Many errors must inevitab ly occur in a work of this kind ;I shall therefore feel much obliged for any corrections or infor
mation (to b e made use of upon a future occasion) which may b eaddressed to me at th e publisher’
s .
C O L L E C T I O N S
T OWARDS
A H I STORY OF
POTTERY ANT} PORCELAIN
I N T HE 15TH , 1GTH, I 7TH, AN D 18TH CENT URIES
WITH A DESC RIPT ION OF T HE MANUFAC T URE, A GLOS SARY, AND
A LIS T OF MONOGRAMS .
BY JOSE PH MARRYAT .
I L L U S T RA T ED W I T H C OL OURED P L A T E S A N D WOOD C U T S .
L OND ON
JOHN MURRAY ,ALBEMARLE STREET .
1850 .
PREFACE .
THE origin of the present work may be briefly stated as
follows . When first I became a collector of china, I found
great difficulty 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 friend Sir Charles Price, I began
to compose, for my amusement, a manuscript work upon
Pottery and Porcelain, to be illuminated by h is 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
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 embellish 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
much indebted to M . Riocreux,the Director of the Musée
Céramique 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 .
INTRODUC T ION .
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 thethat dwelt among plants and hedges most beautiful metaphors of S cripture .
there they dwelt with the king for h is When the Almighty would show His
work .
” l ChronicIes,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, ln 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 N ew,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 I saiah, xlv . 9 , 1xiv . 8 Jeremiah, xviii. 6 ,had often recourse to th e similitude of a xix . 11 Rev .
,11. 27 , &c .
potter, wh o makes what h e pleases of his The Grecian funereal pottery existedclay : sometimes a vessel of honour, as a manufacture, perhaps, not less thanand 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 aboutserving 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
liberal 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 Cape 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.
T he effect of patronage was par
ticularly remarkable in th e rapid progress of the Porcelain manufactories inEurope , where the art was only introduced in the beginning of th e eighteenthcentury, and where, in less than fiftyyears’ time, it rose to its greatest perfection. When, however, the manu
facture ceased to be monopolised bycrowned heads, though the communitygained by the introduction of porcelaininto general use, the art was degradedby the substitution of a cheap and
common manufacture for the exqui
site productions of the royal establishments .
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.
N or 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 identifiedflL
The fictile career of Palissy 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 . 3" We find Nelson, in the midst
of h is victorious course, engaged in collecting the china
of Cape di Monte § and Cepenhagen. “ The partiality of
the unfortunate Admiral Byng { I 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 b e 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.
I Page 206 .
Page 168 .
“II It appears that he was a great fop,
and a great collector of china. In one
of the caricatures of the day, he is repre
sented in the garb of a beau,with th e
muff, and other accessories of that ch a
racter . At h is side is a parcel of china,
with th e inscription China warehouse .
”
Allusion is also made to h is being a
collector of china, in a metrical parodyof his dispatch to the Admiralty an
nouncing his desertion of Port Mahon.
—Wm°
ght’
s England un der the House
of Hanover .
CONTENT S .
CHAPTER I .
SOFT POTTERY OF ITALY .
Majolica, or Enamelled Pottery of Italy— F irst copied from Moori shPlates .
— Pisan Expedition against Majorca—Manufacture at Pesaro.—Luca
dellaRobbia.— Petit Chateau de Madrid — Dukes of Urbino .
-RaffaelleWare.
-Derivation of th e term Majolica.-Mezza Majclica.
—Artists in Majolica.
3- Its Vari ous F orms — 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 FRANCESoft Pottery of France , —Nevers .
—Rouen.-Memoir of Bernard Palissy.
— PalissyWare.
CHAPTER I I I .
SOFT POTTERY OF GERMANY AN D HOLLANDPottery of Nuremberg—Enamelled Tiles for Stoves— Specimen of
Pottery in th e Royal Library at Paris—Establishment on th e Rhine— Delft,or Dutch Ware— Designs copied from th e Japanese.
—Date of its Manu
facture— Its Decline .
CHAPTER IV.
HARD POTTERY — (Pawnee d p dte da re.)
Hard Pottery.—F rance.
— Fayence ofHenry I I .—England .
— ElizabethanVVare .
— Shakspeare’
s Jug.— Fulham Pottery .
—Staffordshire Potteries.
Crouch Ware.— Place’
s China.—Wedgwood.
—Holland and Germany— Pipe
Manufacture.— Italy. -Terraglia of Doccia.
CHAPT ER V .
STONEWARE. (Gres-Oémme.)
S toneware ofChina and Japan.— OfGermany.
— Jacobus F lasks — Jacqueline of Hainault.—Luther’
s Jug—Apostles’ Mugs—F lemi sh Stoneware.
Gres-F lamand.— Collection of Mr. Huyvetter. S toneware of F rance.
Poteries Azurées of Beauvais.— England.— ColouredWares of Wedgwood.
Variety and Beauty of hi s Manufactures .
CHAPTER VI .
PORCELAIN — (HARD PASTE. ORIENTAL .)
Porcelain of China— Its Antiquity—Porcelain Tower of Nankin.
Marco P0 10 in China—Present of Porcelain from Saladin.-From th e Soldan
of Egypt to Lorenzo de’
Medici.—China introduced into Europe by th ePortuguese — Dutch East India Company— Dutch Embassy to China.
Manufactory at Kiansi.—Mary Queen of Scots’
China—Presents of Porcelainto Queen Elizabeth —Mention of Porcelain by Evelyn and others—OrientalService of Queen Anne — Lady M. W. Montague Addison and Horace
Walpole — Mission of F rench Jesuits to China— Kaolin and Petuntse.
Antiquity of th e White Porcelain .
— Blue and White of Nankin.—Celadon.
Egg-shell . - Imperial Y ellow and Ruby.
—Modern Porcelain made at Canton.
-Old Sea-green .— Japan Palace at Dresden—Porcelain of Japan.
— Its
Character.— Superior to th e Chinese— Porcelain of Persia— Its Manufacture
doubtful.
CHAPTER VI I .
PORCELAIN .—(HARD PASTE. EUROPEAN .)
SAXONY. F irst European Porcelain made in Dresden.—Bottcher’
s
Discovery.—He is removed to Meissen.
— Precautions for keeping th e Processsecret - F lourishing state of th e Manufactory under Royal Patronage.
Description by Jonas Hanway.—Calamitous Effect of th e Seven Y ears’War.
Decay and Decline—Present State—Visit of Wedgwood — Count Bruhl’
s
Tailor.— Lace F igures
—Honeycomb China— Collection at Japan Palacedescribed by Hanway and Klemm.
—Comparison.—Marks.
CHAPTER X .
PORCELAIN —ARTI FI CIALLY SOFT PASTE. (T endre Artificz'
elle )
Manufacture of Porcelain at S t. C loud .-F irst mentioned by L ister.
Alluded to by Voltaire — Privileges granted by Louis XIV.— T h e Minister
Orry engages th e Brothers Dubois.— A Company established under th e name
of Charles Adam, at Vincennes.- Patronised by Madame de Pompadour.
Perfection of th e Porcelain —Manufactory transferred to Sevres.— Purchased
by Louis XV.— Endeavours to make Hard Paste— Negotiations with
Hanting.— Guettard discovers Kaolin at Alencon.
-Madame Darnet makesknown th e Kaolin of S t. Y ri eix .
— Hard Porcelain made — Manufactory sparedin th e Revolution—M. Brongniart appointed by th e F irst Consul.— Beautyof th e Pate Tendre.
—Its most celebrated Colours — Rose Dubarry, &c .
S tyle of Decoration— Porcelain F lowers of Vincennes.— Exclusive Privilege
to gild Porcelain — Historical Series of F orms . Marks of th e differentPeriods — F raudulent Imitation of Sevres Porcelain—Celebrated Collections.
—Beau Brummell . -S trawberry Hill.— Various Private Collections— Stowe.
— Chantilly Porcelain.- Its Quality and Mark.— Villeroy. Sceaux .
C lignancourt.- Etiolles .
— Bourg-la Reine.—Soft Paste ofF landers.
—Tournay.
L ille.— Arras .
CHAPTER XI .
MANUFACTURES OF ITALY AN D SPAINF LOREN CE. Marquis of Ginon s Manufactory at Doccia. VEN ICE.
Bassano, at Le Nove. TURI N , at Vineuf, by D r. Gioanetti. NAPLES . Capodi Monte, established by Charles I I I . —Chatham Correspondence— State of
th e Manufactory under Ferdinand — Extract from a Letter of Lord Nelson.
—Decline and Ruin — Character of th e Porcelain - Collection at Portici.SPAIN . Charles I II . establishes th e Manufactory at Buen Retiro .
— S ecrecyobserved — Extracts from Swinburne.
— Bourgoanne .—Rev . J . Townsend, D on
A. Ponz, and Laborde.— Destruction of th e Manufactory by th e F rench .
S outhey .—Mr. F ord —Beauty of th e Ware . PORTUGAL . Vista Alegre .
'
CON TENTS .
APPENDIX.
GLOSSARY OF TERMS USED I N THE DESCRIPTION OF POTTERY AND
PORCELAI NTABLE
, SHOWI N G THE VARIOUS CLASSES OF POTTERY AND PORCELAI N
MARKS AN D MONOGRAMS
TABLE OF THE MARKS AND MONOGRAMS OF THE PAINTERS, DECORATORS,AND GILDERS EMPLOYED I N THE ROYAL MANUFACTURE OF SEVRES, FROM
1753 To 1800
CHRON OLOGICAL TABLE OF THE LETTERS EMPLOYED AT THE SEVRES
MANUFACTORY FROM 1753 To 1817, To I NDICATE THE YEAR IN WHI CHTHE PIECE
/WAS DECORATED
LA FAYEN CETHE CASE OF THE UNDERTAKER OF THE CHELSEA MANUFACTURE OF
PORCELAIN WARE
CHRONOLOGICAL TABLE OF THE DISCOVERIES AND PROGRESS OF THE
KERAMI C ART
CHRONOLOGI CAL TABLE OF THE ESTABLISHMENT OF ENAMELLED POTTERY
CHRONOLOGICAL HISTORY OF PORCELAIN
ANALYSIS OF THE DIFFEREN T KINDS OF POTTERY,ACCORD ING TO
M. BRONGN IART
ANALYSIS OF THE D IF FEREN T KINDS OF PORCELAIN , ACCORDIN G TO
M. BRONGN IART AN D OTHERS
L IST OF PRIvATE COLLECTION S OF CHINA, ETC .,IN GREAT BRITAIN
INDBx
XV
PAGE
ERRATA.
8, note, for“ George Andrioh ,” read Giorgio Andreoli .
21,line 12
,for“ is
,read “ was .
24, 20
, f or Zanto,
”read X anto .
31,note
,line 14, for “
ceramic,
read Keramic .
38, F ig. 17 , for Salt C ellar,” read “ C ompotier.
16, f or C ompotier . C oll . P réaux ,
”read “ Salt C ellar. C oll . L e C omte.
76,line 16 , for Marol ini,
”read Marcol ini .
101,
14 from bottom,
”for
“ moulded,
”read “ mounted .
161,
4, for
“ Arnandus,”read Amandus .
162, 11, for Henr ich read Heinrich .
”
164, 16, for T eifi‘
urt,
read T ieffurt.”
228, 9 ,for“ Galen,” read “ th e Emperor Gallienus .
229,
19, for L oggii , read L oggie .
”
252, 2 from bottom, for fig. read fig . 36
288, 4 from bottom, for read 1836 .
s criptirmOf the (stalwart Watts.
AZULEJO
Spanish Moresco Tile, enamelled, with th e escutcheon and motto of th e
Kings of Grenada. T he date of its manufacture appears to b e about 1300 .
From th e collection Of R. FORD,Esq .
EWER. (MAJOLICA) Frontispiece.
This is of fine form, with beak of peculiar shape, and twisted handles.
T he subj ect of th e painting is Acis and Galatea, after Giulio Romano . On
th e other Side of the Ewer, Galatea is represented riding upon a sea-horse,attended by Cupid upon a dolphin. T h e date of th e manufacture is from1500 to 1550. Thi s specimen was formerly at S trawberry Hill, but is nowin the collection of th e Author. S ize, to th e top of th e handle, 19 inches .
VASO DALLA SPEZIERIA. (MAJOL ICA.)
These vessels were made to hold drugs in th e medical dispensaries ..
Th is appears, by th e inscription, to have contained Bugloss (Buglox), a simplemuch in repute in ancient pharmacy. T h e female figure pourtrayed uponthe vase, was probably th e portrait of th e ladye
-love of th e painter, whosename h e wished to transmit to posteri ty, “ Puccia di Domenico,
”that is,
Puccia,daughter of Domenico . This piece, of which th e date is about th e
middle of th e sixteenth century, was sold, with several others, to the Author,from th e Spezieria attached to a convent at Messina, where they were to b ereplaced with glass vessels . Height, 17 inches .
JUG. AMATORII . (MAJOLI CA)
T h e mouth is trilobed , after th e fashion of some of the ancient Greekpottery. T h e Cecilia Bella,” the ladywhose portrait is given, is th e subj ectof th e Amatoru. F ormerly in the collection of R. FORD
,Esq . Height to
th e cover,8 inches.
xviii DESCRIPTION OF THE COLOURED PLATES .
PLATE. (MAJOLI CA)
T he same description app lies to this specimen representing “ MinervaBella.
”
In th e collection of th e Author. Diameter, 95 inches.
PILGRIM’
S BOTTLE. (MAJOL I CA)
A fine Specimen of Raffaelle grotesques, with medallions upon a whiteground ; th e form elegant. F ormerly at Strawberry Hill now in th e col
lection of th e Author. Height, inches.
DISH BY BERNARD PAL ISSYSubj ect, a Nymph reclining among th e reeds, h er arm resting upon an
urn, from which escapes a stream. Near h er stands th e dog Bl iandi, d iscovering a S pring (Fans) . T h e subj ect is a personification of F ontainebleau(anciently called F ons Bliandi, or a name it is said to have derivedfrom one of th e hounds of Louis VI I .
, wh o discovered a spring there . Thisdish is after a design of Maitre Roux,+ wh o was emp loyed by F rancis I . in
th e works of th e Palace of F ontainebleau. In th e collection of th e Author.
Diameter, 114, inches .
GRES FLAMAND JUG
A good ‘
specimen of this ware, both in point of colour and form. T h e
neck of th e Jug is ornamented with Medusa’
s heads. In th e collectionof th e Author. Height
,10 inches .
JAR. ORIENTAL 112
T h e paste of this Jar is very thin and fine ; th e turquoise colour, whichis rarely seen so bright, has been copied both at Sevres and Dresden. T h e
total absence of perspective in th e Chinese drawing is remarkable . In th e
collection of th e Author. Height, 14 inches.
T he etymology of F ontainebleau has given rise to much dispute, some
referring it to the legend above mentioned, others deriving it from the beauty ofthe water (F ontaine belle eau) . L ouis VI I . dates, in 1169, a charter from F ontaine
Bleaud ,”and he built a chapel there , which was consecrated by Thomas aBecket.Or Rosso, born at F lorence , 1496, lost all h is property at the sack of Rome,
and went to Paris, where F rancis 1 . made h im superintendent of the works at
F ontainebleau. He died,1496 , at F ontainebleau. Having unjustly accused h is
friend Pellegrin of theft, the latter was put to the torture, which so affected Rosso,that h e took poison, and died the same day.
DESCRIPTION OF THE COLOURED PLATES .
VASE. SEVRES . (“ VAI SSEAU AMAT .
This splendid specimen is of curious form,representing an ancient
galley, with its sail nearly furled, the holes round th e vase being intended tocontain hyacinths, or other bulbous roots, which flower in water. It is
handed in green and blue, and is of th e finest painting and decoration,being of th e period 1750— 1755 . Thi s vase forms th e centre of three, th etwo companion vases being equally fine in quality . They are in th e possession of Mrs . Byng, of St. James
’
s Square, and Waltham Park. Height,inches .
VASE. SEVRES . (“ VASE DU PLESS I S ATETE D
’
ELEPHANT .
This elegant specimen is one of three vases, th e centre one of whi ch issimilar in form to Plate 11. It is of exquisite delicacy of colouring
,th e
rose Dubarry being relieved by flowers painted upon a white ground . T h e
elephant handles are rarely seen th e date of its manufacture is from 1755
1768. Thi s set, formerly in th e possession of H. R. H. th e Princess Sophia,now belongs to Charles Mills, Esq , Camelford House. Height, 17 inches.
EWER. CAPO D1 MONTEThi s elegant piece is moulded from th e Shells of th e Mediterranean,
coloured after nature. T he handle is formed of branched coral. This ewer,with th e basin (woodcut are good specimens of th e old Capo di Monte
Porcelain. T h e ewer belonged to th e late Countess of Blessington ; th ebasin was bought at Naples . Both are in th e possession of th e Author.
Height, 11 inches.
HARD POT TERY (F INE EARTHENWARE) .
