBOM M. BBONGNIART.) C£NTURIBS. YKARS. COUNTRI£S INVENTORS AND FOUNDERS. AUTHORITIES AND ANNOTATIONS. XII. 116 China. Persia and Armenia. Stanniferous enamel upon stoneware and copper, but no com- mon earthenware. Blue earthenware. (Europe* XIII. XIV. XV. XVI. 1273 or 1302 Spain. 1320? w 1415 to 1520 Italy. 1487 « 1509 »> 1511 ■» 1511 to 1540 » 1525? »j 1530 Fi-ance. Grenada. Florence. Gubbio. Florence. Pesaro. Urbino. Gubbio. Paris. Mahomed II. Luca della Robbia. Giorgio Andreoli. Lanfranco. Orazio and Fla- minio Fontana Maestro Giorgio. Girolamo della Robbia. Tiles of the Alham- bra in 1280, according to Aikin. Vase of the Alhambra. The same as Maestro Giorgio, who invented the ruby gold lustre about 1525. Date of a patent for the application of gold upon earthenware. Various metallic lustres. Majolica. Ruby red of Majolica. Chateau of Madrid, near Paris. 358 CHRONOLOGICAL TABLE. ^^r0jp t — {continued ) . CENTURIES. YEARS. COUNTRIES INVENTORS AND FOUNDERS. AUTHORITIES AND ANNOTATIONS. XVL^ about 1520 1555 1560 1570 1600 1603 Germany France. Italy. France. Holland. France. Nuremberg. Saintonge & Paris, at the Louvre, Paris. Delft. Nevers. St. Cloud. Rouen. Bernard Palissy. Palissy&his family. Chateau of Ecouen, &c Payment of the Pa- lissys, in the accounts of Catherine de Medicis, (See p. 39). It is also stated 1400, but this is improbable, Ordonnanceof Henry IV. CHRONOLOGICAL HISTORY OF PORCELAIN. FBOM M. BROXaNIART. B.C. 2600. China. — Hoangti. Houen invented pottery, and there was a superintendant of pottery in his reign. (Stans. Julien.) 2357. Yao. These dates are very apocryphal. 1006. Egypt. This is not true porcelain. Chinese porcelain found in Egypt. 1631. China. — Dynasty of the Han. Porcelain known and in use. A.D. 72. Earth of Segni? (Pliny.) 442. China and Japan. — Porcelain in use. (D'Entrecolles.) 600. China. — ^Dynasty of the Soui. Porcelain vessels in common use. 618 and 904. China. — Dynasty of the Thang. Vessels found in the ruins and in digging the foundations for palaces. 1000. China. — The manufacture of porcelain brought to great perfection. Manufactory at King-te-chin. 1277. Porcelain tower of Nankin. 1508. Introduction of porcelain into Europe by the Portuguese. 1650. Keal porcelain in Persia. (Chardin.) 1689. Fine collections at Paris of the porcelain of China and Japan. 1695. St. Cloud. Soft porcelain. 1700. Moscow. Soft porcelain. 1706. Discovery of porcelain in Saxony. Bottcher. Tschirnhaus. 360 CHRONOLOGICAL HISTORY OF PORCELAIN. A.D. 1708. Lille. Soft porcelain. Founded by the Dutch. 1710. Manufactory of Meissen in fuU activity. 1718 to 1720. A manufactory begun at Vienna, finally established in 1744, by Stolzel, a fugitive from Meissen. 1720. Gelz of Frankfort, at Hochst, afterwards Bengraaf and Kingler, the general founders of the German manufactories. — St. Cloud. Soft porcelain. 1735 and 1729—1739. France. Soft porcelain. Reaumur's experi- ments. 1735. Doccia, near Florence. Mixed porcelain. — Chantilly. Soft porcelain. 1741 and 1745. Vincennes. Transferred to Sevres in 1756. Soft porcelain. — Chelsea, England. Soft porcelain. 1747. Nymphenburg, in Bavaria. Manufactory begun. 1750. Tournay. Common soft porcelain. 1751. Sceaux. Soft porcelain. — Worcester. (Dr. Wall.) — Berlin, proceeded originally from Ringler. 1755 and 1760. Nymphenburg, in Bavaria, by Ringler. 1753. Negotiations with P. A. Haniing and the Sevres manufacturers. — Baden-Baden. The widow Sperl. 1755 and 1761. Manufactory of Frankenthal, which, through Haniing, introduced porcelain into France. 1756 and 1758. Ludwigsburg, near Stuttgard, by Ringler. — St. Petersburg. 1756. Moscow, by Garnier. 1758. Manufactories of Thuringia independent of those of Hochst. 1762 to 1767. Sitzerode and Volkstadt, Limbach, Ilmenau, &c., in Thuringia, by the Greiners. — Hildburghausen and Gotha, by Weber. CHRONOLOGICAL HISTORY OF PORCELAIN. 361 A.D. 1763. Buen-Retiro, near Madrid. Soft porcelain. — Keltersbach, in Hesse Darmstadt, established during the Seven Years' War, by Busch. 1765. At Bagnolet, for the Duke of Orleans. (Guettard.) — At Shelton, and in Staffordshire. (Littler and Cookworthy.) — Sevres. Beginning of hard porcelain. 1768. Niederviller . Bayerlin. — Cookworthy discovers the kaolin of Cornwall. 1769. Establishment of Haniing, Faubourg St. Denis. Manufactory of the Comte d'Artois. 1770. Manufacture of Sevres hard porcelain in activity. Kaolin of St. Yrieux. 1771. Clignancourt, near Paris. 1780. Copenhagen. 1781. Dihl. Manufactory of the Due d'Angouleme. 1782. Arras. Soft porcelain. (Demoiselles Deleneur). 1800. Introduction of calcined bones into the paste of the soft English porcelain. TABULAR ANALYSIS. 363 H PJ ^ ;z! o 125 p3 PQ '-;• 1^' 1 o ■^ H g O 'o^ ^ 8 1 r/? S s hH s CO S ^ ^ w "5^ p^ 1 o a rn S W •S 1 a •?;, p< - ^ OS c» CO o OS t- OS : ; o %i - t^ 00 c^ i o I>- rH rH O ^ pH h3 '^ '^ ©5 rH OS t- XO ©i G« rH C^ ^ ® «sl 1— 1 CO C- r- C XO |g| O OS r- OS CO g 1— 1 o 00 CO 00 !>• 1 r^ o c~ CO 00 XO 00 OS o 10 00 ia 60 t- CO '^l < r— 1 C^i G2 l-q H w E? 03 -M 43 O ^ 364 TABULAR ANALYSIS. i oo ; t- 1 «p : -? o QO S la ] GH in (M ^ r— 1 . ''f* ■" CM i o »o ^ O s. CO CO CO CO CM 1 c- C- O CO »o CO O ^ O O CO tH CO la 5 CM CM CO CM CO S lO OS ^H CO S O iO QO CO c^ C7i C^ C' lO »o c^ CO 4 1 -^ £ * ^ 5" '^ '2 13 ^ -fj e^ w « 1 r-i Gsi CO ?? ^ g g -l 1 3 T p i ! '-3 i^ ^ .