Country . Subject.
26 52 F RAN CE . F AYEN CE OF B iberon.
HENRY I I .
Ewer.
C andlestick.
29 57 ENGLAND . EL IZABETHAN Sh ak speare’s Jug
WARE .
T ea P ot. MARRYAT .
C ream Jug.
CROUCH L ady in a Sedan Chair. I LLUST RAT ED LONWARE . DON N EWS .
Group of.
HARD POT TERY (STONEWARE) .
C offee P ot.Jacobus Kannetje.
Jug, brown .
Apostles’ Mug .
Jug, ornamented, cruetshaped .
Vase. HUY VET T ER.
PORCELAIN .
97 ORIEN TAL .Bottles found in th e WI LKI N SON ’
S
Egyptian T ombs .
“ Manners and
Green and white . Customs of th e
Ancient Egyptians .
”
N AN KIN . MARRYAT . diam. 17
EUROPEAN . D’
RESDEN .
long 17
F ULDA .
ENGLAN D . Bow .
F RAN CE . SEVRES .
NAPL ES . CAPO D I MONT E .
D ish, blue and whi te.
J ar, blue and whi te .
Kylin, green.
Bottle, striped brownand white .
Match Pot,turquoise.
Saucer, ancient pattern.
Bottle, gourd- shaped .
T ea Pot, grotesque .
Vase, with cameos .
Count B ruh l’
s T ailor.
(T here i s a larger sizeof 18 in.)
T ailor’
s Wife.
Ape.
Empress Catherine’s
D og.
Coffee Pot.
C ream J ug .
Vase,quaint Shape.
Basin .
Salt C ellar.
66 226
67 227
68 n
69 228
231
7 1 234
72 n
73 n
74 n
76
7 7
78
79
80
96 270
97 274
98 278
LIST OF WOODCUTS .
M uuh tuts in ttt G lassarg.
Brickmakers .
Alcaraz za .
Water C ooler.
Amphora .
Azulejo .
/Cuarto Real .
B ottle, blue faience ofP ilgrim’
s .
T win-joined .
, D oub1e .
Mummy C one .
D rinking Cup . F ish .
Head
C ooking P ot .
Annular Vase.
F unereal U rn (half )J ar of a Coroado Chief.
black pottery Of
Koupch ine .
Vase cerclé ruins of
L a Jarra .
Kiln,C ommon Pottery .
n Hard n
P orcelain.
Mark, Roman P otter’
s S tamp .
Olla on Vase .
D iogenes in P ithos .
Child’s Rattle .
F unereal Vessel .Pottery. Aboriginal .
Mexican.
77 7 7
South Ameri can.
Moorish F ragment.
T HEBES .
P ERS IA .
EGYPT .
EGYPT .
CHIL I .
EGYPT .
CHIL I .PERU.
GREEK .
VUL C I .
VULC I .
BRI T I SH MUSEUM.
BRONGN IART , Atlas, xix . 4
(partly from WINCKELMAN N )
S CANDINAVIA. D rawing, G. S . N ICHOL SON ,
E sq .
77 77
BRONGN IART ,Atlas,xxv . 16 .
I LLUST . LONDON N EWS .
BRI T I SH MUSEUM.
I LLUST . LONDON NEWS .
77 77
WILL IAM T URNER,ESQ .
R . F ORD, Esq .
MUSEO BORBON ICO.
77 77
HENN IKER’S L etters .
77 77
BRONGN IART , Atlas i . 1 .
(from KRUSE .)77 77 77
CAMPAN I AD .
77 77 77
N ORFOLK. BRIT I SH MUSEUM .
MECKLEN BURG BRONGN IART , Atlas,xxv .14.
GREECE . D ODWELL ’S GREECE .
BECKFORD .
xxiii
diam5
WILKI N SON ’S
“ Manners
and Customs of th e
Egyptians .
”
AU LD JO .
BRIT I SH MUSEUM .
AUL D JO .
D rawing, G. S .N I CHOL SON,
Esq .
MARRYAT .
BRI T I SH MUSEUM .
77
77 77
77 77
MARRYAT .
BECKFORD .
MUSEO BORBON ICO .
BRIT I SH MUSEUM .
BRONGN IART,Atlas, xx . 2
(from M ICAL I .)S IR EDWARD BARN ES .
BRONGN IART ,Atlas xxx i .10 .
T RAITE, t. 1 . p . 456 .
BRONGN IART,Atlas, xix . 6 .
(from D EBRET .)
BRONGN IART,Atlas, xx . 8 .
AU LD JO .
M U SEE CERAMIQU E .
BRON GN IART , Atlas xix . 1 .
xxi i . 3 .
OWEN J ONES’
S A lhambra .
xxxviii . 2 .
l ii . 1 .
XXX . 9 0
P O T T E R Y .
POTTERY is either soft (tendre) or hard (dur) . The
terms have reference to the composition as well as tothe 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 stoneware
,is hard .
SOFT POTTERY . (F ayence, ap dte tendre. )
This class has been produced from the most ancientperiod, and its peculiar characteristics are
,—soft paste,
which may be scratched with a knife or file,—composed of
clay,sand
,and lime (P ate argilo- sableuse calearz
'
fere) , and,generally, fusibility at the heat of a porcelain furnace.
These soft wares are divided into four kinds, viz
1. UNGLAZED (mattes) . 3 . GLAZED (vernissées) .
2 . LUSTROUS (bastrées) . 4 . ENAMELLED ( émaillées) .
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 withthick enamel
,composed Of silex or quartzose sand
,with
oxides of tin and lead, whence the term stannz
’
fe‘
re,given
to it by M . Brongniart. This ware is susceptible of beingdecorated with paintings Of great delicacy. The productions of Persia
,Arabia and Spain being of an earlier date
than the fifteenth century,it is not proposed to describe
them here ; these only of Italy, France, and Germany,come within the scope of the present sketch .
CHAPTER 1.
SOFT POTTERY OF ITALY .
Majolica, or Enamelled Pottery of I taly.— F irst copied from Moorish Plates.—Pisan
Expedition against Maj orca—Manufacture at Pesaro .—Luca della Robbia.
—PetitC hé teau de Madrid —
(D ukes of U rbino ,
—Raffaelle Ware — D erivation of the term
Majol icax—Mezza Maj ol ica — Artists in Maj olica— Its Various F orms .— Pilgrims’
Bo ttles. Spezieria at Loreto . S acred Cups. C ollections at S trawberry Hill,Narford Hall
, Stowe, and others— Majolica in Germany . —~In F rance .
THE Italian pottery, generally known under the namesof Maj olica
,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 republicanstates engaged in warfare with the Infidels .
The first introduction of painted pottery into Italymay betraced to the Pisans . It is related by SismondiflL that thezeal of the Pisans against the Infidels urged their undertaking the deliverance Of the Tyrrhene Sea from the aggression of the Mussulman Corsairs . A king ofMajorca, namedN azaredeck, by h is atrocious acts of piracy spread terroralong the coasts of France and Italy . Itwas computed that
Christians were confined in h is dungeons . In the
year 1 1 13 the citizens of Pisa were exhorted on the
festival of Easter by their Archbishop, in the name of the
See coloured plate, Azulejo . Rep. I tal . du Moyen Age .
B 2
4c HISTORY OF POTTERY . [CHAR L
God of the Christians, to undertake the deliverance of
their brethren wh o 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 upthe cross and prepared for the expedition . In the monthof August, the Crusaders set sail for the Balearic Isles,but the mariner’s compass not having been then inventedto assist them in their navigation, after a violent tempestthey were thrown upon the coast of Catalonia, wherethey remained till the following year. They againsailed in the month Of April
,1 1 14
, and reached Ivica .
After a bloody combat they took the Island, and passedon to Majorca, where they undertook the s1ege of the
town of that name, which was valiantly defended for a
whole year, but was taken about Easter 1 1 15 , notwithstanding the courageous resistance Of the Saracens, assistedby their numerous allies . The king was killed, his successorwas made prisoner and conducted to Pisa, and spoils andbooty of immense value freighted the Pisan galleys in theirtriumphant return to their native city.
That the painted Moorish pottery, an article of greatvalue, and supposed to have been almost unknown at thatperiod in Italy, formed part of these spoils, appears probable 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 ofmany other towns in Italy.
Mr . Dawson Turner, in his unpublished journal,dated
Pisa,October 1 8th
,1825
, saysAfter having returned to the Conservatore the keys
c an . I . ] MAJOL ICA. 5
of the Campo Santo,he was kind enough to walk and show
me several specimens of plates from Majorca, embeddedin the walls of sundry church es in the city, to which theyform singular ornaments . It was a custom at Pisa, withthe warriors returning from the Crusades and stopping at
Majorca,to bring home th is peculiar earthenware by way
at once of testimony and trophy. They are accordinglyonly to be found in the oldest buildings of the style thatwe 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 thecornice .
”
In St. Francisco are some near the tOp of the
Campanile, which is very lofty . I afterwards observedothers in the walls of two churches of about the same dateat Pavia .
Sir F . Palgrave observed similar plates on the Campanile
F ig. l . Span. Moresco Plate . (Co ll . Marryat. )
of a church in the Forum at Rome, also on the facade (ofLombard architecture) of San Giovanni in Ciel d
’
Oro, at
Pavia,and under the eaves of San Pietro in Grade, outside
6 HISTORY OF POTTERY . [CHAR I .
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 kindhad been inserted . Similar specimens are found in otherbuildings 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
Facade of S an S isto, Pisa decorated with Moorish Plates .
San Sisto , from which it appears that there are now veryfew remaining, and that all those which are under thecornice along the side, prove to be merely plaster impressions, painted to resemble the original plates
,which have
been stolen or taken away. On the West front thereremain four of the original plates
,which
,from their com
paratively Inaccessible situation, have escaped the fate of
S ee Murray’s Handbook of Nor th I taly under the head Pavia .
CHAP . L ] MAJOL ICA. 7
the others . Drawings of these plates have been made, aswell 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 thatthey 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 Italybefore the fourteenth century, nearly 200 years after theperiod 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 dominionof the House of Sforza,
*the art greatly improved
, and
the manufacture at Pesaro had in 1450 arrived at a highdegree of excellence .
Notwithstanding the foregoing testimony which may beconsidered nearly conclusive as to the Moorish originof Italian pottery, Passeri claims the invention on behalfof his birth - place Pesaro, in which city he says that themanufacture of pottery existed from the earliest times ;that it remained in abeyance during the decline of the
Roman empire, and revived about the fourteenth century,
atwhich period arose the custom of decorating the facadesof churches with coloured plates of earthenware (bacini) ;that some of a yellow colour still remained on the Churchof St. Agostino , and that some yellow and green oneswhich adorned the facades of the Duomo and St. F er
nando , had been removed in his time. He asserts thatthese Specimens were not Moorish , but the first efforts of
F rancesco S forza seized the March of Ancona from Pope Eugenius 1V. ,in
1434, and erected it into an independent state .
8 HISTORY OF POTTERY . [cum 1.
Italian art ; and he thinks it probable that the art originatedwith Luca della Robbia, and that it might have been broughtby the Sforzi to Pesaro, where it could have been easilyadapted to all kinds of pottery, at a period long prior to theintroduction into Italy of the contrefatte majorichine .
Luca della Robbia, born in 1388, was an eminentsculptor in marble and bronze
, and worked both at
Florence and at Rimini. Having abandoned h is originalemployment for that Of modelling in terra cotta
,he suc
ceeded, aftermany experiments, in making a white enamel,with which he coated his works, and thus rendered themdurable . Vasari writes of him, che faceva l
’
Opere di7
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 inpottery . He adorned the Italian churches with tiles, as wellas with altar-pieces, in terra cotta enamelled and he is the
founder of a school which producedworks notmuch inferiorto 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 enamelledtiles, the work of an Italian artist, named Girolamo dellaRobbia
,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 thanas a
“ lining ”or revetement of the walls . Analogous orna
ments, the work of Luca de Maiano,1 52 1
,were to be
seen in the Old gate,Whitehall
,and at Hampton OGU PLI
it In the Museum at F rankfort is a which served as an altar-piece to a
composition in earthenware of many church at Gubbio . I t is of great merit .
hundred figures , representing th e Virgin S ee Ellis ’s Original Letters,” 3rdand Saints, by George Andriol i 15 1 1 ; S eries i. 249 .
10 HISTORY OF POTTERY . [CHAR I .
This celebrated manufacture owed its great perfectionto the princely house of Urbino
,by whom it was patro
nised - for 200 years . The first Duke Frederick of
Montefeltro who was a celebrated warrior, as
well as a man of letters,
* continued and upheld the manufacture of Majolica . His son,
Guidobaldo, established
another manufacture at Pesaro , in which the first artistsof the age were employed. His nephew and successor
,
Francesco Maria della Revere, added to them that of
Gubbio . The next Duke,Guidobaldo took great
pains to improve the style Of painting . He assembledat 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 somevases with his own hand . He also formed the celebratedcollection of the Spezieria
,or medical dispensary attached
to the Palace of Urbino . But overwhelmed with debt,he was obliged to contrac t the expenses of these establishments, and the quality of the ware deteriorated rapidlyin consequence . The last Duke, Francesco Maria afterhaving built themagnificent Palace of Castel Durante,whichhe adorned with choice specimens of Majolica, was com
pelled, from a similar cause, to dismiss h is 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 1 63 1 , his valuable collections ofMajolica became the property of Ferdinand de’
Medici”L
who removed them to Florence ; that of the Spezieria,already mentioned, was presented to the shrine at Loreto .
Sansovino relates thatwhen he took Hebrew Bible, with which he enrichedVolterra
,of all the booty made by h is h is library.
army at th e sacking of the town he re He had married the grand-daughterserved for himself only a magnificent of F rancesco Maria .
CHI P . L ] RAFFAELLE. 11
The immortal Raffaelle Sanzio d’
U rbinO, who was bornat Urbino in 1483 , and died at Rome in 1 520 , has givenhis name to this ware . But this general use of the termRaffaelle ware has, doubtless, arisen from an erroneoussupposition that its splendid designs were either paintedby him or under his immediate direction whereas thefinest specimens are not of an earlier date than 1540 .
The designs for many of them were, however, furnishedby his scholars from the original drawings of their greatmaster .
It is matter of indifference whether Raffaelle himselfever painted any of these earthen plates with h is own
hand, since they could not now be identified while thepretty legend of the arts, that love guided his pencil, loseslittle of its value by the uncertainty . At all events, it isCertain that the compositions Of Raffaelle are found upona 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 underMarc Antonio . This artist was employed by Raffaelle
,
lived in his house, and worked under his eye . The printshe executed became the fashion, and therefore were copiedon these plates, affording another reason for the name of
Raffaelle ware .
”
Keysler relates that Baron Tassis, of Venice, possessedan autograph writing of Raffaelle, in which he informs theDuchess of Urbino that the designs are ready which theprincess had desired to be made for some porcelain forher sideboard .
*
Although Pesaro, Gubbio, and Urbino, were in the middleof the fifteenth and beginning of the Sixteenth century
,
Travels in Germany,I taly
,&c .
,1756 .
12 HISTORY OF POTTERY . [CHAP . I .
the S ites of this celebrated manufacture,it afterwards
extended to Rimini, Faenza, Forli, Fermignano , and alongthe banks of theMetaurus
,toCastel Durante (now Urbania) ,
Ravenna, Ferrara, Bologna, and Castel di Daruta,in
Perugia . Sienna , also, t owards the end of the sixteenthcentury, furnished remarkably fine Specimens . In the
valley of the Abruzzi there was likewise a manufactory .
The e arly specimens, from 1450 to 1 500, were a coarse
ware, called Mezza Majolica . The finer ware, called“ Porcellana,
”was afterwards introduced
,on which the
artists were able to paint grander compositions, andwith better taste. It was at its greatest celebrity from1540 to 1 560 , under Duke Guidobaldo 11. During thisperiod, 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 greatmasters, especially Parmegiano . Afterwards
, from variouscircumstances , particularly the death of its royal patron
,
which took place in 15 74, the manufacture began rapidlyto 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 Majolica wanted in drawing and
design, was abundantly made“
up in the beauty and per
fection of its colour and enamel glaze . From the excellence of the glaze, the yellow and white colours have themetallic lustre of gold and silver . The changeable lightand “ Madreperla splendour were also given in greatperfection and
,indeed
,have neverbeen surpassed . The
T he name given at this period in Europe to the finest description of pottery,and derived from the Portuguese word Porcellana,” a cup .
ca r p . MEZZA MAJOLICA. 13
iridescent ruby colour is peculiar to Pesaro and Gubbio,
and is of very rare occurrence two colours only— blue andyellow,
with their mixtures— appear to have been generallyused in painting this ware, and the striking effect producedby the union of these simple colours Shows the greattalent Of the painters employed in that early period of
the art. The execution Of the drawings, however, at thattime, was rude and unfinished.
Arabesques and coats of heraldry round the rim of the
dish,with the bust in the
“ centre, characterise the generalstyle of the Mezza Majolica. Semi-busts of the Deitywere very generally introduced ; as also portraits of princes,
(especially of the House of Sforza) , of their consorts, andoccasionally of the popes, accompanied sometimes withsentences in Latin or Italian . This style, which was
dry and stiff, 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 historyof the Majolica . Then began to be painted landscapesand friezes, together with every strange variety of fancifulconceit, or Capricci,
”
(as they are termed) , boys, birds,trophies, musical instruments, monstrous animals
, as wellas copies from many of the fine Rafiaelle grotesques . But
the decline of the art had begun . The drawings grewincorrect, 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 1 5 74 the ducal establishment was suppressed, on
14 HISTORY OF POTTERY . ( am p . 1.
account of its expense, and Majolica was from that timemanufactured for common purposes only .
It was the usual custom for the artists to write the titleof 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 onlythe principal piece, intending that one pIece to speak forall . 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 .
U gubbio is generally inscribed upon that of Gubbiothe 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 artistsbut among the best Majolica painters may be especiallynoticed N icolo da Tolentino
,of Pesaro
,previously to 15 00 .
Maestro Geronimo Vasajo, in 1542,his mark was 0 . and
A. united by a cross . Also, Girolamo Lanfranco, who
flourished from 1542 to 15 60 . Raffaelle da Colle,a pupil
of Raffaelle, long resident at Pesaro ; and Terenzio diMatteo . 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 peculiar form,was M°
. G°. (Maestro Giorgio) , from
1 5 19 to 153 7 ; though a Single A. is found upon his earlierperformances .Maestro Rovigo, ofUrbino, who flourished from 1532 to
1 534,wrote his name at full length under the date and title.
Xanto, of Rovigo, was a celebrated painter of Urbino,
CHAP . I .] ARTISTS IN MAJOLICA . 15
from 1530 to 153 5 . His colours have the metallic lustreso much prized .
Orazio Fontana painted the finest specimens in the
collection of the Spezieria, (now at Loreto) , as also thepresents sent by the duke to foreign potentates . His
mark consists of the letters 0 . F .,with a V. above and an
F . below,signifying Orazio Fontana, Urbinate, Fecit.
Vasari writes that Battista France,in the employ of
the Duke at Urbino in 1540 , had no equal among his contemporaries in point of good drawing Ncl 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 Evangelists in the Spezieria,
are painted from drawings by that artist. His monogramis B F V F .
Cipriano Piccolpesso, of Castel Durante,about 1 550
,
furnished a great many designs for the Duke
,especi
allytrophies ofgreatbeauty .
The three brothers Gatti,and Guide of Savino, thelast of whom emigrated toFlanders, were all equallycelebrated artists of CastelDurante .
The art of making ena
melled tiles appears to have
passed from Spain into ItalyF ig. 4. Majo lica Pax. (Co ll . Marryat. )
In the fifteenth century, asPasseri mentions their use in the Palace of the Sforzi, at
See F ig. 7 .
16 HISTORY OF POTTERY . [CHAP . L
Pesaro,and speaks of some which bore the arms of
Costanza Sforza . They appear to have been also some
F ig. 5 . Majolica Vase. D avid and Bathsheba. (Coll . Marryat
times used for ecclesiastical purposes, as a Pax .
*The
specimen (F ig 4) dated 1502,was originally framed and
used as such .
Every varIety of formwhich can be required for common
Pax—an ecclesiastical instrument,
of ancient use in the Roman CatholicChurch
,which the priest kissed first
,
then th e clerk,
and lastly th e peoplewho assisted at th e service, one afteranother . I t was usually of metal
,and
in the form of a plate or tablet, and hadupon it a representation of the Cruci
fix ion either in relief or engraved . T he
magnificent Pax of silver,engraved in
niello by F iniguerra , is still preservedat F lorence . T he term is derived fromth e divine salutation, Pax vobiscum.
”
T he custom of kissing it was in com
pl iance with th e apostolic injunction of
Salute one another with a holy kiss,
”
which, in the early ages of the Church,was literally practised, but which wasdiscontinued in after times .
ca rp . L ] FORMS IN MAJOLICA . 17
or domestic use, as well as for ornament and luxury,both elegant and grotesque, is to be found in the Majolica
(F igS- 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) .
F ig. 6. M ajo lica Vase. Galatea.
The Tazzoni da frutta di rilievo , or fruit basins withembossed patterns in high relief, ofthe gold colour ofPesaro ,dated 1470 , are very curious .
18 HISTORY OF POTTERY . [CHAR L
The cisterns of large dimensions,and the vases of every
quaint variety of form (F igs. 8, highly embellished with
F ig . 7. Majolica Ewer. L anding of Caesar. (Col l . D u Sommcrard
paintings , with their handles formed Of serpents, and rims
Fig. 8. Majolica Sauce Boat . (Coll . Du Sommerard . ) F ig. 9. Majolica Vessel , grotesque form,
(Co l l. Marryat. )
CHAP . I . ] FORMS IN MAJOLICA.
surmounted by grotesque figUres Of animals and fishes,and also those vessels used by apothecaries to hold theirdrugs
,are greatly to be admired (see Plate, Vaso della
Spezieria)Am
'
atorn,a name given to various pieces, such as small
basins or small deep dishes (bacinetti) adorned with theportrait and name of a favourite lady to be presented bya lover as a pledge, are not less admirable specimens ofthe art. On such was inscribed Under the portrait thename 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 different kinds of wine, pouredout 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 jocosefigures birds of every kind, coloured after nature paintedtiles
,used for walls and floors
,many of them admirablyex
ecuted, Show the great variety and excellence of thi s ware .
Giambattista Passeri, Abbate of Pesaro,from whose
scarce publication *on the subject (in the library of
Mr . Ford, a zealous collector of this ware) the‘
aboveaccount is chiefly extracted, laments the caprice of fashion,which denounced Majolica as vulgar
,and made Oriental
“ I storia delle Pitture in Majolica fatte in Pesaro e nel luoghi circonvicini .N o date or place, but reprinted at Bo logna in 1758, l 2mo .
20 HISTORY OF POTTERY . ( ca r p . 1 .
porcelain, just then introduced, the rage . The worthy
Abbe nalvely exclaims, in concluding his work , that thepreference given to Oriental Porcelain, with Chinese paintings no better than what are seen upon playing- cards
,
over the Italian Majolica, embellished with the designs ofthe school of the immortal Raffaelle, proves the degeneracyof the age, and shows the lamentable predominance of the
brutal over the intellectual part ofman .
*
After 1 600 this celebrated ware almost ceased to bemade 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 similarware 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 3 80 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 othersrepresent incidents of the Old Testament, actions of
the ancient Romans and the Metamorphoses of Ovid .
Those of the sportive games of children are in numbereighty- four
, each one being different from the other .
These vases are very highly prized, as much for their
at La parte brutale dell’ uomo saraa favor delle Porcellane, ma 1’ intellettuale e
raz iocinativa guidich eraa favor delle nostre Majolich e .
”
22 HISTORY OF POTTERY . [CHAR ] .
Among the most remarkable are a vase,with the Aseen
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 paintedover the original paintings
,which are scarcely discernible,
though St. Mark’s Palace can be just recognised. Thereis a fine font or basin for washing glasses
,in the Dispen
sary of the Escurial ; the subject of the painting is theJudgment of SolomonStrawberry Hill was rich in Specimens of this ware,
many of great beauty and extreme rarity . A pair of finetriangularrshaped cisterns, painted from the designs of
Giulio'
RomanO, was sold for 1 60 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 F ebru
ary, 1589 + 1 There was likewise a very magnificent pairOf vases
,l; with serpent handles and paintings from designsof Giulio Romano, singular in having this inscription
“FATE IN BOTEGA DI ORAZIO FON TANA .
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 collectionin England of this ware . Many pieces are painted fromthe designs of Raffaelle ; but two pieces which deserveparticular notice are a pair of cisterns of fine form and
Miss Burdett Coutts was th e purchaser .
Sold for 23l . 4s . T he Pilgrims’ bottles sold for 10 guineas to 15 guineas each .
“
1: Sold for 110l .
ca n ». MAJOLICA AT STOWE. 28
execution, and of the remarkable Size of 3 feet in lengthby 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 ofenamelling overearthenware
,in the style of Luca della
Robbia . The ground of the vaseis lapis lazuli blue, and it is
exquisitely painted from designsby Giulio Romano, with figurein white the top and foot are
in arabesque upon the Majolica .
This gem (ofwhich the cut, F ig 10,
is half S ize) was sold atHarringer F ig l o
goggggjn
aygggm‘fase
House for 351. it subsequently
F in . C istem . (F ormerly at S towe. )
the same sale an oviform vase
fetched, at the latesale at Stowe
,5 1
guineas . The silvergilt handles
,which
had been added before the vase was
transferred to the
Stowe Collection, canhardly be consideredas an improvement.
for sprinkling scented
24s HISTORY OF POTTERY . [CHAR I .
water, painted with arabesques, sold for 2 71. 16s . 6d. A
S ingle salt of grotesque form,for guineas and a half,
and a pair :of the same sort for 12Z. 12s . The plates wereknocked down at from 5 to 10 guineas each . But the
most interesting specimen was a cistern (F ig. 11) from the
Borghese palace, which, although much broken, sold for64 guineas .Ralph Bernal
,Esq ,
MP ,has been occupied for twelve
years in forming a most extraordinary and unrivalledcollection 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 exquisiteSpecimens, particularly a large dish
, the subject of whichis Raffaelle
’
s Judgment of Paris,most beautifully painted,
and a matchless specimen of that rare master, Giorgio daGubbio .
The collection of the writer also contains some choiceSpecimens from Strawberry Hill and from Mr . Ford’s collection
,besides others procured in Italy. A plate by Zanto,
from Mr. Ford’s collection, date 1533 , the subject of whichis 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 (F ig. 12) twenty- four inches diameter,the subject ‘
Of the painting being the Stormmg of Goletaon the coast of Africa
,by Charles V.
*The Roman eagles
Goleta, an island on th e coast of July,1535 . By this victory, and the
Africa ,was th e stronghold of the Corsair subsequent surrender of Tunis, the
Barbarossa, and strongly fortified . I t emperor liberated Christian cap
was attacked by Charles V.,with a fleet tives , and effectually bridled th e depre
Of 500 vessels,and anarmy of dations of the African corsairs.
— Robert~men
,and carried by storm on the 25th son
’
s Charles V. Book v.
26 HISTORY OF POTTERY . [CHAP . I .
MAJOLICA.— (IN GERMANY . )
Nuremberg claims the introduction of Majolica intoGermany . Hirsct
’
gel, an artisan of that city,travelled
into Italy in 1503 , and went to Urbino, where he learntthe art of enamelling pottery . He returned in 150 7, andestablished the first manufactory of Majolica but sculpture and carving being more congenial to him thanpainting, the works he produced are ornamented in relief,and not painted upon an even surface like the Italian ware .
The manufacture ceased after his death . There exist twofine Specimens of this ware one in the collection of the
King of Bavaria, the other in that of the heirs of the lateM . Campe, bookseller, at Nuremberg.
MAJCLICA.-(IN FRAN CE . )
N evers has the credit of being the earliest site of
enamelled pottery in France, though the fabric may beconsidered merely as an inferior description of the ItalianMajolica, the imitation coming far Short Of the originalmanufacture.
The introduction of Majolica into France,and the
establishment 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 th e manufacture of Majolica
,there can
be little doubt that, upon her removal to the FrenchCourt, She was desirous Of introducing those elegancies '
CHAP . L J MAJOLICA IN FRANCE. 27
and luxuries to which She had been accustomed, and
which could with difficulty be Obtained from Italy, owingto the constant wars between that country and France .
This Queen, however, did not succeed in establishingany manufactory of Majolica until the arrival from Italyof her kinsman
,Louis Gonzaga
,who, upon h is establish
ment in the Dukedom of Nevers,* sent for artists fromItaly
,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 Ole
Clave,native of the N ivernois, addressed to the Illus
trions Prince Louis Gonzaga,Duke '
of Nivern0 1s and
Rethel,in his work, entitled Apologia Argyropoeiae et
Chrysopoeiae, published“ex tua metropoli vrbe NiurnenS I ,
Calendis Aprilis,1590 . In this dedication the intro
duction of the manufacture of Fayence (called figulinae
encausticae) is mentioned as one among many otherreasons why the book should be dedicated to such an
The
writer ends with imploring the Deum optimum maxi
mum to grant a long life to h is local Maecenas,and that
he himself might live to see it.
odd,as Gaston is evidently a believer in the philosopher’s
illustrious prince,patron
,and benefactor to Nevers .
The work is quaint and
The fiefs and family estates of the
Dukes of Nevers,by failure of male
issue,came to b e divided among the
three surviving sisters,wh o were prin
cesses of such exceeding beauty, that atth e court Of Charles IX . they were
called the Three Graces . Henrietta
of C leves, th e eldest,obtained for her
share th e duchy of Nevers and county
of Rethel,with which sh e endowed
Louis Gonzaga , on h er marriage withhim in 1565, and by royal ordinance h eassumed the title of Duke of Nivernois . This prince was a great patronof th e fine arts, but h e was almost constantly occupied by the wars Of th e
period,until his death (which took place
at th e Chateau de Nesle in
28 HISTORY OF POTTERY . [CHAP . L
stone, and gives learned reasons why gold and Silver willnot 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 originalestablishment
,and dispersed the foreign workmen .
The Nevers pottery was perhaps the earliest instance of
the introduction of the manufacture of Majolica by Italianworkmen into a foreign country . As long as Italianartists 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 length the manufactory descended to ordinary
This circumstance has caused some difficultyin identifying the locality of this ware
,many specimens
Fayence .
of Nevers being considered as real Majolica . The sameremark will apply to the Flemish and German piecesmanufactured by Italian artists, though these are not so
easily mistaken .
It must be borne in mind, that the foreign manufactories of Majolica were not established till the decay of
the art in Italy, and the consequent discouragement of themanufacture, had induced the workmen to emigrate to
The portion of the dedication re
lating to F ayence is as followsSunt etiam ex genere eorum
,quae
praeclaras urbes efficiunt, ingeniosi mul
tarum artium artifices . Hinc vitrarise,
figulinae et encausticae artis artifices
egregn , iussu tuo accersiti et immunitate
tributorum alliciti, praestéitia opera civi
bus tuis commoda magisque exteris
admiranda subministrant. Sed et novissimis hisce diebus topographum et sculptores ingeniosos multis tuis sumptibus
huc appellere iussisti, sic viris conspicuiscivitatem tuam ornatam, sedificns quoqueperpolitam esse voluisti praesertim quOdct lignorum lapidfi calcis et arenas
,quae
ad ea construenda suntnecessaria, multaesset copia .
” —P . 9 .
CHAP. L ] MAJOLICA IN FRANCE. 29
foreign countries in quest of employment. When thusremoved from Italy, they Of course had no longer theadvantage of the designs and drawings of their greatnative masters, but were obliged to Oopy those of the
country in which they were located .
CHAPTER II .
SOFT POTTERY OF FRANCE .
Soft Pottery of F rance .— 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 possessed 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 brilliancy of
the dark blue enamel, and the whitepatterns upon it, have a very strikingappearance .
*The introduction, how
ever, of porcelain in the Sixteenth cen
F ig. 13. Enamened Pilgrims, tury superseded the use of this as well
iéiili '
ml
friiiii
i as of all fine enamelled wares . Thispottery has nevertheless been celebrated in neroic verse,by Pierre Defranayfr and the poem is so characteristicallyFrench
,that we give it in the Appendix,
being convincedthat it will amuse
,if it does not instruct the reader.
Th e writer has a Pilgrims’ bottle of and brilliancy yields to no other pottery.
this ware (F ig. of which the colour S ee Appendix .
CHAP . MEMOIR OF PALISSY . 3 1
At the close of the seventeenth century the enamelledpottery of Rouen was much celebrated . The style of its
ornaments distinguishes it from that of Nevers of the
same period. When Louis XIV.,in 1 713 , sent his plate
to the mint to defray the expenses of the war, he had a
service of th is ware made expressly for his own use,of
which an octagonal salt- cellar, bearing the mark of the
fleur- de- lis,is in the collection at Sevres .
*
The next description of this ware peculiar to France isthat which has immortalised the name of its maker
,
Palissy, the history of whose life is so interesting,and
especially With reference to our art, that we Shall give itat some length .
Bernard Palissy, a man of great natural genius, wasborn 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 readand write
,and having acquired some knowledge of land
M . André Pottier , conservateur dela Bibliotheque de Rouen, has paid muchattention to the fictile manufactures of
that city,and th e history of th e manufac
ture generally . He states that by documents preserved in the archives there , itappears that a kind of porcelain was madeat Rouen, prior to th e German discoveries. One of these documents cites th e
letters patent Of Louis X IV., dated 1673,to Louis P oterat, S ieur de St. Etienne,
wh o had discovered processes for fabricating porcelain similar to that of China,and wares resembling those of Delft, andauthori sing the establishment ofworks atS t. S ever , near Rouen. I t seems, how
ever, that certain manufacturers, thensettled at or near Rouen, regarded thisenterprise as an intrusion upon their
rights, and attacked Poterat. His por
celain appears to have been shown at
Paris, and to have excited much admiration. If so
,it was not a mere proj ect,
but a manufacture in actual operation.