^ .HS O H? P c/: ^=^ en LIST OP ^ri&ate Collections of Cfjlna, &c. IN GREAT BEITAIN. Amherst, Lord, Knole, Kent Angerstein, Wm., Esq., 15, Stratton-street , AsHBURTON, Lord, 82, Piccadilly . . . . Ashley, Hon. Wm., Palace Yard . . . . Ashley, Hon. John, 17, Upper Brooke-street . . Attwood, J., Esq., 25, Park-lane . . . . AuLDJO, John, Esq., Noel Hovise, Kensington . . Baily, Arthur, Esq., Harefield, Southampton Bale, C. S., Esq., 71, Cambridge-terrace . . . Balfour, Lady E,, 3, Grosvenor-square . Baring, Mrs. H., Berkeley-square . . . . Baring, Hon. and Rev. F., Grosvenor-crescent Baring, Thos., M.P., 40, Charles-street, Berkeley- square • Barker, Alex., Esq., 103, Piccadilly Bayley, J., Esq., Colby House, Kensington . . Bedford, Duke of, Wobum Abbey. Beeden, W. F., Esq., 9 Stratford-place . . . Bentinck, Hon. Miss, Cholmondeley Castle, Namptwich Bentley, John, Esq., 9, Portland-place . . . Beresford, Lady, 63, Portland-place French, &c. JLucA della Robbta, and \ Miscellaneous, Sevres, &c. Sevres, &c. Sevres, &c. Sevres, &c. , Miscellaneous. . Sevres, &c . Majolica, &c. . Miscellaneous. . SiVRES, &c. , Sevres, &c. SEVRES and Dresden. Capo di Monte, &c. Miscellaneous. Miscellaneous. Bernal, R., Esq., M.P., Bevan, Henry, Esq., 4, 93, Eaton-square . Hamilton-place . BoiLEAU, Sir John, Bart., 20, Upper Brooke- street Breadalbane, Marquis, 21, Park-lane . Miscellaneous. Miscellaneous. r Majolica, Sevres, Dresden 1 &e. Miscellaneous. , Ancient Pottery. Miscellaneous. 366 PRIVATE COLLECTIONS OF CHINA. Brunel, I. K., Esq., 17, Duke-street west . Buckle, John, Esq., 39, Gloucester-terrace . BuRRELL, Sir Chas., Bart., 5, Riclimond-terrace Byng, Mrs., St. James's-square . Palissy Ware, &c. /Dresden Groups and ' \ Figures, &c. . Miscellaneous. . SfevBES and Oriental. Cadogan, Earl, 138, Piccadilly Chelsea and Sevres. Carrington, Lord, "WTiiteliall-yard .... Miscellaneous. Cawdor, Earl, South Audley-street . . . . Sevres, &c. Chesterfield, Earl of, Bretby Park, Leicestershire. Si;vRES. Cleveland, Duchess Dowager, Seamore-place . < Sevres ' Cowper, Hon. C. Spencer, 22, Bruton-street . . Miscellaneous. Cunder, Miss, Basingstoke SfevRES and Chelsea. Bering, J. P. G., Esq., 40, South-street, Park-lane . Sevres, &c. De LA Beche, Sir Henry, Museum Econ. Geol.,1 ^^^^^^^^^^^^^ Piccadilly J De LA Rue, Thomas, Esq., Westboume-terrace . "Wedgwood Ware. De Rothschild, Sir A., Bart., 2, Grosvenor-place "I Faience of Henri XL, and Houses J Miscellaneous. De Rothschild, Baron Lionel, 148, Piccadilly . . Miscellaneous. De Rothschild, Baroness, 107, Piccadilly . . Sevres. Derby, Earl of, Knowsley-Hall, Prescot, Lancashire. Miscellaneous. Dimsdale, Baron, Camfield, Herts . . . Oriental, &c. DiMSDALE, Charles, Esq., Essenden Place, Herts . Oriental, &c. Douglas, Marquis of, Hamilton Palace . . . Si:vRES, &c. Ellis, Ellis, Esq., Richmond Chei^ea and SivRES. Ely, Bishop of, 37, Dover-street . . . . Miscellaneous. Enniskillen, Earl of, Florence Court, Enniskillen . Cheisea, &c. Exeter, Marquis of, Burghley, Stamford . . . Miscellaneous. . Dresden. ("Spanish Moresco, and ' '\ Majolica. . Sevres and Dresden. Fountaine - Esq., Narford Hall, near Lynn, 1 ^^j^lica, &c. Norfolk J FuLLERTON, A. G., Esq., 36, South-street, Grosvenor- g|,yj^j,g ^j, square , . ' * Fish, — Esq., Sidmouth, Devon . Ford, Rd., Esq., 123, Park-street Forester, Col., 31, St. James's-place Glengall, Earl of, 34, Grosvenor-street . . Worcester. Gloucester, H.R.H,, Duchess of, Gloucester House. Sevres and Dresden. GoDiNG, J., Esq., 2, Belgrave-square . . . . Oriental, &c. Grant, Capt., Royal Horse Artillery . ... Chelsea. Granville, Earl, 16, Bruton-street, Berkeley-square Sevres, &c. Gregory, Gregory, Esq., Harlaxton Manor House, \ Oriental and Miscella- Grantham j neous. PRIVATE COLLECTIONS OF CHINA. 367 Hailstone, Edward, Esq., Horton Hall, Bradford, "I -^yr^^^.^^ « Yorkshire | majolica, &c. ^^''ton'^Pdac'?^ ''^' ^^' ^^'**'^^"'^^^ ^""^ ^^^- } Miscellaneous. Harewood, Earl of. Ha re wood-place . . . . Si:vRES. Harrington, Earl of, Elvaston Castle, Derby. . Faience. Hastings, Lord, Melton Constable, Dereham, 1 Majolica, Oriental, and Norfolk J SiivRES, &c. Herbert, Hon. Sydney, 5, Carlton Gardens . . Faience and Majolica. Hertford, Marqms of, Berkeley-square . . . Si:vRES, &c. Hertz, B., Esq., Great Marlborough-street . . Private Collection. Hodges, T. Law, Esq., Hemsted, Kent . . . Miscellaneous. HoLFORD, R S., Esq., 145, Piccadilly. . . . Sevres, &c. Hope, A. J. Berespord, Esq., 1, Connaught-place . Miscellaneous. Hutton, William, Esq., Clapham Common . . Miscellaneous. Ilchester, Earl of, Melbury House, Dorset . . Miscellaneous. James, John, Esq., 2, Cornwall-terrace, Regent's-park Dresden and Sevres. Jortin, Lee, Esq., 25, Cadogan-place . . . Luca dellta Robbia Ware. Keith, Baroness, Tully Allan Castle, Kincardine . Si:VRE8, &c. ^^TatT""' ^*' ^''''' ^''''^!' O^erstowey, Bridge- 1 ^^^^^^^^^^^^ Lansdowne, Marquis of, Bowood Lonsdale, Earl of, Carlton-house Terrace Ltgon, Hon. Lieut.-Gen., 12, Upper Brooke-street Miscellaneous. Sevres. Sevres and Dresden. Macdonalt, Lieut.-Gen. Sir J., Bruton-street . . Miscelllaneous. Magniac, H., Esq., Colworth, Bedford . . . Miscellaneous. Marjoribanks, D. C, Esq., 4,Upper Grosvenor-street Sevres, &c. Marlborough, Duke of, Blenheim •. . , . Oriental. ^^^Whiieiln^^^' ^''^" ^' ■^'''^'^''''^"*^'''*^''^'} Miscellaneous. Marryat, Mrs., Wimbledon, Surrey . . . Miscellaneous. MiCKELTHWAiT, Col., 49, South-strcct . . . Miscellaneous. MiLBANK, Henry I., Esq., 45, Eaton-place . . . Sevres. Mills, Charles, Esq., Camelford House. . . Sevres, MiLi£, Edward, Esq., 5, Bryanstone-square . . Sevres. MiNTON, Herbert, Esq., Stoke-upon-Trent . . Miscellaneous. MoLESwoRTH, Sir W., 87, Eaton-place . . . Miscellaneous. Neville, R, H., Esq., 29, Upper Grosvenor-street . SJivres, Dresden, &c. ^''ToTe'nt ^''^^^''' ^'"l" ^■^" ^'■^'''^ ^^^^'j Miscellaneous. Norfolk, Duke of, Arundel Castle, Sussex . . Majolica, Sevres, &c. ^'"^Im^t^"''' ^^'"'^'''^ ''^' ^^^^^ ^^^^^' ^'''^^'} Miscellaneous. 368 PRIVATE COLLECTIONS OF CHINA. OvERSTONE, Lord, Overstone Park .... Owen, — Esq., Mona House, Clifton . . . . Page, Dr. W. E., Curzon-street (late Mr. Bandinel's Collection) Palliser, Rd. Bury, Esq., 32, Grosvenor-street Parker, Sir Hyde, 13, South Audley-street . , Pembroke, Earl of, 7, Carlton-house Terrace . Philips, Mark E., Esq., Manchester . . . . Powell, John A., Esq., 7, Gteorge-street, Hanover- square Price, Sir C, Bart., 3, King William-street . . Price, Lake, Esq., Radnor-place .... Prior, Wm., Esq., 7, Middleton-square, Chelsea . . Ram, Stephen, Esq., 84, Eaton-square . Ricketts, Charles Spencer, Esq., 2 Hyde Park- terrace Russell, Lady FRANKLAinj, Chequere' Court, Tring, Bucks. Sampayo, 0. H., Esq., 22, Westboume-terrace. Shelburne, Earl of, Berkeley-square . . . Shrewsbury, Earl of, Alton Towers SiBTHORP, Col., 27, Chester-street . . . . Slade, Felix, Esq., Walcot-place, Lambeth . Smith, Martin, T., Esq., 13, Upper Belgrave-street Stafford, Lady, Cossy Hall, Norfolk . . . Stephens, L., Esq.. Roehampton-lane . Sutherland, Duke of, Stafford House . . . SwABY, J., Esq., Fortis-terrace . . . . Tidbury, Charles, Regent-street, City-road ' . . Trafford, Sir Thomas, Trafford Hall, Manchester Miscellaneous. Oriental, &c. I Miscellaneous. Miscellaneous. Miscellaneous. SI:vRES, Dresden, &c. Miscellaneous. I Ancient china. Miscellaneous. Miscellaneous. Worcester, &c. Majolica, &c. |- SfevRES and Miscellaneous. \- Miscellaneous. Oriental, &c. Miscellaneous. - Miscellaneous. Miscellaneous. Majolica, &c. SEVRES, &c. Ancient Pottery. Miscellaneous. Sevres, &c. Majolica, &c. Miscellaneous. Miscellaneous. Vincent, H.W., Esq., Thomwood Lodge, Kensington Vivian, J, H., Esq., Singleton, Swansea . . . Wall, C. Baring, Esq., 44, Berkeley-sqiiare . Ward, C, Esq., Squerries, Westerham . . . Warwick, Earl of, Warwick Castle Waterford, Marquis of, Curraghmore, Waterford Wellington, Duke of, Apsley House . . . . Whitehead, Thos., Esq., 8, Duke-street, St. James's Willoughby d'Eresby, Lord, 142, Piccadilly . . Miscellaneous. Swansea, &c. SiivRES, Dresden, &c. Miscellaneous. Faience, &c. Sevres. Sevres and Dresden. Majolica. Sevres, &c. INDEX, AciER, Fran9oi8, French sculptor, 136. Adam, Charles, French sculptor, 192, 193. Adler, German keramic painter, 155. Adobe, stm-dried bricks described, 225. Agate ware, 63. Aikin's Dictionary, quoted, 277. A r air, term explained, 226. Alcazar of Seville, 229, 230. Alcarazzas, water-coolers of Spain. See Water Cooler. Alhambra, jar of, 258 ; tiles of. See Aziir kjo. Alum Bay sand, 171. Amatorii, 19. Amphora described, 228 ; funereal, 251. Andreoli, Giorgio, Italian keramic painter, 8, 14, 264. Anne, Queen, her service of porcelain, 105. Annual Register quoted, 184. Antiochus, his army cooled water in vessels of clay, 228. Apostles' mugs, 76. Arabesque, described, 229. Arcanist, meaning of the German term, 148. Arezzo, potters of, 286. Astbury the Elder counterfeits the idiot, 82. Astbury the Younger first uses calcined flints, Q6. Athenseus quoted, 227, 273. Aue, discovery of kaolin at, 131. I Augustus II. of Saxony, memoir of; 115 ; I founds the Porcelain manufactory at I Meissen, 129. Augustus III., memoir of, 115. Avanturine described, 229. Azulejos, Moorish tiles, of the Alhambra, described, 229; Cuarta real, 230; at Bristol, 232 ; Royal Exchange, 291. Bacini, Moorish, 4. Baden, Margraves of, 155. Bagnolet, laboratory of the Duke of Orleans, 194. Barbero, Venetian Ambassador to Persia, 100. Barbosa, Edoardo, quoted, 107. Barrow, 295. Base described, 232. Basin, 232. Bassompierre, Marshal, anecdote of, 242. Bavaria, Maximilian Joseph, Elector of, establishes the Porcelain manufactory at Nymphenburg, 154. Beaker, etymology of the word, 232. Beck, W. J., his description of the tiles at Sultaneah, 295. Beaumont, English keramic painter, 178. Bellarmines, stone pots so called, 252. Benitier described, 233. Biscuit described, 233. B B 370 INDEX. Blessington, Lady, her Idler in Italy quoted, 218; her Capo di Monte chma, 217. Bleu-de-roi, exclusively a royal colour, 286 ; on Sevres porcelain, 197, 200, 203, 204. Body, term explained, 233. Bohme, German keramic painter, 158. Boileau, M., Director of the Porcelain manufactoiy at Sevres, 193. Bones, an ingredient in English porcelain, 171, 277. Boswell's Life of Johnson quoted, 181, 289. Botta, M., procured a tile from Mahomet's tomb, 292. Bottcher, J. F,, German keramist, the dis- coverer of porcelain, memoir of, 129 ; his red ware, 77, 125, 133, 141, 233. Bottle described, 233. Bouchet, French keramic painter, 197. Bourgoanne's Travels quoted, 220. Bowl described, 234. Box described, 234. Breicheisen, German keramic painter, 136. Brichart, Eloy, obtains privileges for the manufactory at Vincennes, 193. Bricks described, 236. Bristol china, 187. Britton's Beauties of England and Wales quoted, 117. Brongniart, Alexander, admitted to Meissen, 133 ; appointed Director of the Porce- lain manufactory of Sevres, 196 ; esta- blishes the Musee Ceramique, 209; notice of his life and writings, 196. Bruhl, Count, anecdote of, and the tailor, 137. Brummell, Beau, a collector of Sevres china, 202. Brunswick, Charles, Duke of, establishes a Porcelain manufactory at Fiirstenburg, 151. Bucaros of Japan, 125, 235. Burckhardt quoted on Mahommedan tiles, 292. Burleigh, Lord, oflFers present of porcelain to Queen Elizabeth, 104. Burnt-in, term explained, 235. Butter-pots, 63. Byng, Admiral, caricatured as a collector of china, xiii. Caillat, French