M . Pottier possesses among h is Rouen
specimens some which he regards as
Poterat’
s porcelain . I t resembles the
white oriental porcelain, opaque fromthe thickness of th e substance, but israther more vitrified .
As , however, M . Brongniart, wh o
ought to b e well acquainted with the subj ect Of the F rench ceramic productions,makes no mention of this porcelain
,it
was probably merely a fine F ayence .
T he late Mr . Bandinel possessed two
beautiful brackets of this ware,from the
collection of M . Roussel .
32 HISTORY OF POTTERY . [CHAR I I .
surveying, obtained a livelihood by following that employment . The habit of drawing lines and geometrical figures
,
inspired him with a taste for design,which talent he
developed in Copying the works Of the great Italianmasters . He was employed in painting images and
pictures upon glass . He visited the principal provinces inFrance
,examined the monuments of antiquity
,and made
numerous observations upon different mineral productions,
which are astonishing even at the present day. He alsostudied chemistry, as it was then taught, in order to knowthe composition and properties Ofminerals .
Palissy, having finished his travels before 1539,
established himself at Saintes, and there lived upon theproduce of his talent for painting. Seeing at this timea 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 h im to bring up his
children creditably ; and from that time his mind was solelydirected to this Object. He soon spent all his savingsin useless attempts, but having been employed in 1543 tomake a survey and plan of the salt—marshes of Saintonge,this work brought h im 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 hisfamily from want
,nor the representations of his friends,
could deter h im from continuing his experiments . He
borrowed money to construct a new furnace, and whenwood failed him
,he actually burnt the tables and boards
of his house to finish the operation, which succeeded
34 HISTORY OF POTTERY . [CHAR I I .
judges at Saintes, and it was necessary for the Kinghimself to claim him as his own special servant, in orderto save h is life . He was called to Paris and lodged inthe 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 theyear 1584 .
These services did not,however, give him favour in the
eyes of the Leaguers, Since he was arrested by Order ofthe Sixteen and shut up in the Bastille . Henry III . wentto 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,
7
aware that he was not able to deliver him, humanelydelayed the prosecution, and Palissy terminated in prison,about 1589
,
"
at the age of ninety, a life which he hadrendered illustrious by great talents and rare virtues . Hisoccupation as a potter arose from an accidental circumstance ; but the courage and perseverance he displayedthroughout his eventful and calamitous career would havebeen equally conspicuous
,whatever pursuit he might have
followed . France may,indeed
, be as proud of h is nobleand 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 .
mm . PALISSY WARE. 35
His writings, little known in England, are excessivelycurious, especially the autobiography of his fictile careerhowever, 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.
PALI S SY WARE .
The Fayence of Palissy is characterised by a peculiarstyle and many singular qualities . The forms of his figuresare generally chaste . His ornaments, his historical, mythological, 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 whiteenamel of Luca della Robbia
,or even that of the Fayence
of Nevers . The back of his pieces is never of an uniformcolour, 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
i
is not so good as thatof Delft.
The natural objects which are placed upon thisFayence 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 hasornamented his different pieces, are the tertiary shells Ofthe Paris basin
,and their species can be clearly recognised .
The fish are those Of the Seine the reptiles and plants, ofD 2
36 HISTORY OF POTTERY . [CHAR I I .
the environs of Paris . There is no foreign naturalproduction to be seen on his ware .
F ig. 14. Palissy D ish . Reptiles &c . in relief. (Coll . Marryat. )
The greater part of these pieces, particularly the dishes,or rather plateaux loaded with objects in relief, calledpieces rustiques
,
”
were destined merely‘
to be placedupon the large armoires and buffets which ornamentedthe dining- rooms of that period . Pieces with a flat sur
face are extremely rare . The quantity made of this waremust 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. (F ig.
it An eminent Paris collector of Palissy ware asserts that he has at least seventyvarieties .
38 HISTORY OF POTTERY . [CHAR 11.
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 devicesof the Constable de Montmorenci the colours are brightand effective they bear“ much resemblance in execution
F ig. 16. Palissy Salt Cellar. (Co l l. Préaux. ) F ig. 17. Palissy Compotier. (Coll. Préaux. )
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 BernardPalissy
,from the collection of M . le ComtePourtales, is here
given (F ig. Those of the Chateau de Madrid havebeen already noticed
,as being of Italian manufacture .
*
Palissy had two assistants, who were either his brothers
Page 8 .
car p . PALISSY TILES . 39
or sons,who worked with him,
and continued the art untilthe time of Henry IV. There exists a plate of theirworkmanship
,the sii ect of wh ich has been several times
repeated, and which'
represents that prince with his family.
There is a manuscript in the Royal Library at Paris, containing an account of the expenses of the Queen Catherinede Medicis dated 1 5 70 , in which the following passageoccurs Qu’
on a delivré 5. Bernard, Nicholas, et
Mathurin Palissis, sculpteurs en terre, une ordonnance de
F ig. 18. S tove T ile (Palissy . )
la somme de 2600 livres tournois pour tous les ouvragesde terre cuite émaillée qui restaient a faire pour parfaireles quatre pans au pourtour de dedans de la grotte
40 HISTORY OF POTTERY . [CHAR I I .
commencée pour la reine en SOII palais lez le Louvre aParis suivant le marché fait avec euxMany 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 Palissy moulded the reptiles,plants, and
shells of Paris only, this distinction may be usefullyemployed to detect the counterfeits . Besides
, the colourof the last is generally of a uniform brown maroon, verydifferent from that of Palissy and this Fayence, which israre
,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, wasmade in Germany about the same period, but it may bedistinguished by the dirty red colour of the paste, whichis evident, although covered with a very thick coat Of
enamel .The most extensive and complete collection of Palissy’s
Fayence exists in the Musée Royale,”in the Louvre
,and
in the Hotel de Cluny, purchased since the death of
M . Du Sommerard, its late proprietor . These magnificentSpecimens have been eagerly bought up by the FrenchGovernment
,from a just appreciation of the merits of
their talented and much persecuted countryman .
*
At a'
late sale at Ph illips’s , ofPaIissy ground,and snake handles , sold for
ware and other articles belonging to M . 57l , 153 . A very curious candlestick,
Roussel,of Par is, an extraordinary large with perforated work, and heads in
vase of this ware, enriched with boys in relief,sold for 2OZ., and various figures
relief, supporting flowers and fruit in and other small obj ects brought highfestoons, with mask heads on a fine blue prices .
CHAPTER III .
SOFT POTTERY OF GERMANY AND HOLLAND .
Pottery Of Nuremberg—Enamelled Tiles for S toves .—Specimen of Pottery in the Royal
Library at Paris— Establishment on the Rh ine.—Delft, or D utch Ware .
—Designscopied from the Japanese.
—Date of its Manufacture—I ts Decline.
OWING to the early discovery of a fine glaze, Germanyexcelled in this ware.
A commentator on the work of the monk Theophilus,Schedula diversarum artium,
” relates the fact Of this fineglaze (of which he gives the composition) having been usedat Schelestad, in Alsace, as early as 12 78, by a potter
,
whose name he does not mention, though he states thathe died in 1283 .
In the Annales Dominicarum of Colmar,published
by U rsticius in his collection Scriptorum rerum Germa
nicarum,
”there occurs a passage In reference to the events
of 1283 , which states that Obut figulus Stezlstatt qui
primus in Alsatia vitra vasa fictilia vestiebat.
The fabrics of Ratisbon, Landshutt, and especiallyNuremberg
, (F igs . 19,20, 21, Show a high degree Of perfec
tion in the glazing and colouring, which is not less variedand brilliant than the enamelled ware of the Arabs and
Italians .
42 HISTORY OF POTTERY . [CHAR I I I .
F ig. 19. Enamelled D ish. German. (Co ll. Marryat. )
The fine green glaze,th e complicated forms
,the great
number and variety of ornaments with which this ware is
F ig. 20. T ureen. Nuremberg.
overlaid, its lightness and good workmanship, constitute thedistinctive character of this pottery.
The potters of Nuremberg were celebrated for enamelledtiles of great Size
,used for covering stoves . Of thesemany
fine specimens exist. In the Castle of Nuremberg thereis a most remarkable collection of large ornamental stoves .They are composed of slabs , 2 7 inches by 25 , and enrichedwith ornaments and figures in has- relief, of a fine character,after the school of Holbein . The prevailing colour is deep
can ». m . ) GERMAN POTTERY . 43
copper -green, sometimes blended with brown and yellowThey bear the date of 1 65 7 . A Specimen of one of a set
F ig. 21. German Enamelled Chauffep ied. F ig. 22. GermanOmameutedVase.
(Coll. Marryat . ) (Coll . Sauvegeot.)
of tiles used for covering stoves,is here given (F ig
from the collection Of Mr . Barron .
There are two small slabs of this period in the RoyalMuseum at Paris .* The figures are white upon a ground ofvaried brilliant colours . One has the hair gilt
,a style of
ornament very rare in this species of pottery .
In the Royal Library at Paris,there is a large dish
(1 7 inches diameter) of fine paste, hard, tolerably white,the glaze of a copper—green colour, and enriched withornaments In relief of every kind, among which may be
distinguished the arms of France and Brittany in the time
These Slabs came from an unique berg. The vacancies caused by theirstove ( different from the others de abstraction have been filled up by tilesscribed) , also in the Castle of Nurem ofmodern fabric.
44 HISTORY OF POTTERY . [CHAR I I I .
of Charles VIII .,and the instruments of the crucifixion
of the Saviour . The style of this dish resembles that of
F ig. 23 . German S tove T i le. (Co ll. Barron. )
the Nuremberg manufacture . It bears the early dateof
In the Royal Museum at Dresden,there is a splendid
specimen of old Nuremberg manufacture, a pitcher of greenglaze, with a medallion containing a Scripture subject inrelief, of exquisite moulding
,for which the Nuremberg
artists were celebrated. It bears the date of 1473 .
Thus the manufacture of enamelled pottery,which
originated in Italy, flourished chiefly in Franconia ; and
the classical taste of Italy, grafted upon the native Gothic,produced a quaint and curious description of pottery peenliar to this manufacture. Enamelled soft pottery, of various
Brongniart, Traité des Arts Ce’
ramiques .
46 HISTORY OF POTTERY . [CHAR I I I .
Lower Saxony produced the coloured enamelled wareswith a black glaze . Drinking- vessels
,in the shape of
truncated cones, and ornamented with sculpture, were madeat Mansfeld. Hopfer, a celebrated engraver of Ratisbon,gave many designs for these decorations .
HOLLAND .
But the Dutch ware made at Delft,called the parent of
pottery, is the most celebrated, not only on account of its
singularity of form and colour,but also for its excellent
qualities . It is remarkable for the beauty of its enamel,which is not a shining white
,but Slightly tinged with blue
,
and presents a smooth and even surface,allowing orna
ments of every colour to be placed on it without disturbingthe enamel or 1mpa1r1ng the brilliancy or distinctness of thecolours . The prevailing colour is blue .
The articles of delft manufactured for ornament werechiefly copied from the Old Japan porcelain
,both in form
and colour. The exclusive communication which the Dutchso long enjoyed with Japan
,had rendered them possessors
of numerous Specimens of this ware many years before itwas known to the rest ofEurope, as will be readily admitted
by all those who have visited the cabinets in the Mauritshaus, at the Hague . Thus
, early familiarised with thequaint forms and devices of the Japanese, the Dutch wereled to introduce them into their home manufacture. The
hideous,imaginary animals of the Chimaera class, the
three—ringed bottle,the tall and shapeless beaker, and the
large circular dish,may still be seen in most collections
of Dutch delft ; and so admirably are they imitative of
cr ap . m ] DELFT WARE. 47
both the pattern and blue colour of the original, thatnothing Short of the touch and a close inspection will sufficeto detect the difference .
The date of the establishment of this manufactory is notclearly ascertained, some placing it in the fifteenth, othersin the Sixteenth century. The following incident wouldfix it at least early in the later period . It is stated in Rapin’sHistory of England
,
“that in the reign of Henry VII .,
in the year 1506,Philip and Joan,
who had taken the titleof King and Queen of Castile, left the Low Countries andembarked at Middl eburgh for Spain. They set sail on thel 0th of January, and before they left the Channel theirfleet was dispersed by a storm,
and the Ship on boardwhich they were, ran into Weymouth . Sir ThomasTrenchard, the High Sheriff, went to pay his respects tothem, and they accepted h is invitation to lodge at h is
house at Wolveton ,
” From another source,*we further
learn that when the King took his leave, he presentedh is host with some immense delft ware dishes, and some
bowls of Oriental china, one of which was inclosed in
massive silver gilt. The latter of these were then greatrarities, as they must have passed the Desert on the
backs of camels, the Cape of Good Hope not having beencolonised at that time .
”
The Trenchard family have removed from Wolveton,
and the place has passed into other hands but the writerhas been informed that the celebrated cups given by Philipto Sir Thomas Trenchard, are now in the possession of
J . B . Trenchard,Esq ,
of Potwell .
It is to the introduction of the fine English wares as
See Hutchins’ History of Dorset.
HISTORY OF POTTERY . [CHAR 111.
well as of Oriental porcelain, which came into general usein Europe, that the decline of the manufacture of fine
pottery is to be attributed. The complicated forms, thefine and delicate paintings required, enhanced too muchthe price of a ware, of which the material was less esteemedthan that of the new sort which then appeared . So thatthe fine enamelled soft pottery ceased to be made in theseventeenth century, and the manufacture degenerated tovery ordinary ware.
50 HISTORY OF POTTERY . [CHAR Iv .
to have been sent by some of the relations of Catherine
de Medicis as a present to Henry II . but,it differs too
essentially from Italian Majolica, both in the paste of
which it is composed, and in the style in which it isdecorated, to warrant such a conjecture. Italy does notpossess in its museums a single Specimen of this ware, andof the thirty- seven pieces extant, twenty—seven have beentraced as coming from Touraine and La Vendée. Manyantiquaries, therefore, infer that the manufacture was at
Thouars,in Touraine, although the Fayence may have been
the work Of an Italian artist.
But if the place of its manufacture is unknown, the
pieces extant clearly attest the period of its fabrication .
The Salamander,and other insignia of Francis I .
,are met
with on the earlier specimens of this pottery ; but uponthe majority of pieces, upon those more pure in design andmore beautiful in execution than the preceding, we find thearms of Henry with h is device, th e three crescents, or hisinitial H
,interlaced with the two D ’s of the Duchesse de
Valentinois . Indeed, so constantly do her emblems appearupon the pieces, that the ware, though usually designatedas
“ Faience de Henri is sometimes styled “ Fai ence deDiane de Poitiers .” Even her widow’s colours
,black and
white, are the two which are employed in some of the finestpieces . They were the fashionable colours of the court,Henry were no others during his life, and was attired inthemin the fatal tournament in which he fell . Her imp resa,the crescent of Diana
,is conspicuous on his palaces, and he
even caused it to be engraved upon his coins . From thesecircumstances we must, therefore, conclude that the manufacture of this ware began at the end of the reign of
CHAR l V-l FAYENCE OF HENRY II . 51
Francis I .,was continued under that of Henry II .,
and,as
we find upon it the emblems of these two Princes only, wemay naturally infer that it is of French origin .
The paste of which this Fayence is composed is equallydistinct from Majolica and Palissy ware . The two latterare both soft, whereas this, on the contrary, is hard . It is
a true pipeclay, very fine,and very white, so as not to
require, like the Italian Fayence, to be concealed by a thickenamel, and the ornaments with wh ich it is enriched are
simply covered with a thin, transparent, yellowish varnish .
The style Of decoration of this ware is unique. Patternsor arabesques, are engraved on the paste, and the indentureS filled with coloured pastes, so as to present an
uniform, smooth surface, of the finest inlaying, or resembling, rather, a model of Cellini
’
s silver work, chiselled and
worked in niello . Hence it is sometimes styled FaienceThese patterns are sometimes disposed in
zones of yellow Ochre,with borders of dark brown
,some
times of a pink,green, violet, black, or blue but the dark
yellow ochre is the predominant colour.In addition to these elegant niello- like decorations, this
beautiful Fayence is enriched with raised ornaments, in
7
a niellure .
’
bold relief, consisting of masks, escutcheons, lizards, frogs,shells, garlands, &c . in all of these the pink colour predominates. The forms of the pieces are always in the pureststyle of the Renaissance,
”
and are SO finely modelled and
so exquisite in execution,as to be compared with the
chiselled and damascened works of the goldsmiths of theSixteenth century. They are usually small and light, andconsist mostly of ornamental pieces— cups, ewers, and a
vase of peculiar form, to which the French have given theE 2
52 HISTORY OF POTTERY . [CHAR I v .
name of “ Biberon . Of the latter we give a specimen,
(Fig. 26) from the cabinet of th e late M . Préaux,whose
F ig. 26. Fayence de Henri I I . Biberon. (Coll . Préaux. )
collection has just been dispersed, in consequence of the
death of the proprietor . His was the richest known inthis description of Fayence, of which he possessed Six
pieces .* The Biberon here figured is only seven incheshigh the upper part is white, the ornaments yellow
,and
the lower part black with white ornaments . On the
shield underneath the Spout, are the three crescents interlaced. A small ewer (F ig. seven inches high, ornamentedwith brown arabesques, inlaid upon a white ground
,with
These six pieces sold for the enormous sum Of francs (nearly 490l .)T he Biberon for 246 1 francs a vase with a cover, for 1560 francs .
54 HISTORY OF POTTERY . [cam w .
of a vase,and bears inscribed the fleurs- de- lys and the
monogram of our Saviour. This piece, for delicacy of detail
F ig 28. Fayence de Henri I I . Candlestick. (C oll . Rothschild. )
and beauty of execution,is unequalled by any specimen
known of this exquisite Fayence. Sir Anthony de Rothschild also purchased at M . Préaux
’
s sale a small cup,decorated in the same style, with the crescents interlaced,for which he gave 13 00 francs . He, therefore, now is
fortunate in having the finest collection known of thisware, as, in addition to the specimens already mentioned,
0 11m m ] FAYENCE OF HENRY I I . 55
he possesses two exquisite ewers Of the Henry II . Fayence .
One he purchased at the sale of the Comte de Monville for
230 0 francs the other, with a curious handle of elaborate
workmanship, he bought for nineteen guineas at Strawberry Hill , where he also purchased a tripod salt- cellar,supported with scroll ornaments, for 2 11. These two
pieces were described in the catalogue as Majolica and
Palissy ware.
Another choice Specimen is in the possession of Hollingworth Magniac, Esq , of Colworth , near Bedford
, who
procured it from the collection of M . Odiot, of Paris . It is
a ewer fifteen inches high, of perfect form, ornamented withmasks ; the surface entirely covered with arabesques inblack and white, in which is constantly repeated the letterG, the meaning of which is not known. The handl e isformed by a human figure reversed, the legs terminatingin serpents’ tails, which twine round the shell that formsthe mouth of the ewer.There are five pieces of this ware in the cabinet of
M . Sauvageot. One, a salt- cellar of pedestal form,at each
corner of which stands a little genius supporting the armsof France. There are, also , two Specimens in the Louvre
,
two in the Musée Céramlque at Sevres,and the remaining
pieces are mostly to be found in the collections at Paris .
ENGLAND .
Much uncertainty exists regarding the period when themanufacture of fine earthenware was first introduced intoEngland. Among the documents in the F oedera
, occurvarious lists of articles
,ordered to be purchased in
56 HISTORY OF POTTERY . ( ca rp . w .
England for several foreign potentates, and permitted to
b e exported for their use without paying the Custom duties .
One of these lists, dated in 1428, enumerates many objects
as then shipped for the use of the King of Portugal and
the Countess of Holland, among which are six silvercups
,each of the weight Of Six marks (or four pounds) ,
a large quantity of woollen stuffs, and 2000 plattes, dishes,saucers, and other vessels of electrum.
As these articles were, no doubt, the produce of the
country, it would appear that utensils for domestic usewere then made ofmetal, and not of pottery and it was
not till some time afterwards that the latter was introduced by the Dutch, whose manufactory at Delft probablyexisted as early as the fifteenth century, - and who sentlarge quantities of their ware to England . The skill andexcellence of the English artisans consisted in the manufacture of silver
,and other metals . Of this, instances are
recorded in the correspondence of La Mothe Fenelon , theFrench Ambassador at the Court of Queen Elizabeth and
in the travels of Hentzner, who visited England in 15 98.
Both describe in glowing colours the silver plate whichadorned the buffets, as well as the magnificent furnitureand decorations of the palaces Of that sumptuous Queen .
Still Elizabeth,who so highly prided herself upon the
state and splendour of her establishment, and who was inconstant intercourse with the Court of France and the
Low Countries, was not likely to have remained altogethersatisfied without possessing, among themanufactures of her
A mixed ”
metal,similar in appear ~ ear thenware . Change silver plate or
ance to pewter,of which plates and vessel (vaisselle) into the compound
other ordinary vessels were made pre stuff,be ing a kind of S ilver electre
,and
v iously to th e introduction of fine turn the rest to coin.
” —B acon.
58 HISTORY OF POTTERY . [CHAR IV.
the year 1 6 16 , is, perhaps, the most remarkable example
of the Elizabethan Pottery now existing . The Shape
bury,Gloucestershire, and was sold by
auction in May, 1841. I t has S ince beenexhibited in th e west ofEngland, and hasattracted very considerable attention.
The accompanying details are from a
handbill, printed by Mr . Bennett, of
TewkesburyThis jug is of cream-coloured
earthenware, about nine inches in
height,and six teen round in the largest
par t,and somewhat in th e shape of a
modern coffee-
pot. I t is divided longitudinally into eight compartments, eachhorizontally subdivided andwithin thesethe principal deities of th e Grecian Myth ology are represented in rather boldrelief. Jupiter and Juno, Bacchus,Diana
,Mercury, Apollo, Mars, &c .
,
are all plainly distinguishable by theirthrones, chariots , or characteristic animalattendants .
T o preserve th e interior from dust,and the rim from accident, a silver topand edging were added about forty yearsago, with a small medallion of Shakspeare upon it
,inscribed William
Shakspeare, at the age Of Th e pre
cions relic is kept beneath a carvedcovering, shown in the engraving.
As this interesting relic was never ,until within the last S ix years, out of thepossession of the collateral descendantsof the immortal bard of Avon
,
’
it b e
comes necessary to trace its history .
I ts possessor (Mr . Lees) purchased it
from a daughter of th e late James
Kingsbury, Esq , of Tewkesbury, whosewife inherited it from her mother . Thislady
,whose name was Richardson, was,
through her husband,whom Sh e sur
v ived,related to the Hart family
,direct
descendants of Shakspeare ’s sister Joan
and th e Harts, having fallen into de
pressed circumstances,gave up the jug to
their relative ,Mr.Richardson, in compensation for a considerable debt owing toh im
,about 1787. Sarah Hart, wh o thus
disposed of th e jug, was th e fifth in descent from Shakspeare
’
s sister Joan, whomarriedWilliamHart, ofStratford-uponAvon, and previously to this th e Hartshad constantly kept the jug as broughtinto their family by Joan Shakspeare .
I t appears, from Shakspeare’s will,
that h e left h is sister, Jcan, all h is wearing apparel , together with the house inwhich h e was born besides which, otherproperty that had been ShakSpeare
’
s
was devised to the Hart family by LadyBarnard , th e grand-daughter of Shakspeare , in whom th e line of Shakpeare
’
s
own body terminated. I t,therefore,
becomes certain, that various relics of
Shakspeare were at one time in theirpossession. Of these, however, none
appear to have been treasured with anycare, exce
pt this jug, which was everdenominated Shakspeare
’
s,as having
truly belonged to th e immortal bard .
The facts here stated, however, challengethe fullest investigation — the Hart
family yet existing in Tewkesbury, andthe jug having been long ago noticed anddescribed by S ir Richard Phillips, in theM onthly Magazine, and inMr . Bennett’sTewkesbury History and Register .
T he present possessor of the jug,Mrs . F letcher , a descendant of th e im
mortal bard, tried to prevent it fromgoing from th e Shakspeare family. She
was outbid, and Mrs . Mary Tuberville,of Charlton-house
,bought it for 301; At
the second day’
s sale of h er effects,
however, at a cost of nineteen guineas,Mrs . F letcher re-bought th e jug, and,
during theweek of th e festival, hundredsof persons availed themselves of the
opportunity of inspecting it.”
ca rp . m ] ELIZABETHAN WARE. 59
partakes very much of the form of the Old German or
Dutch ewer, without, however, the usual top or cover ;the one now attached to the jug being a modern additionof Silver
,with a medallion bust of the poet in the centre,
beautifully executed, and inscribed, “ WM. SHAKSPEARE,
AT THE AGE OF FORTY .
”It is about ten inches high, and
Sixteen inches round at the largest part, and is dividedlengthwise into eight compartments, having each a mythelogical subject in high relief. All of these
,although
executed in the quaint style of the period, possess considerable merit . Some of them
,indeed, manifest much
masterly grouping of both human figures and animals ;and such is the admirable state of preservation Of thisvery interesting old English relic, that as correct a judgment may be formed Of its workmanship, as in the daysof its first possessor at all events, as regards the degreeof perfection which English Pottery had attained in the
Elizabethan age, an inspection of this Jug will justifythe presumption
, that her court was not less tastefullyprovided in that respect than those of th e Continent
,
notwithstanding the obscurity in wh ich the preciselocality and extent of the manufactory is unfortunatelyinvolved .
The presumptive evidence of this ware being English,is
derived from the mode of its manufacture, the forms, andthe subjects of the designs . The mode of making it wasentirely different from that usually employed in makingpottery vessels, which are first formed by the hand or
lathe,and then passed to the kiln whereas in the forma
tion of this ware, the materials were diluted with water tothe consistence of soup, in which state they were called
66 HISTORY OF POTTERY . [CHAP . 1v .
slip,
and were poured into a mould similar to those usedfor making Silver or other metallic vessels
,and the water
then evaporated . This process accounts for the greatlightness of the ware. When the workers in metal foundthat, by the introduction of fine earthenware
,their trade
was injured,it is probable that many of them would
apply their moulds to pottery purposes ; which Circumstance may account for there being no specific localityfor the manufacture Of this ware . The forms
,patterns
,
and designs also resemble very much the fashion of silverplate made at that period . The ware made in StaffordShire in 1 700 , and subsequently by Wedgwood, was
evidently formed from the plastic clay, and the patternslaid on in the usual way . They are easily distinguish edfrom the early manufacture .
F ig . 30 . El izabethan T ea Pot. (Co ll. Marryat. )
The Elizabethan pottery is hard, and approaches verynearly to fine stoneware
,
*is of a dingy white colour, and is
T he distinction made by M . Brongniar t between fine earthenware and fine
s toneware,is very arbitrary
,and difficult to maintain with any degree of accuracy .
62 HISTORY OF POTTERY . [CHAP . Iv .
descendant, in the female line, of the first proprietor .
Mr . White’s father, who married a niece of Dr . Dwight,vicar of Fulham,
obtained a premium in the year 1 76 1 ,from the Society for the Encouragement ofArts, formakingcrucibles Of British materials . The articles now manufactured consist of stone jars, pots, 850 . Mr . White possessesa mug, made at Fulham about the year 1650 .
“ An erroneous tradition has prevailed, that thismanufactory was commenced by a younger brother of the unfortunate Dutch minister, De Witt, who escaped the massacre of
his family,and fled to England
,in the year 1 6 72 , with his
mother . The tradition describes, circumstantially, the
character of the Old lady, who is said to have maintaineda sullen dignity in her misfortunes, and to have beeninaccessible, except to the King
,who sometimes visited
her at Fulham.
”
Without discussing the probability of Dwight beingderived from De Witt,
”this
,at least, is clear, that both
the family and establishment are considered to have beenof Dutch origin . It appears that, about 1 640 , Mr. Dwightsucceeded in making a few pieces of imperfect porcelain
(a specimen ofwhich is now in the possession of the family) ,and that, emboldened by this success, he took out the patentmentioned in the foregoing extract, but from some untowardcircumstances failed inmaking anymore. In consequenceof this disappointment, he became so disheartened that heburied all the receipts
,implements
,and moulds relating to
the manufactory,that he might not be induced to use them
again, and turned h is attention to the other branches ofhis manufacture .
Staffordshire,in which is Situated the large manufac
CHAP . Iv .] STAFFORDSHIRE POTTERIES . 63
turing district called the Potteries, has been, and ever willbe, from its great local advantages
,the principal Site of
the manufacture of earthenware .
*The villages which , a
hundred years since,were miles distant from each other,
now join and the district being traversed by three greatcanals, the boats are able to load at the doors of the
manufactories .The earliest specimens extant are the Butter Pots
,
composed of native brick earth, and glazed with pulverisedlead ore dusted upon the ware before it is fixed ; theTig,
”or drinking- cup, with three handles, and the
larger Tig, or parting- cup, with two handles . Thesewere all manufactured before and during the reign of
Elizabeth . About the time of the Revolution, ale-jugsOf native marl were made. These were frequentlyornamented with devices in white pipeclay . In the
reigns . of Queen Anne and of George I ., the materialwas improved by a mixture of sand and pipeclay, ,
L and
coloured with oxide of copper and manganese,which
produced the Agate ware and the Tortoiseshellware
,
”and thus the pottery began to take the quality
S ir Charles H. Williams, in his
Poems, puts into the mouth of th e
Duchess of Manchester (who is speaking ironically of a tea-
pot, then made forthe first time in S taffordshire ) the
following linesSuchwork as this,’ sh e cries , ‘canEngland do ?I t equals D resden, and outdoes S t. C loudAll modern China now shall hide its head ,And e
’en Chantilly must give o’
er th e trade.
F or lace l et F landers bear away th e bell,In finest linen let th e Dutch excel,F or prettiest stuffs let I reland first b e named,And for best fancied silks let F rance b e famedD o thou, thrice happy England, still prepareT his clay, and build thy fame on earthenware.
’
Th e writer of these verses littlethought that this prophecy made in jestwould b e fulfilled in earnest, within halfa century of the period at which it wasmade
,in th e establishment
,and rapid
success Of Wedgwood and other pot
teries .
>f< I t is difficult to define the limitwhere soft pottery may be said to end
,
and hard pottery and stoneware to com
mence, the relative hardness depending
upon th e quantity of silex in th e compos ition of the paste .
64 HISTORY OF POTTERY . [CHAR IV.
of “ hard paste (F ig. In the reign of George II .
the “ Crouch ware was extensively manufactured, pre
F ig. 32. Ornament, Crouch Ware. Lady in a S edan Chair. T ime, George 1.
viously to the introduction of the white lead glaze(F ig. The period of 1 75 6 to 1 762 witnessed the
F ig. 33. CrouchWare. T ime, George I I .
introduction of hard paste pottery, under the name of
Queen’s ware,
”which was afterwards carried to so great
a degree of perfection by Wedgwood .
An establishment at Leeds has been recently brought
66 HISTORY OF POTTERY [CHAR Iv .
to this country ; in proof of which, Mr . Hollis,who passed
through the Netherlands in 1 748, mentions, that, havingvisited very extensive pipe-works at Gouda, he was
informed by the master of them that even to that daytheir principal working tools bore EnglishThe di scovery of using calcined flints as an ingredient in
the composition of pottery, which led to the manufactory ofthe fine wares,
”is attributed to Astbury the younger, +
and is thus related in Parke’s Chemical CatechismWhile travelling to London on horseback, in the year
1 720, Astbury had occasion, at Dunstable, to seek a
remedy for a disorder in his horse’s eyes, when the ostlerof the inn
,by burning a flint, reduced it to a fine powder .
which he blew into them. The potter observing the beautiful white colour of the flint after calcination, instantlyconceived the use to which it might be employed inhis art.
It was,however
,reserved for Josiah Wedgwood to carry
the manufacture of the fine English ware in this districtto its great perfection .
This enterprising and successful man,who may justly be
regarded as one of those who have most contributed toadvance the potter’s art
,was born at Burslem,
in Staffordshire, in 1 730 . His father, Thomas Wedgwood, as wellas some other members of his family, had carried on the
manufacture of pottery in that town for some years but
it was of so inferior a quality, that it would appear tohave obtained little or no vogue. Independently of the
History of Pottery . L ardner’s Encyc . , chap . VI I .,p . 103.
f S on Of the Astbury mentioned (page He excelled in h is father ’s ocen
pation of a potter, and his productions paved the way for those ofWedgwood .
cm . 1v .] JOSIAH WEDGWOOD . 6 7
supply of porcelain from China for the use of the higherclasses, England imported for general consumption largequantities of earthenware from France
,
“
Holland, and
Germany,for domestic use.