chemist, 193. Calonne, M. de, protects the Porcelain manufactory of Lille, 206 ; of Arras, 206. Camaieu, term explained, 235. Campanari, his Etruscan tomb, 298. Camucis, funereal jars of Brazil, 250. Can, chimney, 235. Candlestick, 236. Canister, 235. Cannette, a kind of German stoneware pot, 235. Cantharus, two-handled cup of Bacchus, 254. Carter, Mrs. Elizabeth, her teapots, 289. CastOle, King and Queen of, wrecked off Weymouth, 47. Catherine II., Empress, her service of Wedgwood for the GrenouilUere palace, 89 ; patroness of Porcelain manufactory of Petersburg, 165; her favourite dog, 142; service made for her at Sevres, 183, 285. Cavendish presents Queen Elizabeth with the first vessels of porcelain, 104. Gazettes, French term for seggars, 287. Celadon, 111, 118; term explamed, 236. Chalice, 240. Chardin quoted, 126, 227, 228, 294. Charles V., 117. Charles III. founds the Porcelain manufac- tory of Capo di Monte, 214 ; and of Buen Retiro, 218. Charlotte, Queen, the patroness of Wedg- wood, 68; her collection of Chelsea por- celain, 178; her tea-pots, 289. Chelsea manufacture, case of the undertaker of the, 349. China, history of the porcelain of, 95 ; described, 236 ; anecdote of the cracked jar, 106; frauds upon, 110, 200; prices of services of, 223. Chicoineau, Director at St. Cloud, 191. Christina, Queen of Sweden, 21. Clave, Gaston de, Nivernois author, 27. Cofiee-pot, 236. CoUe, Rafiaelle da, Italian keramic painter, 14. Collections, list of private, in Great Britain, 365. INDEX. 371 Collections of China mentioned through the woi'k. English, Bandinel, J., 127. Beckford, 118, 126. Vernal, R., 24. Blenheim, 117. Blessington, Countess of, 217. Buccleugh, Duke of, 203. Byng, Mrs., 203. Cadogan, Lord, 179. Ford, R., 19, 231. Gloucester, H. R. H. the Duch- ess of, 203. Harringer House, 23. Lonsdale, Earl of, 203. Magniac, H., 55. Mills, C, 202. Narford Hall, 22. Ricketts, C, 203. Rothschild, Su- A., 53. Sophia, H. R. H. the Princess, 203. Stowe, 23, 178, 203. Strawberry Hill. See Index. Sussex, H.R.H. Duke of, 118. Paris, Hotel de Cluny, 40. Louvre, Royal Museum, 40, 43, 55. Library, Royal, 43. Musee Ceramique, 55, 80, 191, 193, 195, 206, 236. Pourtales, 38. Preaux, 52. Roussel, 40. Sauvageot, 55. Foreign, Arensberg, 78. Berlin, Royal Museum, 78. Brunswick, Ducal palace, 21. Dresden, Royal Museum, 44, 78. Huyvetter, 79. Lowenberg, 78. Ludswigberg, 21. Miaden, 78. Munich Royal Museum, 78. Museo Casuccini, qOO- Nuremberg Castle, 42. — M. Campe, 26. Portici, 218. Salzdahlum, 21. Tieffurt, 78, 164. Cologne, England supplied from, 236 ; ware described, 236. Colour of paste, 236. Colours described, 237, 262. blue Nankin, 111, 237. bleu de Roi. See Index. bleu turquoise, 197, 200. claret, 237. imperial yellow, 103, 111, 117, 118. jonquille, 197. rose Dubarry. See Index. ruby Chinese, 119, 237. ruby majolica of Pesaro, 13, 237. sea green, 111-114. vert pre, 197. verdigris green, 237. Cotgrove quoted, 247. Compotier, 237. Conde, Prince de, patronises Porcelain manufactory of Chantilly, 204. Cones, sepulchral, described, 238. Cookworthy makes hai*d porcelain, 170, 187 ; discovers the kaolin of St, Stephen's, 184. Coroado Indians, origin of their name, 250. Corsica, funereal vessels of, 249. Corvei, Prince Abbot of, 151. Cover, 238. Cowper's Task quoted, 233. Crackle china. 111, 117, 238. Craze, technical term for the cracking of the glaze, 239. Crockery, etymology of, 239. Crouch ware, 64, 239. Cruet described, 239. Cumberland, Duke of, encourages the Chel- sea manufactory, 174. Cup, 240. Cups, conjuring, 112 ; reticulated, 117 ; drinking, 240. Cup, tea, enumeration of forms, 240. Custine, General, invasion under, 149 ; his Porcelain manufactory at Niederviller, 209. Cuviers, washing jars of Auvergne, 256. Cyathus, singled-handled cup of Bacchus, 254. D. Darnet, Madame, discovers the kaolin of St. Yrieix, 195 ; pensioned by Louis XVIII., 195. BB 2 372 INDEX. Debret's Voyage au Bresil quoted, 250. De Calonne, M. See Calonne. Defrana,y, Nivemoia poet, 30; his poem, 345. De la Condamine quoted, 211. Delft. See Pottery. Denon, Baron, forms a collection of Greek vases as models, 198. DentrecoUes, Father, his Letters on China, 106. De Witt, identical with Dwight, 62. Diane de Poitiers, her faience, 50. Dietrich, German printer and engraver, 136. Dillwyn, L. W., letter on Welch porcelain, 186. Dish, 243. Diodorus Siculus quoted, 250. Diogenes in his tub, 274. Domestique, term explained, 286. Domitian, turbot of, 257. Donovan's Descriptive Excursions quoted, 185. Donee's Illustrations of Shakspeare quoted, 104. Dragon, origin of, 113 ; jars, 267. Dresden china. See Meissen. — collection. See Japan Palace. Dubarry, Madame, 197, 286. Duchesne qiioted, 269. Duhalde, Father, on the porcelain of Fokien, 109. Dutch embassy to China, 102. Dwarf pots, 278. E. Ears, 243. Earthenware, fine. See Pottery, Hard. East India Company's estabhshment at Gombroon, 104. Ebelman, present Director of Porcelain manufactory at Sevres, 197. Ecouen, Chateau d', decorated by Palissy, 33, 37. Egg-shell china. 