Josiah Wedgwood’s education was very limited and the
low social position of the class from which he Sprung,may
be gathered from the local historian, Simeon Shaw, who
remarks that scarcely any person in Burslem learnedmore than mere reading and writing until about 1 750 , whensome individuals endowed the free school for instructingyouth to read the Bible, write a fair hand
,and know the
primary rules of arithmetic The little Opportunity thatWedgwood had for self-improvement, is further indicatedby the circumstance stated by Shaw,
that, at the age of
eleven years, his father being at that time dead, Josiahworked in his elder brother’s pottery in the subordinateoccupation of a thrower . Shortly after this
,the small-pox ,
which left an incurable lameness in his left leg, so as afterwards to render amputation necessary, compelled him to
relinquish the potter’s wheel .After a time he left Burslem
, and entered into partnership with an individual named Harrison
, at Stoke and
during this partnership, which was soon dissolved,his
talent for the production of ornamental pottery is said tohave first developed itself.He then became connected with a Mr . Wheildon,
withwhom he manufactured knife-handles in imitation of agateand tortoise- shell, melon table-plates, green pickle leaves,and similar articles but Wheildon, who was deriving con
siderable profit from other departments of the pottery
Chemistry of Pottery— London, 1837.
68 HISTORY OF POTTERY . [CHAR l V.
business, was unwilling to embark in the new branches for
which Wedgwood had so great a predilection . The youngman therefore returned to Burslem in 1 759 , and set up for
himself in a small thatched manufactory, where he madesuch ornamental articles as are mentioned above . His
business being prosperous, he soon took a second manufactory
,where he fabricated a white stoneware, and, subse
quently, he established himself in a third, at which was
produced the improved cream- coloured ware, by which hegained so much celebrity .
Of this new ware,Wedgwood presented some articles to
Queen Charlotte,who thereupon ordered a complete table
service and was so pleased with its execution, as to appointhim her potter, and to desire that his manufacture mighthenceforward be designated th e Queen’s ware .
”
It was,however, from 1 760 to 1 762 that his most inter
esting discoveries took place . Six different kinds of potteryand stoneware made their appearance at the same timefrom his workshop in Staffordshire, to the astonishmentand admiration of all connoisseurs .Wedgwood now opened a warehouse in the metropolis
,
in order that the productions of his ingenuity might becomemore generally known . In his partner, Mr . Bentley, whomanaged the business in London, he found a valuable coad
jutor, whose extensive knowledge In many departments ofliterature and science
,as well as h is acquaintancewithmany
eminent patrons of art,greatly assisted him in the higher
branches of his manufacture, and especially in obtainingthe loan of valuable specimens of antique sculpture, vases,
Queen’
s ware is included in th e present class, but th e cameos and finer productions of Wedgwood ’s manufacture come into our second class of Hard PotteryStoneware.
70 HISTORY OF POTTERY . [cmmm
which may be mentioned a beautiful set of chessmen,which he was the first in modern times to execute inpottery .
The fame of h is productions and discoveries was such,that h is works at Burslem,
and,subsequently
,at Etruria *
(a village erected by him near Newcastle-under-Lyne, andto which he removed in 1 became a point of attractionto numerous visitors from all parts Of Europe while histalent and energy not only obtained for him extensivepatronage and an ample fortune, but also greatly promotedthe commercial interests of his country .
The importance of the manufacture which he broughtto so prosperous a state
,is proved by the fact that,
although many of the States of Europe had prohibited theadmission of British earthenware
,and others had loaded
it with very high duties,five- Sixths of the quantity which
he made were exported ; and his earthenware cameoswere so esteemed by foreigners, that they were eagerlypurchased by them,
and may be found in many cabinetsabroad amidst the most splendid specimens of Sevres andDresden porcelain .
Wedgwood was a Fellow of both the Royal Society andthe Society of Antiquaries
,as well as a contributor of
several papers to the Philosophical Transactions .” He
was also the inventor of a pyrometer for measuring veryintense degrees of heat. In private life
,he is said to have
been most exemplary, and to have made liberal use of the
ample means which his successful and honourable career
This name was given to th e village in consequence of th e clay there dug up ,
bearing a strong resemblance to the ancient Etrurian earth,and also, perhaps,
to commemorate th e great success which had attended the imitation Of the ancient
ware of Etrur ia .
CHAR Iv . ] HOLLAND,GERMANY
,AND ITALY . 7 1
placed at his disposal . He died at Etruria, where he haderected a handsome mansion, as well as manufactories andresidences for his workmen, on the 3rd of January, 1 795 ,in his Sixty-fifth year.Wedgwood succeeded completely in giving to hard
pottery the vivid colours and brilliant glaze which untilthat period
,had been seen only upon porcelain . His ware
was sold at a price, too, which brought it within the meansof general consumption both at home and abroad.
HOLLAND AND GERMANY .
After the decay of their Delft fabrics in the seventeenthcentury, the manufacture of smoking-pipes
,introduced from
England, became, as well as imitations of fine Englishwares
,a great source of employment to the Dutch and
German workmen . These were,in the following century
,
made in various places . Count Marolini,in 1 784, founded,
at Hubertsberg, in Saxony, a manufactory which pro
duced articles nearly equal to the English . Others wereestablished at Gotha .
ITALY .
Hard pottery has not been made to any extent in Italy .
At Doccia,near Florence, a manufactory of terraglia
, or
rather what may be termed hybrid porcelain, was established about 1 740 . The pieces are Of large size and
great beauty of form some are painted blue, to resembleOriental porcelain, and others have figures, copied fromth e Etruscan vases . This establishment will be furthernoticed in the Section of Italian Porcelain .
”
CHAPTER V .
STONEWARE . (Gres
S toneware of China and Japan.—Of Germany. —Jacobus F lasks.
— Jacqueline ofHainault.—Luther
’s Jug.
— Apostles’ Mugs .— F lemish S toneware.
— Gres F lamand.— C ollee
tion of Mr. Huyvetter.- S toneware of F rance .
— Poteries Azurées of Beauvais.England.
— ColouredWares of VVedgwood.— Variety and Beauty of h is Manufactures.
STONEWARE is divided into common and fine .
The common stoneware in present use, needs littledescription . All kinds of domestic utensils are made of itand it is frequently decorated with subjects in relief.Fine stoneware, which differs only from common in
the superior composition of its paste, is the subject of thepresent chapter, and completes this sketch of the historyof Pottery .
CH INA .
Stoneware was made at a very early period in Chinaand is much used as a basis on which a paste of porce
lain is laid,to save the expenditure of the latter material
,
as well as to give greater strength and solidity to the
piece . Most of the larger pieces of Oriental productionare found to be thus formed . The red Japan ware is a
very fine unglazed stoneware, and has raised ornaments,
M . Brongniart has added to th e name gres the epithet cérame, in order to distinguish this pottery from the sandstone or quartz rock of the same name.
74 HISTORY OF POTTERY . [CHAP . V.
abdication in 1433,and retirement to the Castle of Tey
lingen,near Leyden, is said to have employed her leisure
F ig. 35 . Jacobus Kannetje .
in the superintendence of this manufacture,and to have
to constitute h im her successor , in case
sh e died without issue, and further, by asum of money
,bribed h er husband to
make over to h im th e government of th estates of h is wife for twelve years . At
this base and treacherous conduct,Jacqueline was justly indignant. She
was, in fact, a princess of a masculinespirit, and uncommon understanding ;the Duke of Brabant a combination of
weakness,cowardice, and tyranny. These
causes had inspired h er with suchaversion to h im, that sh e determinedto dissolve the marriage
,and applied
to the Court of Rome ; but impatientto effect her purpose, and anxious to
escape from a series of domestic per
secutions, Sh e made h er escape intoEngland
, and threw herself upon the
protection of Henry V.
Humphrey,Duke of Gloucester, gene
rally designated as the good DukeHumphrey
,
” induced,as well by the
charms of the countess herself, as by theprospect of possessing her rich inheritance, offered himself to h er as husband,and withoutwaiting for a papal dispensation, they entered into a contract ofmar
riage,and the Duke of Gloucester imme
diately attempted to put himself in possession of her dominions . Philip of
Burgundy, surnamed the Good, frommotives of personal aggrandisementmarched troops to th e support of his
relative, the Duke of Brabant, and as th eDuke of Gloucester persevered in h ispurpose
,a Sharp war was kindled in th e
Low Countries . The forces of Jacquelineand Duke Humphrey were at first successful
,but at length the allied English
can . v . ] GERMAN STONEWARE. 75
thrown many flasks of this pottery into the Rhine,*that
they might in after ages be deemed works of antiquity.
F ig. 36. Brown S toneware of th e Rhine. (Coll . Marryat. )
and Zealanders were S ignally defeatedat Brouwershaven, by the Burgundianforces. The Duke of Gloucester fled toEngland
,and left Jacqueline exposed to
th e resentmentofher implacable enemies .
On th e refusal of Pope Martin V. to
sanction a divorce , Duke HumphreymarriedEleanor Cobham ,
and Jacquelinewas carried prisoner to Ghent.In Spite of these reverses, h er courage
did not fail h er . Sh e gained over h erguards
,escaped in man
’s attire, and
reached h er palace at th e Hague . Her
presence in her capital re-animated herpartisans, and on th e death of her uncle ,th e ambitious Bishop of L iege, 1425, sh eagain recovered possession of Holland .
S oon after th e Duke ofBrabant died, andhis widow was again attacked by Philip .
Jacqueline defended herself with great
bravery at the head of her tr0 0 ps, butsh e was obliged to submit, and declaredthe Duke of Burgundy h er heir . Con
trary to a compact to which Philip’styranny had forced h er to consent
, She
married F rancis B orselem, a simplecavalier, and h er subject. Philip , beingadvised of this
,arrested B orselem
,and
condemned h im to death . T o save herhusband’s life, Jacqueline freely gave upall her dominions to Philip
,and in 1433
,
retired to a pr ivate station. She died atthe Castle Of T eylingen, 1436 , at th e earlyage of 36 , and was buried at the Hague .
This tradition probably owes its
origin to an old custom in Germany, of
fl inging away, after a pledge, the glass orvessel, which could not b e used againwithout dishonouring the subject of thetoast.
76 HISTORY OF POTTERY . ( CHI P . v .
This pottery is of a fine yellow-whitish colour,without
glaze, and finely chiselled or sculptured,with Scriptural
subjects either made in relief by the impression of coppermoulds, or graved with the point of the diamond .
*In the
Kunstkamer at Berlin, is t o be seen a fine Specimen of thisware, a flask, which had been presented to Luther by thetown of Eisleben . Teylingen, Arnheim, and the adjacentplaces, having the advantage of the naturally fine sandof the soil to mix with the slime of the Rhine, produced a
much superior pottery to that of Cologne and the placesupon the Middle and Upper Rhine
,where the material is
not found so pure . These latter wares,therefore, though
of similar character,are distinguishable by a brown or
reddish colour . ( F ig. 369
F ig. 37. Apostles’Mug. (Co ll . Marryat. ) F ig. 38. German Jug enamelled. (Coll.Marryat. )
The pieces called Apostles ’ Mugs, (F ig. from
having upon them the figures of the twelve apostles,
Brongniart, Traité des Arts Céramiques . tom. 11.
78 HISTORY OF POTTERY . [cm s m
which extended from 1 540 to 1 620 . After this period,the
art appears to have been lost altogether,at least
,nothing
but articles of the most inferior kind have Since been produced. This is probably in part owing tothe introductionof Oriental porcelain .
N O complete collection of German pottery exists inGermany, though fine individual specimens are to be met
0
F ig 40 . Jug. Gres F lamand , ( Co ll . Huyvetter. )
with in most of the general collections of antiquities .Among these may be enumerated those in the Lo'wenbergnear Cassel, in the Westphalian Museum at Minden
, at
T ieffurt, a royal hunting- seat near Weimar,and in the
Royal Museums at Berlin, Dresden, and Munich ; besidesthose contained in many excellent private collections,particularly at Nuremberg and the castle of Arensberg.
ca r p . v . ] FLEMISH STONEWARE. 79
At Ghent there existed a fine collection of German and
Flemish pottery, formed by the late Mr. Huyvetter, latelypurchased by the Belgian government from his family .
A description of the choicer specimen has been privately printed with engravings .* Besides a fine collectionof old German, there are 250 specimens of other pottery
,
F ig. 41. Jug. Gres F lamand. (Coll. Huyvetter.) F ig. 42 . F lat Jug.Gres F lamand. (Coll.Huyvetter.)
of the best period, of every variety of form and character.It is particularly rich in the Gres Flamand
, the specimensof which are unequalled in beauty and form.
Four of
them are here figured (F igs . 39,
The woodcuts here given are derived from that work.
80 HISTORY OF POTTERY . [CHAR v .
FRANCE .
Among the stonewares of France,that of Saveignies,
near Beauvais,is a manufacture of high antiquity
,dating
from a period anterior to the Sixteenth century,for
,in
1500, Rabelais
* cites the Poteries azurées” of Beauvaisas so celebrated as to be fit to be presented to the Kingsof France
,and their reputation continued to the time of
Francis 1. In the collection of the Museum of Sevresthere is a flat- Shaped Pilgrims’ bottle of this ware, bearingthe arms of France on each Side . It was found in the
bed of the Somme, and was probably made at Beauvais .From the form of the fleurS - de- lys
,and that of the gothic
letters of the inscription, CHARLE ROY,which is inscribed
upon the bottle, M . Brongniart places the manufacture inthe reign of Charles VIII .
ENGLAND .
Stoneware is supposed to have been made at a very
early period in England by Dutch and German workmen
and from this circumstance it is almost impossible to
distinguish the earlier fabrics Of these respective countries .
The discovery, in 1 690 , of the economical process Of glaz
ing this ware by means of common salt, which made itimpermeable to liquids, soon brought it into general use,and displaced all the manufactures Of the Delft and softpaste fabrics . A mottled-brown stoneware, known to
collectors, is stated to be the manufacture of the age of
Edward VI .,in consequence Of some of the specimens ,
L
Panurge . Edition de Valence, 1547 . In the collection of R . Bernal,Esq.
82 HISTORY OF POTTERY . [CHAR v .
Burslem,a bed of fine compact red clay, which they
worked in a small manufactory, established in a retiredSituation upon the bed itself. They took every precaution to prevent any one seeing their process or learnmg
their secret. They went so far as to employ nonebut the most ignorant and almost idiot workmen they
could find . Astbury the elder,had the talent to counter
feit the idiot, and, moreover, th e courage to persevere inthis character for some years during which he continuedin their employ. From memory he made notes Of the
processes, and drawings of the machinery used . In con
sequence of the secret being thus discovered, numerousestablishments arose in competition with that of the Elers,and
, owing to the general prejudice against them as
foreigners, they were
‘
finally compelled, in 1 720 , to quittheir establishment. They retired to the neighbourhood Of
London, and, it is supposed, contributed by their skill and
industry to the establishment of the Chelsea PorcelainManufactory.
Some pieces made by the Elers, of the period of 1 7 10 ,
present every quality of fineness ofmaterial and sharpnessof execution, the ornaments being formed in copper moulds .Those made at Lambeth by workmen from Holland, havequite a different character from those of Staffordshire .
The iron- stone china made in England, is a fine stoneware, and approaches very nearly to porcelain, but has notits transparency .
But the fine description of English stoneware consistsalmost entirely of the coloured productions ofWedgwood
,
and forms SO important a feature in this division of our
subject, as to demand a somewhat detailed description .
ca r p . v .] WEDGWOOD’
S DISCOVERIES . 83
Previously to the time of Wedgwood, the Potteries of
Staffordshire produced an earthenware, coarse in its nature,very liable to fracture, and totally devoid of taste bothin its forms and ornaments . Even his own celebratedQueen’s ware,
”which we have described in our previous
chapter, when first introduced,was anything but graceful
in its contours, or finished in its execution . His firstgreat improvement consisted in rendering the materialcapable of bearing uninjured the most sudden alternationsof heat and cold . Still in appearance there was little toindicate the state of perfection it was shortly to attain . A
simple cane- coloured surface, without painting or embellishment of any kind, produced chiefly from the fine greymarl found between the coal strata, wh ich burns to a canecolour in the oven, laid the foundation of his favour with theQueen and the public . His second step in advance appearsto have gone little beyond the introduction of a coloured rim,
or rudely-painted border, under a tolerably transparentglaze . But at length the whole surface was covered witha pattern ; and the ware, thus beautified, was sold at a priceso little increased, as immediately to extend its use to everycorner of the United Kingdom, and, nearly simultaneously,as we have already stated, to all quarters of the globe .
An intelligent foreigner, M . Fanjas de Saint Fond, writingupon this subject, says Its excellent workmanship, itssolidity, the advantage which it possesses of sustaining theaction offire
,its fine glaze impenetrable to acids, the beauty
and convenience of its form, and the cheapness of its price,have given rise to a commerce SO active and SO universal,that in travelling fromParis to Petersburg, fromAmsterdamto the furthest part of Sweden, and from Dunkirk to the
G 2
84 HISTORY OF POTTERY . [CHAPTv .
extremity of the south of France, one is served at everyinn with English ware . Spain, Portugal, and Italy are
supplied with it, and vessels are loaded with it for
the East Indies, the West Indies, and the Continent of
America .