111, 243. Egis of Minerva, the dish of Vitellius, 272. Egyptian bottles in tombs, 97. Electrum, vessels of, 56. Elers, potters of Nuremberg, 81. Elizabeth, Queen, receives presents of por- celain, 104. Elizabeth, Empress, founds the Porcelain manufactory at Petersburg, 165 ; her ser- vice of Sevres, 193, 203. Elizabethan ware. See Pottery, Hard. Elkington's notice of China ware, 104. Enamel described, 244. Escurial, majoHca in, 22. Etruria, Wedgwood's village, so called, 70. Evelyn quoted, 105. Ewer described, 244. Eyes, vases with, 243. F. Faenza ware, etymology, 244. Faience, etymology of the term, 244. — of Persia, 126, 272. — h niellure, 51. — de Diane de Poitiers, 50. — de Henri II., 49, 247. Faujas de St. Fond quoted, 83. Faulkner's History of Chelsea quoted, 176. Fenelon La Mothe, French Ambassador to Queen Elizabeth, 56. Ferrari, Ottavio, quoted, 9. Fictile, term explained, 247, 275. Figures, 247. Filibiens, Dom, quoted, 240. Fioiguerra, Maso. Florentine sculptor and goldsmith, and the inventor of engrav- mg, 269. Flagon described, 247. Flask described, 248. Flaxman, designs for Wedgwood, 69. Flowers, porcelain, of Vincennes, 197. Fokien, white porcelain of, 109. Fontana Orazio, Italian keramic painter, 15, 22. Fontainebleau, etymology of the name, xx. Ford, Mr., Handbook of Spain quoted, 221, 225, 230. Forms described, 248. Fountaine, Sir Andrew, collection, 366. Franco Battista, Italian keramic painter, 15. Frederick II. invades Saxony, 135, 158. Frederick William III. interests himself in the Berlin Porcelain manufactory, 160. Frick, M., director of the Royal Porcelain manufactory of Berlin, 160. INDEX. 373 Froulam, Chinese annals of, 96. Frye, English keramic painter, 180. Fuel, different kinds used in Porcelain manufactory, 206. Fulda, Bishop of, Amandus established Porcelain manufactory, 161 ; Heinrich von Buttlar discontinued it, 162. Fimereal vessels described, 249. a Galienus, water-coolers in his reign, 228. Gatti, Brothers, Italian keramic painters, 15. George IV. purchases Brummell's Sevres porcelain, 202 ; his teapots, 289. Gell, Sir Wm., quoted, 266. Gilding, an exclusive privilege of the Sevres Porcelain manufactory, 198. Ginori, Marquis, establishes a manufactory at Doccia, 211. Gioanetti, Dr., establishes Porcelain manu- factory at Turin, 213. Glaze described, 251 ; lead glaze poisonous, 254. Goleta, an African island, 24. Golownin's Captivity quoted, 125. Gombroon ware, Oriental porcelain so called, 105, 190, 252. Gonzaga, Prince Louis, Duke of Nivernois, introduces manufacture of Fayence, 27. Gorges, old name for pitcher, 273. Gottkowski, banker in the Seven Years' War, 158. Gouda, pipe-works at, 6Q. Gregory, St., receives a present from the Abbe of Lerins, 245. Greuouilhere, palace of the Empress Cathe- rine, 89. Gres c^rame, etymology of the word, 72 ; flamand. See Stoneware, Flanders. Greybeard, vessel so called, described, 252. Grosley, M., his Tour quoted, 175. Grotesque, etymology and meaning of the word, 253. Griine Gewolbe, the Royal treasury of Saxony, 115. Guettard, Dr., French chemist, his experi- ments at Bagnolet, 194 ; discovers kaolin at Alen9on, 194. Guido, son of Savino d'Urbania, Italian keramic painter, 15. H. Hainshausen, Count, employs Ringler at Nymphenburg, 154. Hamilton, Sir WiUiam, furnishes Wedg- wood with models, 69. Handle described, 253. Hanover, House of, encourages Chelsea Por- celain manufacture, 173. Haniing, his potteries at Strasburg and Frankenthal, 45, 154 ; employs Ringler, 152; negotiations with Sevres, 194; manu- factory at Faubourg St. Lazare, 207. Han way, Jonas, his account of Meissen, 135 ; and of the Japan Palace, 140; of tea, 288. Henry II., his faience, 49 ; encourages Pa- lissy, 33. Heintzmann, German keramic painter, 155. Hippolyte, French keramic artist, 193. Hofmann's Lexicon Universale quoted, 245. Hoffer, engraver of Ratisbon, 46. Honeycomb china, 139, 144. Horace quoted, 290. Horoldt, J. G., German keramic painter and modeller, 134. Howitt, his accoimt of La Favorite, 156. Hudibras quoted, 233. Hydrocerame. See Water Cooler. Hygiocerame, described, 254. Image described, 254. India warehouses, 105. Inventories of French kings, 101. — Mary Queen of Scots, 103. — Staffordshire gentleman, 57. Ironstone china, 82, 255. Jacobus Kannetje, 73. Jacqueline of Hainault, memoir of, 73. Japan porcelain, history of, 120 ; Portu- guese, trade with, 120 ; massacre of Chris- tian converts, 121 ; Dutch embassy, 122. 3H INDEX. Japan Palace at Dresden, majolica at, 21 ; when built, 115 ; described by Jonas Hanway, 140 ; and Dr. Klemm, 141. Jar described, 255. Jardiniere, 259. Johnson, Dr., interests himself in the Chelsea Porcelain manufactory, 176 ; his visit to the Derby manufactory, 181 ; his teapot, 289. Joseph, Emperor, improves the Vienna Por- celain manufactory, 146. Jug, 259. Julien, M. Stanislas, Member of the French Institute, his chronology of China, 96; opinion of antiquity of Chinese bottles, 98. Juvenal quoted, 257, 275. K. Kandler, German keramic modeller, his- torical groups, 134, 139, 142. Kaolin described, 259; Chinese, 107, 259; Aue, 131 ; St. Yrieix, 196; Alen9on, 195 ; Cornwall, 184. Keramic, etymology of the word, 259. Keysler's Travels quoted, 11. Kiln described, 260. King-te-ching, great Porcelain manufactory of China, 111. Klemm, Dr. A., Conservator of the Japan Palace at Dresden, 141, 143. Klipsel, German keramic painter, 158. Konig, Director of the Porcelain manufac- tory at Meissen, 144. Koupchine, name of Armenian jars, 256. Krunig's German Cyclopaedia quoted, chap- ter yni. passim, 160. Kylin, Chinese monster, 113, 263. Labarte, Jules, quoted, 284. Lace figures of Dresden, 139, 144. La Favorite, palace at Baden Baden, 156. Lamp described, 263. Lanfranco Girolamo, Italian keramic ar- tist, 14. Lansdowne MSS. quoted, 236. Lathe described, 263. Lanx, a dish used for roasted meats by the ancients, 272. Leg, form of a drinking vessel, 241. Legend described, 264. Lerins, islands near Cannes, 245 ; Etienne, Abbe of, 245. Lewis, Dr., his experiments on glass, 276. Lister, Dr. Martin, his account of Chelsea. 172; and St. Cloud, 189. Lithocerame. See Ironstone. Lithophanie described, 264. Livree, meaning of the term, 286. Loggie of the Vatican, arabesques of, 229. Loreto, Spezieria of, 10 ; described, 20 ; sacred cups of, 21. Louis XIV., his offer for majolica, 21 ; orders a service of Rouen fayence, 31. Louis XV., purchases a share in the Porce- lain manufactory, 193. Louis XVI. obtains a series of Greek vases as models for the Sevres manufactory, 198, 209. Louis XVIII. grants a pension to Mme. Damet, 195. Louvre, PaUssy works at, 39. Low's Sarawak quoted, 267. Luca della Robbia. See Bohhia. Liich, German keramic modeller and sculp- tor, 136. Lustre, metallic, described, 264. Lustrous, term explained, 264. Lye, Dr., quoted, 247. M. Macheleh), German chemist, produces por- celain, 163. Macpherson's Dictionary of Commerce quoted, 104. Macquer, French chemist, 173,192 ; makes hai-d porcelain, 195. Maestro Giorgio, title of George Andreoli, after he was raised to tHe rank of patrician, 14. Magots, Chinese figures, 109. Maiano, Luca di, German keramic artist, 8. Majorca, Pisan expedition against, 3. Majolica, history of, chap, i, etymology, 9, 265 ; early manufactories, 7 ; mezza INDEX. 375 majolica, 12; artists in, 14 ; marks, 14 ; tiles, 16; collections, 21, Marc Antonio Kaimondi, Italian engraver, 12. Marcolini, Director of Porcelain manufac- tory at Meissen, 144, Marcolini, Count, his manufactories at Hubertsburg, Saxony, 71. Malmesbury Correspondence quoted, 89. Mark, how affixed, 265, Marks and monograms, list of, 311. Maria Theresa, Empress, encourages Por- celain manufactory at Vienna, 146. Martial quoted, 226, 286. Matteo, Terenzio di, Italian keramic artist, 14. Maty's Dictionary quoted, 244. Maubree, French keramic painter and potter, 169. Maurice, Prince of Saxony, his service of Dresden, 117. Mayence, John F. Charles, Archbishop of, 147. Medallion, term explained, 265. Medea, story of, and the daughters of Peleus, 270. Medici, Catherine de', employs the Palissy family, 39 ; endeavours to introduce majolica into France, 26 ; fayence de Henry II., said to have been sent to her from Italy, 50. Medici, Lorenzo de', his embassy from the Soldan, 99. Mezerai, his Grande Histoire quoted, 245. Meissen, history of the Porcelain manu- factory at, chap. vii. Melchior, German keramic modeller, 148. Menage quoted, 236, 244, 245. Meyer, German keramic painter, 158. MilHn's Monumens Inedits quoted, 272. Monogram, term explained, 265. Montagu, Lady Mary Wortley's, Town Eclogues, 105 ; tiles, 292. Montmorency, the Constable Anne de, patronises Palissy, 33, 38. Moreri's, Dictionairre Historique, quoted, 244. Moorish plates, 4. Morin, Director at St. Cloud, 191. Motley's Life of Peter the Great quoted, 165. Motteux, Peter, his India warehouse, 105. Moulds described, 265. Mug, 266. Muller establishes a manufactory at Copen- hagen, 167. Murrhine vases described, 266. Musee Ceramique, description of, 209. N. Naga, dragon jar of Borneo, 267. Nankin, porcelain tower of, 96 ; porcelain of, 110. Napoleon assists in the establishment of the Musee Ceramique, 209. Narford Hall, 22. Neck, 268. Nelson, Lord, at Copenhagen, 168 ; Capo di Monte, 215. Nevers, Louis Gonzaga, Duke of, esta- bhshes a manufactory of majolica at Nevers, 27. Nicholson, G. S., tiles of the Cuarto Real, 230 ; Sclavonian pottery, 278. Niello described, 268. Nonne, proprietor of Porcelain manufactory at Volkstadt, 163. Oil-jars of the forty thieves, 256. Oldham, Mr., his work on Irish tiles, 291. 011a, cooking-pot described, 269. Ornaments, different kinds, 270. Orleans, Louis, Duke of, his laboratory at Bagnolet, 194 ; Porcelain manufactory at Clignancourt, 205. Orry, Marquis of, 192. — M. deFulvy, 192. Ottley's History of Engraving quoted, 269. Palatine, Charles Theodore, Elector, pur- chases the Porcelain manufactory of Frankenthal, 153. Palissy, Bernard, French keramist, memoir of, 31 ; his productions, 35 ; tiles, 37; his family, 39 ; imitations of his ware, 40 ; collections, 40. Palissy ware, 271. 376 INDEX. Panathenaic vases described, 300. Pans, 271. Panse of a bottle, 233. Parent, Director of Porcelain manufactory at Sevres, 196. Parret's Voyage au Caucase quoted, 256. Pasquier, Claude du, establishes a Porcelain manufactory at Vienna, 145. Passeri, Abbate, his work on Majolica, quoted, 7, 19. Paste, different kinds of, 271. Patera described, 271. Patina described, 272. Pavia, churches of, 6. Pax described, 16. Pegmatite, 170, 184. Pellegrin, xx. Percy, Baron, French surgeon, quoted, 266. Persian porcelain, 126. — faience, 272. — ware, 273. Pesaro, gold colour of, 17. Peter the Great, 165. Petit, Eadel, his Recherches sur les Bib- liotheques Anc. et Mod., quoted, 246. Petit Chateau de Madrid, 8. Pettigrew's Memoirs of Lord Nelson quoted, 168, 215. Petuntse, 107 ; described, 273. Piatti da pompa, 17. Piccolpasso, II Cavaliere Cipriano, Italian keramic artist, 15. Pilgrims bottle, majolica, 17, 20 ; Nevers, 30 ; Egyptian, 233. Pipes, manufacture of tobacco, 66. Pisa, expedition against Majorca, 3 j churches of, 4, 6. Pitcher, 273. Pithos of the Greeks, described, 273. Place's fine mugs, 65. Plastic art described, 275. Plate, 276. Plateau, 276. PUny quoted, 225, 266, 272, 276, 283, 286, 300. Pocock's Travels quoted, 226. Polo, Marco, his account of China, 98. Pompadour, Madame, patronises the keramic art, 193. Ponz, Don Antonio, Travels quoted, 221 , Pope quoted, 290. Porcelain King, title given to Augustus III., 135, 140. Porcelain described, 93, 276 ; composition of, 277; Reaumur's, 276. Porcelain, Marmfactories of— England, Bow, 179. Bristol china, 187. Caughley, 182. Chelsea, 172. Coalport, 182. Colebrookdale, 182. Derby, 181. Nantgarrow, 185. Rockingham, 187. Salopian, 182. Stafibrdshire, 187. Stratford-le-Bow, See Boiv. Swansea, 185. Worcester, 182. France, Angoul^me, 208. Arras, 206. Bordeaux, 188. Bourg-la-Reine, 206. Chantilly, 204. Clignancourt, 205. Creil, 188. EtioUes, 206. • Lille, 206. Menecy. See Villeroy. Monsieur, Porcelaine de, 205. Niederviller, 209. Paris, Faubourg St. Antoine, 208. St. Lazare, 207. Gros-Caillou, 208. Rue de Bondy, 208. — delaCourtille,209. — de Crussol, 208. — Thiroux, 208. Prince deGalles, porcelaine du, 208. Reine, Porcelaine de la, 208. Saint Amand-les-Eaux, 207. Samt Cloud, 189. Sceaux, 205. Sevres. See Ckaja. x. Villeroy, 204. Vincennes, 173, 190,192. INDEX. 