”
But the value of these articles was purely domestic andcommercial . Wedgwood’s more beautiful inventions, thoseon which his fame in the realms of art is based, and of
which it is here intended more particularly to treat, are
his various terra—cotta wares, his jasper or onyx , and his
basalt productions, which come under the present class ofstoneware . These he caused to be SO exquisitely embellished, and to be moulded into forms so truly chaste and
classical, that they are daily rising in e stimation, and
now, fifty years after his death, connoisseurs are eager to
purchase them at three times their original price .
An important discovery made by Wedgwood, was thatOf painting on vases and other Similar articles without theglossy appearance Of ordinary painting on porcelain or
earthenware,— an art which was practised by the ancientEtruscans, but which appears to have been lost since thetime of PlinyThe black Egyptian biscuit was termed “ basaltes
,
because it very much resembled basalt in its appearanceand colour . Independently of the numerous vases of thismaterial, modelled after the most esteemed forms of ancientEgyptian art, and enriched with the most admirablyexecuted bassi- rilievi both in red and white, there existalso many articles of domestic requirement, such as tea
pots, milk- ewers,inkstands, &c .
,moulded in the same style .
Travels in England and S cotland, (English translation, vol. i., p .
86 HISTORY OF POTTERY . [CHAR v .
imitative ancient gems was carried seem almost incredible .
In Wedgwood ’s catalogue of “ Antique Ornaments,
”&c .
F ig. 43 . Wedgwood Vase.
published in 1 777, there are enumerated and describedas fac- similes of antique cameos, the Subjects taken fromthe Egyptian and Greek Mythology and History, such as
Gods,Goddesses, Sacrifices, Kings, Wars of Troy, Philoso
phers, Poets, &c .
, the astonishing number of 9 77 pieces.Of those taken from the Roman History 758 . Of
Intaglios taken from Similar subjects, 3 66 . All these wereimpressions taken from the original gems lent to Wedg
wood for that purpose,and were made of the artificial
jasper, with coloured grounds, a composition little inferiorto the real onyx .
Of BaS - reliefs, Medallions, Cameo -medallions,Tablets,
&c ., chiefly classical subjects, of various Sizes, varying from
2 or 3 inches diameter to 1 6 or 1 8 inches, in black basaltes,
CHI P . v .J WEDGWOOD’
S PRODUCTIONS . 87
having the appearance of antique bronze, in waxen biscuit,with encaustic grounds, or in the artificial jasper, havingthe effect of large cameos, 19 6 subjects .
Of Kings and Illustrious Persons of Asia, Egypt, andGreece
,104 portraits .
The Ancient Roman History, from the foundation of the
city to the'
age of Augustus, in a regular series of 6 0
medals, afterDassier. Notwithstanding the great difficultyin
'
moulding'
and firing these medals, with their reverses,they were sold at 6d. a piece .
Heads Of‘
IIIUStrious Romans,2 inches by 1 72, 3 inches
by 3 5, and 4 inches by 3 , 5 1 portraits .The Twelve Caesars
,with their Empresses, 4 Sizes .
Sequel of Emperors,from Nerva to Constantine the
Great,64 portraits .
The Heads of the Popes, after Dassier, 253 pieces .The Kings of England and France,with the reverses,
the former 34,and the latter 6 7 pieces, of various models
and Sizes .The Heads of Illustrious English Poets, 23 pieces .
Painters,10 pieces Philosophers, 2 7 pieces .
Divines,Artists
,&c .
,64 pieces .
Princes and Statesmen, 33 pieces .Also
,94 Busts, and 3 5 small Statues of Boys and
Animals,in black basaltes, having the appearance of antique
bronze. Lamps and Candelabra, after antique models, ofvarious kinds
,and innumerable patterns . Teapots, Coffee
Pots,Sugar Dishes, with Cabinet Cups and Saucers, of
various kinds,in the Etruscan style and Flower Pots of
all descriptions .
In addition to the above, there were Ornamental Vases
88 HISTORY OF POTTERY . [CHAR v .
of antique forms, resembling agate, jasper, porphyry, andother variegated stones of the vitrescent or crystallinekind. Antique Vases of black porcelain or artificialbasaltes, high ly finished, with bas- relief ornaments . PaintedEtruscan Vases, Pateras, &c .,
exactly copied from the
antique, chiefly from the collection of Sir William Hamilton,and painted in encaustic colours, invented by Wedgwood .
This catalogue concludes with the following remarks,which are here quoted as being peculiarly applicable to theproductions of the present day
A competition for cheapness, and not fore xcellence ofworkmanship
,is the most frequent and certain cause of
the rapid decay and entire destruction of arts and
manufactures .The desire of selling much in a little time, without
respect to the taste or quality Of the goods,leads manu
facturers and merchants to ruin the reputation of the
articles which they make and deal in and whilst thosewho buy, for the sake of a fallacious saving
,prefer
mediocrity to excellence it will be impossible for themeither to improve or keep up the quality of their works .
All works of art must bear a prIce m proportion tothe Skill, the taste, the time, the expense, and the riskattending the invention and execution Of them. These
pieces that for these reasons bear the highest price, andwhich those who are not accustomed to consider the realdifficulty and expense of making fine things, are apt to
call dear, are, when justly estimated, the cheapest articlesthat can be purchased and such are generally attendedwith much less profit to the artist than those that everybody calls cheap.
90 HISTORY OF”
POTTERY [CHAP . v .
the palm for classical purity, combined with every othergood quality . Of late, however, it is grievous to say, it
has sadly fallen from “ its high estate,”and now exists
on little more than its past renown . The mantle of the
great Wedgwood fell not among his own people, and
search must be made elsewhere for proofs of its stillexisting influence .
*
The late Mr . Enoch Wood,the friend and contemporary
of Wedgwood, and one of the oldest manufacturers at
Burslem,formed a very interesting collection of pottery,
illustrating the progress of the Keramic Art in Staffordshire
,from the earliest period to the present time . The
inauguration of this Museum took place in 181 6 , duringthe celebration of the fiftieth anniversary of the Opening ofthe Trent and Mersey Canal, one of the grand nationalworks which Mr . Wedgwood had promoted. The wholeof the workmen of the district were then assembled
,with
the venerable Mr .Wood in the chair, who made a suitableaddress to them on the occasion . A select portion of thiscollection has been recently added to that at the MuseumOf Economic Geology, an institution which promises to beof great valueqL
Art-Union Jowrna l for November , grit from Baddeley Hedge,by Thomas
1846 .
The following enumeration, by Mr .
S imeon Shaw, of the order in whichvarious materials and kinds ofmanufacture were introduced into S taffordshire,may serve to complete th e Sketch of th ehistory of th e progress of the manufac
ture in the Potteries In this suc
cession, I find th e common brown ware
till 1680 ; then the Shelton clay ( longpreviously used by the tobacco-pipemakers of Newcastle ) , mixed with
Miles of coarsewhite stoneware, and the
same grit and can-marle or clunch of
th e coal-seams,by h is brother
,into
brown Ostoneware. The roach ware was
first made of common potter ’
s clay and
grit from Moel Cop, and afterwards th egrit and can-marle
,by A . Wedgwood,
of Burslem, in 1690 ; and the ochreousbrown clay and manganese into a coarse
Egyp tian black, in 1700, by Wood,of
Hot-lane . The employment of the
Devonshire pipe-clay by Twyford and
CHAP . v .] WEDGWOOD’
S PRODUCTIONS .
In concluding this sketch of English pottery, we givefigures of two curious Specimens, to which we are unableto assign their proper places
,not being aware of the exact
nature of the paste .
F ig . 44. S ack Pot. (Co ll. Hon. R. Curzon, Jun.)
Astbury, of Shelton, supplied the whitedipp ed and the white stone-ware ; fromwhich th e transition was easy to the
flint-ware, by Daniel Bird , of S toke ;the cha lk body
-ware, by Chatterley andPalmer of Hanley ; and th e Queen
’s
ware of th e celebrated JosiahWedgwood.
Mr . Thomas Toft introduced aluminous shale, or fire-brick clay ; Mr . William Sans, manganese and ga lena pulverised Messrs . John Palmer andWilliamAdams, common sa lt and litharge ;Messrs. Elers, brothers , red clay, or
marle, and ochre Mr. Josiah Twyford,p ip e
-clay Mr . Thomas Astbury,flintMr . Ralph Shaw,
basa ltes Mr . Aaron
Wedgwood, red lead ; Mr . WilliamLittler , calcined bone-earth Mr. EnochB ooth ,whltelead Mrs .Warburton, soda ;Mr . Ralph Daniel, calcined gyp sum ;
F ig. 45 is an ancient candlestick of the
F ig. 45. Candlestick .
Josiah Wedgwood, Esq , barytes ; Mr .
John Cookworthy, decomp osed white
granite ; Mr . James Ryan, B ritish
kaolin and p etuntse Messrs . Ladlerand Green, glaze p rinting ; Mr . Warner
Edwards, biscuit painting Mr . ThomasDaniel
,glaze enamelling ; Mr . William
Smith, burnished gilding ; Mr . PeterWarburton
, p rinting in gold ; Messrs .
John Hancock,John Gardner
, and
William Hennys , lustres ; Mr . WilliamBrookes, engraved landscap es and p rinting in colours ; Mr.WilliamWainwrightPotts, p rinting by machine, and con
tinuous sheet of paper ; and the same
gentleman with Mr .WilliamMachin and
Mr.William Bourne, for p rintingflowers,figur es, &c . , in colour s, by machine, andcontinuous sheet of paper .
”Shaw
’
s
Chemistry of P ottery, pp . 4 16, 417 .
92 HISTORY OF POTTERY . [CHAR v .
time of Edward VI . ,in the collection of the late James
Bandinel, Esq.
The bottle (F ig. 45) inscribed SACK was found in Old
Tabley Hall, Cheshire . It is of a dull-white, with blueletters, and is in the possession of the Hon. Robert Curzon,Jun.
,author of the interesting work on the Monasteries of
the Levant. Two old English bottles of similar character, one lettered Sack, the other Claret, dated 1 646 , weresold at Strawberry Hill .
94 HISTORY OF PORCELAIN.
porcelain may be considered as an intermediate substancebetween pottery and glass, both these savants were correctin the principle upon which they proceeded, although theirmodes of operation were reversed.
The most practical test by which to distinguish thesedescriptions of porcelain is, that the Soft paste can be
scratched by the knife, which is not the case with the
Hard paste (rayable on non rayable p ar le
M . Brongniart divides porcelain into three classes
1. PORCELAIN, HARD PASTE.
2 . PORCELAIN, NATURALLY SOF T DITTO (tendre natiw'
elle) .
3 . PORCELAIN, ARTIF ICIALLY SOF T DITTO ( tendre artificielle) .
On one occasion, M . Brongniart having been presented with a choice specimenof old Worcester, affirmed it to b e Oriental porcelain, till h e tested the glaze with asteel point, and found that he could scratch it easily.
CHAPTER VI .
PORCELAIN - (HARD PASTE . ORI ENTAL .)
Porcelain of China— I ts Antiquity.—Porcelain Tower of Nankin.—Marco P 010 in Ch ina .
—Present of Porcelain from Saladin.-F rom the S oldan of Egypt to L orenzo de’
Medici.— China introduced into Europe by the Portuguese.—D utch East India C om
pany. —Dutch Embassy to C hina—Manufactory at Kiansi.—Mary Queen of S cots’
China - Presents of Porcelain to Queen Elizabeth—Mentionl
of Porcelain by Evelynand others— Oriental Service of Queen Anna— Lady M . W. Montague .
—Addisonand Horace Walpole.
—Mission of F rench Jesuits to Ch ina - Kaolin and Petunse .
Antiquity of th e White Porcelain.— Blue and White of Nankin.
—C eladon.—Egg
shell . —Imperial Y ellow and Ruby. —Modern Porcelain made at Canton.
— Old S ea
green.—Japan Palace at Dresden.
—Porcelain of Japan—Its Character.- Superior to
the Ch inese—Porcelain of Persia—I ts Manufacture doubtful .
THIS class of ware is characterised by the paste of whichit is formed, which is fine
,hard, and translucid. It may
be divided into Oriental and European . The Oriental isgenerally considered to comprise that of China, Japan, andPersia although it is a matter of some uncertaintywhether porcelain was ever made in the latter country.
*
CHINA .
The high antiquity of the art of making porcelain,and
the perfection to which it had arrived in China many yearsbefore any specimens of it found their way into Europe, are
The statements in this section are principally drawn from the writings of Du
Halde ; D ’Entrecolles
’Lettres Edifiantes, Paris, 1741 Raynal ; and D ’Hancarville .
96 HISTORY OF PORCELAIN. [CHAR v1 .
well authenticated although the period of its first manufacture is involved in great obscurity. From the researchesof M . Stanislas Julien,
it appears that porcelain was common in China in the time of the Emperor Han
,1 63 .
D’
Entrecolles states that mention is made of it in the
annals of F roulam,where it is stated
, that Since the
second year of the reign of the Emperor Tam or Te, of
the house of Tam,A.D . 442
, the porcelain manufacturersof this province have supplied it to no one but the
Emperor, who, for this purpose, sent two Mandarins toIn A.D . 600 , durlng the Soui
dynasty, vases of porcelain were in common use ; alsoduring that of Thang, A .D . 6 18, vases were found in the
ruins of palaces ; but the art arrived at its greatestperfection in the year 1000 .
inspect the workmen .
The Porcelain Tower, near Nankin, constructed A.D .
12 77, offers sufficient proof of the durable nature of
porcelain . This building is of an octagonal Shape ; itconsists of nine stories, and is very nearly 300 feet highits entire surface is covered with porcelain of the finestquality. Although this Singular and beautiful edifice hasbeen erected nearly 600 years
,it has hitherto withstood
all the alternations of the seasons,and every variety of
weather, without exhibiting the slightest symptom of
deterioration .
Sir Gardner Wilkinson,in his admirable work on the
The invention of th e art must as D’
Entrecolles says, “ that the Chinesesuredly date from a much earlier period paid large prices for pieces of the time ofthan this
,as it must have been long Y ao and Chun, two of theirmost ancient
ere the manufacture could arrive at emperors, wh o reigned , according to th esuch a state of perfection
,as to render Chinese chronology, 2600 years before
it an object of interest to the court. the Christian era "
HISTORY OF PORCELAIN . [CHAR VI .
attained the same degree of perfection in China as in
after- times they were probably brought to Egypt throughIndia
,with which country I believe the Egyptians to have
traded at a very remote period, and contained someprecious ingredient whose value may be inferred from the
size of the vase .
”
Marco Polo,the Venetian
, + was the first Europeantraveller on record who -penetrated into China . He men
tions the vast extent to which themanufacture of porcelainwas carried at the time of his residence in the CelestialEmpire
,during the thirteenth century, and states, t hat,
of this place,Kinsai
, there is nothing further to beobserved
, than that cups or bowls, and dishes of porcelainwares, are there manufactured. The process was explainedto be as follows z— They collect a certain kind of earth, asit were, from a mine
,and
,laying it in a great heap, suffer
it to be exposed to the wind,rain, and sun,
for thirty or
forty years,during which time it is never disturbed . By
this means it becomes refined,and fit for being wrought
into the vessels above mentioned . Such colours as may bethought proper are then laid on
,and the ware is after
M. Stanislas Jul ien’s reply to M .
Brongniart, wh o sent h im one of thesevases for his Opinion, is, Ces caracteres
sont véritablement chinois, mais cursifs,et d’une époque peu ancienne en égardau lieu onon suppose que cc petit vasea été trouvé en Egypte.
” An opinionnow generally prevails
,that these bottles
are ofmodern origin, fraudulently placedin the tombs by the Arabs .
During h is residence in China,where he was well received by th e
Emperor of Tartary , h e studied th e
manners of the people,and
,in a short
time, learned four different languages
in use in the country ; was chargedwith different important affairs in manyprovinces in the empire, and was ap
pointed Governor Of Y angtcheou-fou,
where h e remained three years . Thisenterprising traveller, with h is fatherand uncle
,returned by sea from China
to th e Gulf of Persia,and thence to
Venice in 1295,after an absence of
twenty- six years . He was taken pri
soner by Lampa Doria, and detained incaptivity at Genoa, where he wrote thehistory of h is travels. He was
,at
length, released, and returning toVenice,died in 1323
,in th e 73rd year of h is age .
cm n vr-J PRESENT To LORENZO DE’
MEDICI . 99
wards baked in ovens or furnaces . These persons, therefore
,who cause the earth to be dug, collect it for their
children and grandchildren . Great quantities of themanufacture are sold in the city and for a Venetian groat youmay purchase .
‘eight porcelain cups .’
In an Arabic manuscript, preserved in the FrenchNational Library, the authenticity of which cannot bedoubted, among the articles of a Splendid present sent toNoureddin bySaladin soon after he becamemaster ofEgypt,mention is made of a service of China ware, consisting offorty pieces, of various kinds . This gift was made in theyear of the Hegira 56 7, which answers to A.l) .