377 Porcelain, Manufactories of — (contiwued). Qermany, Anspach, 164. Amheim, 167. Baden, 155. Bavaria. See Nymphenhurg. Berlin, 158. Breitenbach, 164. Carlsbad, 147. Cassel, 160. Dresden. See Meissen, Elbogen, 147. Frankenthal, 152. Fulda, 160. Fiirstenburg, 151. Gera, 164. Gotba, 164. Greinstadfc, 153. Grosbreitenbach, 164. Haguenau, 154. Hildburghaus, 164. Hochst, 147. Hoxter, 151. Ilmenau, 164. Keltersbacb, 150. Kronenburg, 157. Limbach, 163. Ludwigsberg, 157. Mayence. See Hochst. Neudech, 154. Nymphenburg, 154. Katisbon, 155. Rudolstadt, 163. Saxe Coburg, 163. — Gotha, 163. — Meiningen, 163. Sitzerode, 161. Strasburgh, 154. Thuringia, 162. Veilsdorf, 164. Vienna, 145. Volkstadt, 163. Wallendorf, 163. "Wurtemburg. See herg. Other European States. Amstel, 166. Amsterdam. See Amstel. Bassano, 213. Buen Eetiro, 219. Capo di Monte, 214. Porcelain, Manufactories of — (continued). Copenhagen, 167. Doccia, 211. Florence. See St. Ginori. Hague, 166. Le Nove. See Bassano. Madrid. See Bu^n Eetiro. Moncloa, 222. Moscow, 165. Naples. See Capo di Monte. Nyon, 169. Petersburg, 165. Portugal. See Vista Alegre. St. Ginori, 211. Toumay, 207. Turin, 213. Twer, 165. Venice, 213. Vineuf, 213. Vista Alegre, 223. Zurich, 168. Porcelaim, Oriental. China, 95. Fokien, 109. Japan, 120. King-te-ching, 111. Nankin, 110. Persia, 126. Porcelaine de Sante. See Hygiocerame. „ truitee. See Crackle. Porcellana, etymology of, 12, 100, 101. Porter, Stanien, extract of a letter from, 214. Portland Vase, 69, 265. Portuguese trade to China, 1 00 ; first appearance before Canton, 129. Pot, 277. Potter's clay, 277. Potters ami Mawifactu/rers. Astbury, the Elder, 82, Astbury, the Yoimger, 66. Barbin (Villeroy), 204. Becker (Hoxter), 152. Bengraf (Fiirstenburg), 151. Bottcher (Meissen). See Index. Busch (Keltersbach), 150. Champion (Bristol), 187. Cookworthy (Derby), 170, 184, 187. 378 INDEX. Potters and Manufacturers — {contirmed). Dalil, (Manufactory near Hochst), 150. Deleneur, Demoiselles (Arras), 206. Deruelle (Clign an court), 205. Dihl and Guerhard (Angouleme), 208. Dewsbury (Derby), 181. Dubois, Brothers (Vincennes), 190, 192, and (Chantilly), 204. Dwight (Fulham), 61. Elers (Bradwell), 81. Flight and Barr (Worcester), 185. Gelz (Hochst), 147. Glot (Sceaux), 205. Gravant (Vincennes), 192. Green (Leeds), 65. Greiner (Thuringia), 163. Haman (Wallendorf), 163. Haniing (Frankenthal). See Index. Hearacher (Zurich), 168. Henneberg (Gotha), 164. Julien Jacques (Villeroy), 205, and (Bourg. la Reine), 206. Lamarre, Advenir (Gros Caillou), 208. Lippich (Nymphenburg), 154. Lanfray (Niederviller), 209. Lebeuf (Porcelaine de la Reine), 208. Locre (De la Courtille), 209. Luca de la Robbia. See Eohbia. Lynker (Hague), 166. Macheleid (Rudolstadt), 163. Marcolini, Count (Hubertsberg), 71. Maubree (Nyon), 169. Morelle (Faubourg St. Antoine), 208c Niedermayer (Neudech), 154. Palissy Bernard. See Index. Petrinck (Tournay), 207. Pinto Basto, Senhor (Vista Alegre), 223. Potter, C. (Prince de Galles), 208. Ringler. See Index. Rothenburg (Gotha), 164. Siroux (Chantilly), 204. Souroux (Faubourg St. Antoine), 208, Spengler (Zurich), 168. Spode (Staffordshire), 171. Stolzel (Vienna), 145. Turner (Caughley), 182. Wedgwood. See Index. Wheildon (fellow-labourer with Wcdg wood), 67. Potters and Manufactwers — (contmued). Wood, Enoch (Bui'slem), 90. Potter, synonyms of terms, 260. Potters of Modern Egypt, 227 ; EngUsh dexterity of, 276. Pottery, etymology, 277. Pottery, Soft. EnameUed MwrnfacVwre. Delft, 46. Frankenthal, 45. Hochst, 45. Landshutt, 41. Majolica, Bologna, 12. Faenza, 12. Fermignano, 12. Ferrara, 12. Forli, 12. Castel Durante, 10, 12. Castel di Daruta, 12. Gubbio, 11. Nevers, 26. Nuremberg, 26. Pesaro, 7, 11. Ratisbon, 41. Rimini, 12. Ravenna, 12. Urbania, 12. Urbino, 11. Mansfeld, 46. Nevers, 30. Nuremberg, 30, 41, 42, 44. Ratisbon, 41. Rouen, 31. St. Cloud, 191. Strasburg, 45. Pottery, Hard. Fin^ Earthenware. Delft, 46, 243. Doccia, 71. Elizabethan, 58, 243. Fayence of Henry II., 49, 247. Fulham, 61. Gotha, 71. Hubertsburg, 71. Leeds, 64. Staffordshire, 60, 62. Stratford-le-bow, 57. Wedgwood. See Index- York, 65. INDEX. 379 Pottery, Hard. Stoneware {Qrh CSrame). Arnheim, 76. Brad well, 81. Beauvais, 80. China, 72. Cologne, 76, 81, 236. Flanders, 77. Fulham, 81. Gres Flamand, 77. Japan, 73, 81, 125. Lambeth, 81, 82. Khine, 73, 76. Staffordshire, 83. Teylingen, 74, 76. Wedgwood. See Index. Pottery. Aboriginal tribes, 277. Egyptian, 284. Mexican, 279. Moorish, 3. South American, 280. Hispano-Arabian, 282. Pousa, the martyr potter, 108. Printing on china, 182; earthenware, 182, 284 ; at Liverpool and Marienberg, 183 ; m blue, 182. Propertius quoted, 266. Queen Dowager, her Copenhagen porcelain 168. Queen's ware, 64, 68, 285. R. Rabelais quoted, 80, 247. Rabeschi, old name for arabesques, 285. Raffaelle ware, 11, 265. Raffaelle d'Urbino, 11, 229. Rattle, child's, found in Sclavonian tombs, 278. Reaumur, his researches, 93 ; his porcelain, 191 ; described, 276. Red ware of Japan, 72, 125; Bottcher, 77, 125,133, 141, 233. Reisbach's Travels in Europe quoted, 149, 154. Regnier, Director of Sevres, 196. Retraite de la pate, term explained, 285. Rhine, stoneware of, 73. Rhyton, described, 285. Ries, Director of the Porcelain manufactory at Hochst, 148. Ringler, German keramic arcanist, esta- blishes the Porcelain manufactory at Hochst, 147 ; Frankenthal, 152 ; Nym- phenburg, 154 ; Ludwigsburg, 157 ; his workmen at Berlin, 158 ; Cassel, 160 ; Zurich, 168. Riocreux, M., Conservator of the Musee Ceramique at Sevres, 210. Robbia, Luca della, Florentine sculptor, goldsmith and keramic modeller, his ware, 264 ; Girolamo, 8. Rose Dubarry, history of the colour, 286 ; in Sevres porcelam, 197, 200, 203. Rosso, Maitre Roux, Florentine painter, xx. Rovigo, Maestro, Italian keramic painter, 14. S. Sacro gating of Genoa, 267. Saguntum, potters of, 283. St. Fond, Faujas de, quoted, 83. St. Yrieix, discovery of kaolin at, 195. Salamander, the impresa of Francis I., 50. Saladin's present of porcelain, 99. Samian ware, English term for Roman pottery, 286. Samos potters, their celebrity, 286. Saucer, 287. Saxe-Meiningen, Duke Anthony Ulrich, en- courages Greiner, 163. Scaliger, Julius, quoted, 9. Schelestadt in Alsace, fine glaze, 41. Schnorr, J., discovers the Saxon kaolin, 131. Schrotter and Lisch quoted, 278. Schwerdtner establishes a Porcelain manu- factory at Ratisbon, 155. Scott's Monastery quoted, 252. Sea green. See Colowr. Seau, 287. Seggar described, 287. Seven Years' War, 135, 158. Sevres, history of the manufactoiy of, chap. X. Sforza, Francesco, Lord of Pesaro, 7. Shakspeare's jug described, 57. 380 INDEX. Slip, term explained, 287. Snake porcelain. See Crackle. Solis, Father, mentions frauds of Chinese, 108. Somerville's Chase quoted, 239. Sorgenthal, Baron de, Director of Vienna Porcelain manufactory, 146. Spectator, The, ridicide of china collectors, 105. Sperl, Widow, imdertakes the Porcelain manufactory at Baden, 155. Spode employs bones, 171. Spremont directs the Chelsea Porcelain manufactory, 175. Stem, 288. Stoneware, 288. See Pottery, Hard. Stowe. See Collections. Strawberry Hill, collection at, 22, 55, 65, 119, 146, 173, 179, 203, 204, 212, 216. Swinburne's Travels quoted, 219, 230. Southey quoted, 221 ; his Brazil, 281. Suetonius quoted, 301. Sureda, M., Director of Porcelain manu- factory of Buen Retiro, establishes one at Moncloa, 221. T. Table, chronological, of the various classes of pottery, 303. of discoveries and progress in the keramic art, 353. of the establishment of enamelled pottery, 357. of the history of porcelain, 359. of analyses of pottery and porcelain, 363. Tankard, etymology of the word, 288. Tantalus, cup of, 112. Tappia, Spanish mud walls, 225. Tschirnhaus, German chemist, fellow- worker with Bottcher, 130. Teapot described, 289. Tea, when introduced, 288, Tenacity, term explained, 289, TerragHa, 71, 290. Terra sigillata described, 290; invetriata, 264. Tcrra-cottas of the ancients, 275. Testa described, 290. Theophilus, the monk, 41. Thompson's Dictionary quoted, 232, 247. Thorwaldsen, his works copied at Copen- hagen, 168. Thuringian district described, 162. Tig, the old English parting-cup, 63. Tiles, described, 290. English, 291. French, Flemish ai^ci Dutch, 291, Irish, 291. Norman, 293. Mahommedan, 292. Persian, 294. Spanish, 295. Royal Exchange, 291. Tinaja, Spanish jars, 255. Tolentino, Nicolo da, Italian keramic painter, 14. Tortoise-shell vrare, 63. Townshend's Travels quoted, 220. Trenchard, Sir Thos., receives the King and Queen of Castille, 47. ' Tressaillures. See Crackle. Tsoui-Ki, Chinese name for Crackle, 238. Trou, Director at St. Cloud, 191. Trophies described, 295. Tumulus described, 295. Tupinambas of Brazil, 281. Turkey stones described, 291. Tureen, etymology of, 298. U. Umbrian ware, 3. Urbino, Dukes of, great patrons of the ma- nufacture of majolica, 10. Urn described, 298. V. Valle, Pietro della, quoted, 225, 294. Vasajo, Maestro Geronimo, Italian keramic painter, 14. Vases, classification of, 299. Etruscan, 299. Greek, 299. Venice ware, 101. Vitellius, his ragodt, 272. Vollkeim, Count, on the murrhine vases, 266. Voltaire, Siecle de Louis XIV. quoted, 191. INDEX. 381 Von Lang, Baron, establishes the Porcelain manufactory at Fiirstenburg, 151; Copen- hagen, 167. Von Gronsfeld founds Porcelain manufac- tory at Amsterdam, 166. W. Wall, Dr., founds the Porcelain manufactory at Worcester^ 182 ; inventor of printing upon china, 182. Waller quoted, 288. Walpole, Horace, 105, 179, 223. See Strav)- berry Hill. Walpole, Lady Catherine, 146. Warham's, Archbishop, drinking bowl, 118. Water-coolers of Spain, 226 ; Egypt, 227 ; perfumed, 227 ; Persia, 227. Watkins' Life of Queen Charlotte quoted, 175. Watteau, paintings after, 1 97. Way, Albert, on tiles, 291. Wedgwood, Josiah, English keramist, me- moir of, 66 ; his Queen's ware, 64 ', other ware, 83. Wegeley establishes Berlin Porcelain manu- factory, 158. Wilkinson, Sir Gardener, quoted, 97. Williams, Sir C. Hanbury, Poems quoted, 63. Winckelmann quoted, 274. Wood, kinds used in porcelain kilns, 206. Worcester, Nash's County History quoted, 182. Worcester, Green's History and Antiquities of, 182. Wraxall, Sir Nathaniel, quoted, 158. Wurtemburg, Charles Eugene, establishes the Porcelain manufactory of Ludwigs- burg, 167. Xanto, Italian keramic painter, 14, 24. Z. ZiESELER, German keramic flower painter, 151. THE END. LONDON ; BUADBDRY AND KVAJ^S, FHINTRR8, WUITKPRIAHX. ^-.KOM WHICH LOAN DEPT. . A „n the last date Stamped below, or T -n 91 A-40Tri-4,'63 ^(D6l7lBlO)476B U^-^^grkeley