It is related by Roscoe that Lorenzo de’ Medici, wishingto encourage a trade with India, extended the commercebetween Florence and Egypt, and such was the esteem hewas held in by the Soldan, that, in 1487, an ambassadorarrived at Florence, bringing with him, as a mark of his
master’s esteem,many Singular presents of rare animals
and valuable commodities, and among the latter, somelarge vases of porcelain. Of these articles Pietro da
Bibbiena, his secretary, gives an inventory to Clarici de’
Medici, the wife of Lorenzo i
Marsden’s translation of Marco
Polo’s Travels .
Abbé Renaudot. Histoire de
Saladin,” MS ., translated in 1730, butnotprinted.
1 Letter from Pietro da Bibbiena toClarici de
’ Medici, a Roma
Domina mea. S crivendovi io in
nome di Lorenzo, non me accade direaltro alla M. V. se non che da sabato inqua ho scripto pm lettere a quella, eper questa le mando lo inventario delpresente del Soldano dato a Lorenzo, el
quale mandai perOa Piero ma verrapiuadagio. Vale .
U h bel cavallo baj oAnimali strani, montoni e pecori
di varn ‘
colori con orecchi longhi sinoalle spalle, e code in terra grosse quasiquanto el corpo, una grande ampolla dibalsamo, l l corni di Zibetto, bongive e
legno al oe quanto pub portare una per
sona, rasi grandi d i p orcellana mai plu
veduti simili, ne meglio lavorati,drappi
di piiI colori per pezza tele bombagineassai, che loro chiamano turbanti finis
H 2
100 HISTORY OF PORCELAIN . [CHAR VI .
Another notice of Oriental porcelain which we meet withof nearly the. same date, is that of Barbero, the Venetian
ambassador at the Court of Persia, in 1474, who gaveinformation to his Government respecting this productionof art
,which afterwards was brought to Europe from the
East Indies by the Portuguese .
The Portuguese traders,wh o first doubled the Cape of
Good Hope,*were the means of introducing the fine wares
of China into more general use in Europe and the nameassigned to the fabric, as distinguishing it from the coarserdescriptions of pottery, was probably given by them,
Porcellana, signifying in the Portuguese language ori
ginally,“a little pig,
”and afterwards “
a cup .
” This termhad been applied by the Portuguese to the cowrie shellsand when they first saw this admirable pottery— the
inside of which had a glossy,beautiful white colour— they
bestowed upon it the same name, either because theythought it would give their countrymen an idea of its
beauty, or possibly from a persuasion that it might be
simi ; tele assai colla salda,che lor
chiamano sexe ; vasi grandi di confectione
,mirab oloni e giengituo .
”—F abr.,
n. 337 .
In 1518, twenty years after the
Portuguese had doubled the Cape of
Good Hope,F erdinand d’Andreada took
out the first embassy to China . I t was
permitted to enter Pekin, and th e firstEuropean commercial intercourse wasthereby with the Chinese. S t. F rancis
Xavier, one of th e first disciples of
Ignatius Loyola, inspired with a desireto propagate Christianity in the East,
arrived in 1549 at Japan,where he
obtained permission to preach . Withthe desire of evangelising China
, h e
returned to Malacca, and thence to
Canton, where he died after muchsuffering in 1552. Under the reign of
John I I I .,th e Portuguese greatly ex
tended their commerce with China.
They established a trade with Canton,and afterwards a factory at N ingpo ,until their pride and insolence broughtdestruction upon them,
and they wereexpelled from all their possessions,excep ting Macao, which they still hold.
1' The cowries used for money in the
East were called by th e Portuguese ,from th e similarity of their shape to theback of a little pig, porcella,” whencethe term “ porcellana ” may have beenderived.
102 HISTORY OF PORCELAIN . [CHAR v i .
complete monopoly of the Indian trade, they imported
into Europe Splendid collections of porcelain, consisting of
vases of immense size, and of the early and finest manufacture, many of which were lately to be seen in the RoyalPalace of Alcantara, but have been Since dispersed . Someare said yet to exist in various parts of Spain .
The Dutch, upon the expulsion of the Portuguese,was
the next nation who carried on an intercourse with Indiaand Japan . Of this trade they long kept the monopoly,and imported large quantities of porcelain into the northof Europe . They endeavoured to get access to China totrade, but for a long time in vain . Van Neck establisheda factory at Batavia in 1602 . The Dutch East India Company was formed in the same year, and made a settlementat Formosa in 1 624, but were driven out by the Chinesein 1 6 62 . The trade was then transferred to Canton .
The conquest of China by the Tartars, and the conse
quent change of dynasty, was conceived to be a favourableOpportunity for opening commercial relations with thatcountry . In consequence
,the Dutch East India Company
sent an embassy, conducted by Peter Goyer and JacobKeyser, which sailed from Batavia, 14th July, 1 655 , andarrived at Canton, whence they travelled chiefly by inlandnavigation by Kiansi and Nankin to Pekin . They werethere favourably received by the Grand Khan, and returnedto Batavia in 1 65 7. Among the interesting details of thisjourney, they notice the porcelain manufactory of Kiansi,
and itwould appear that the greatest secrecy was observedas to the details of its manufacture .
La terre se prepare et se faconne presque en la
meme maniere que les Italiens gardent en la fabrique de
CHAP. vi . ] DUTCH EMBASSY To CHINA. 103
leurs plats de Fayence, ou nos ‘Belges en leur poterieblanche. LeS
'
ChinoiS sont extrémement adroits et industrieux pour donner la perfection a ces vases, qu
’
ils scavent
diaprer de couleurs tOut-a- fait gayes, diaphanes, et transparentes . IlS y représeritent toutes sortes d
’
animaux,de
fleurs et de plantes, avec une gentillesse et propreté inimitable . Aussi font- ils tant piafe de cette science, qu
’
ontireroit plustOt de l
’
huile d’une enclume, que le moindresecret de leurs bouches . De sorte que celuy
- lapasseroit
pour un (les plus grands criminels aupres d’
eux, qui
révéleroit cet art aun autre qu’
a sa postérité .
”
Of the f
yellow colour being exclusively appropriated tothe Emperor
,they remark
“ Vous remarquerez en passant que c’
éstoit un crime deleze Majesté de peindre les vaisseaux d’
or, ou du couleur
jaune, mesme de porter de dragons jaunes, sans une spécialegrace de l’Empereur, comme Si cette couleur estoit la pluspuissante, et la plus venerable d’entre toutes les chosesinanimées .”
They visited the ruined palace of Nankin,destroyed by
the Tartars in their invasion and conquest,by which
Chinese were compelled to emigrate to savetheir lives . In reference to the Imperial character of theseruins, the writer of the account says
“ A nostre retour de Peking, je me chargeay de quelquepierres des toicts de ce Palais sur Iesquelles estoient peintsen jaune plusieurs dragons et serpens .”
The earliest mention I have found of China ware inEngland is in 15 86 . In the inventory ofminor valuables
L’Ambassade de la Compagnie Orientale des Provinces Unis
,vers l’Empereur
de la Chine on Grand Cam de Tartarie,fait par les S ieurs Pierre de Goyer et Jacob
de Keyser,aLeyde, 1665.
104: HISTORY OF PORCELAIN . [CHAR vi .
belonging to Mary Queen of Scots, are enumerated : Deux
cuillieres de pourcelaines, garnyes, l’
une d’
or, et l’autred’
argent.
Cavendish, however, the celebrated traveller in the reignof Queen Elizabeth, is supposed to have presented hisroyal mistress with the first vessels o f porcelain warewhichcame into England . Mr. Douce, in his Illustrations of
Shakspeare, says, that in the reign of Elizabeth, Spanishcarracks were captured, and part of the cargo was Chinaware of porcelain .
Amongst the new year’s gifts to Queen Elizabeth,1587- 8
,Lord Treasurer Burghley offered one
“
porrynger”
of “white porselyn,
” garnished with gold and Mr. RobertCecill, a cup of grene pursselyne.
”
T
In 1 6 15 , Elkington Speaks of China ware as formingpart of the cargo of the Ship N ew Year’s Gift
,
”taken at
Bantam in that yearfpAmong the effects of Lady Dorothy Shirley, 1620 , are
mentioned a case of glasses, purslin stuffe, Chinie stuffe,
two dozen of purslen dishes , &c .
The English East India Company, established in 1 600did not, for a long period after its formation
,succeed in
opening a direct trade with India and China,being
excluded from those countries by the Portuguese and
Dutch . At length they, however, formed their firstestablishment at the Port of Gombron,
opposite to Ormus ,in the Persian Gulf, where they engrossed a large share of
the commerce,which was very extensive, as that place
was the entrepOt where the commodities of India and
Prince Labanofi", “ Letters of Mary,
vol . VII ., p . 246 .
Nichol’s Progresses of Elizabeth,” vol . p . 528.
I McPherson’s Dictionary of Commerce .
”
106 HISTORY OF PORCELAIN . [CHAR v i .
But the French subsequently threw more light upon thesubject of Oriental porcelain than any of th e nations whohad preceded them in India . Francis Xavier D ’
Entre
colles,
*the Superior General of the French Jesuits in
China,who established missions in most of the provinces
of the Celestial Empire, wrote some very circumstantialdetails upon the manufacture of Porcelain . Among hisneophytes at Y ao- tcheou, he found several who worked inporcelain, and others who carried on a large traffic in theware. The desire of being useful to his countrymen inEurope
,induced him to inform himself on every point
relating to this manufacture. Independently of what hesaw himself, he learnt many particulars from h is Christianconverts, and assured himself of the truth of their answersto his inquiries, by reading the Chinese works whichtreated of the subject. His statements did not
,however
give details sufficiently specific to be ofmuch practical use.
He died in 1 741 , at Pekin .
sion of her for life . China vessels are
playthings for women of all ages .
An old lady of fourscore shall be as busyin cleaning an Indian mandarin
, as her
great grand-daughter is in dressing herbaby.
Besides,Oriental china being a contra
band article, increased the desire of pos
sessing it at all hazards, and, of course,encouraged the smugglers to import it,for th e Gentleman’
s Magazine states,
that on one occasion 1500 China bowlswere seized at Margate by the customhouse officers .
That prince of collectors, Horace
Walpole, of whom it is written,
China ’s th e passion of h is soul
A cup , a plate, a dish, a bowl,C an kindle wishes in h is breast,Inflame wi th joy , or break h is rest
though not altogether free from the
imputation of Lord Shaftesbury,
as
being one wh o loves rarity for rarity’ssake,” has nevertheless given an inimit
able anecdote relating to this inferiororder of collecting virtu. I t refers to a
man named Turner, a great chinaman,
who had a jar cracked by th e shock ofan earthquake . Th e price of th e jars(a pair) was originally ten guineas, butafter the accident he asked twenty
,
because it was the only jar in Europethat had been cracked by an earthquake .
The Treatise on China by th e Dominican F riar, Gasper de Cruz, dedicatedto S ebastian, King of Portugal ( 1557
contains a notice how porcelane”
is made . See Purchas ’s Pilgrims,vol .m.
, p . 177 .
CHAP . v i .1 FRAUDS PRACTISED BY THE CHINESE. 107
Kaolin and Petunse are the names of the two earth semployed by the Chinese in the composition of theirporcelain, which is of the best quality of hard paste, andis so superior to all others, that it may be exposed withoutinjury to the intense heat of a furnace inwhich all Europeanporcelain (Dresden excepted) melts away.
The Chinese kept the composition of porcelain a greatsecret, and sought to lead the inquirers astray by all sortsof wonderful tales about the preparation of the materials .
They s tated, for instance, according to Edoardo Barbosa,that it was made from marine Shells and egg shells, whichmust first h ave been buried in the earth eighty or one
hundred years .“ The finest, richest, and most valuable china is not
exported, or at least very rarely, particularly a yellowware
,which is destined for the imperial use, and is pro
hibited to all other persons . They have a kind of crimsonware
,which is very fine and dear, because great quantities
of it are Spoiled in the baking . They have another sortof a Shining white, purfled with red
,which is produced by
blowing the colour through a gauze, so that both the
inside and out is equally beautified with crimson Spots, nobigger than pins’ points
,and this must be excessively dear,
since, for one piece that succeeds, a hundred are Spoiled .
They have china purfled in the same manner with gold,which is highly valuable for the same reason . Also
, a
kind of china which looks like mosaic work, or as if it had
been cracked in a thousand places, and set together againwithout cement. There is another sort of violet- colouredchina
,with patterns composed of green specks
,which are
made by blowing the colours at once through a frame
108 HISTORY OF PORCELAIN . ( CHAP. vi .
pierced full of holes, and this operation succeeds so rarely,that a very small basin is worth two or three hundredpounds . They have a kind of white china, excessively
thin, with blue fishes painted on the metal between thecoats of varnish, so that they are invisible except when
the cup is full of Father Solis, a Portuguese missionary, who resided forty years in China, and died at
Macao , wrote a treatise, which was never printed, of thefrauds of the Chinese and among these he enumeratesthose which are connected with the sale of old china . He
tells us that these people, by giving high prices for antiquechina
,have brought it into great credit, and that, then, by
means of a yellow clay, and Oils of several kinds, some of
which are metallic, and by laying the china some monthsin mud as soon as it comes fromthe furnace, they producethe very same sort that is so highly valued by the vulgar
,
as being five or Six hundred years old . Every trade inChina has its peculiar deity or idol. Pousa is the idol worshipped to this day by the fraternity of porcelain-makers .An Emperor once ordered that some porcelain, after a
certain pattern, should be executed for him ; the manufacturers represented to the Mandarin charged with thiscommission, that the execution of the order was impracticable the only result was, that the Emperor ordered theperformance of th e task the more strenuously, and gave thestrictest orders for its completion . The manufacturers oncemore exerted all their energies, but again their attemptsfailed . The Mandarin tried, by means of the bastinado,
Extracted from Travels from Muscovy to China,” by E. Y sbranti Ides, amb assador from Peter the Great to the Emperor of China, in 1692 . Published inHarris’s Collection ofVoyages .
”
1 10 HISTORY OF PORCELAIN . [CHAR VI .
of velvet or Silk,like jewels, by our troops in the late war.
These pieces consist principally of cups and articles of
small Size, with very ancient inscriptions engraved uponthem,
and by holding them against a strong light,dev10 es
,
such as animals,flowers , leaves, &c .
,may be discovered
under the glaze .
The blue and white porcelain is the production of
Nankin,
*and is probably next in antiquity to that of
F okien. Blue appears to have been the first colour used,
F ig. 48. Jar, blue and white . N ankin. (Coll . Marryat. )
and it is stated that it was for some time prepared fromlapis lazuli
,but since smalt has been substituted, the colour
is not so fine and vivid . (F igs . 47, 48
This china is frequently doctored and ornamenting the ground, leaving theor tickled,
”as it is termed
,by colouring blue patternuntouched. But this process
CHAP . vi .] CRACKLE PORCELAIN .
The pale buff, or Nankin colour, introduced in the necksof bottles and backs of plates, is generally characteristic ofa good specimen . The fineness of the blue, and clearnessof the white ground, determine the antiquity of thisdescription of porcelain.
King—te- tching is also stated to be the Site of the
manufactory of the old sea-green and crackle ]L porcelain
,
generally known by the name of Celadon . This term,
however, has been Since applied to all porcelain of thisdescription, whatever the colour may be. Its brilliancyhas not been equalled by any European manufacture . A
glaze or enamel of the brightest hue is run over the sur
face Of the piece, of every Shade of green,blue, red, and
yell ow ; sometimes two ormore of these colours are blendedtogether, giving the appearance of Shot silk iThe old ware
,with subjects in green enamelled colours
,§and the fine egg
- Shell porcelain, were also products of theperiod of the perfection of the art. The latter has not beenequalled in lightness and transparency by any Europeanmanufactory . Of these pieces, the imperial yellow and rubycolours are the most valued the yellow being prohibited
,
excepting for the Emperor’s private use
,no other colour
being used at the Imperial table the ruby,from its
rarity, being seldom found, excepting upon the reverse Sideof the finest plates and small pieces .
is easily detected by th e muddiness of lain, see Glossary, “ Crackle .
”
the colours put on. A peculiar purple is 3: In China, the colouring matter isknown to have been prepared inHolland . frequently mixed with the glaze ; in
At this place, according to th e Europe, the glaze is always transparentstatement of different travellers, there and colourless .
are established 500 factories, giving The faces of the figures in the old
employment to a million of artisans . specimens are generally in outline, the
F or the nature of crackle poree modern aremore finished in detail .
112 HISTORY OF PORCELAIN . [CHAP . v 1.
T he brown porcelain, white inside, and with white
medallions outside, is very common in China for domesticuse, and the walls are sometimes covered with it insteadof marble.
The inferior and comparatively modern porcelain, commonly known by the name of Indian china, is manufacturedat Canton . The material is generally lighter, but the tintsare fainter than those already mentioned.
The forms into which this china has been moulded, haveonly an ethnographical value
,for the Chinese have never
produced a piece which could be compared with the com
monest production -of the Grecian workmen . Even the
Simple old sea -green vessels with the mark Tching-
yu,
”
have a strangeness of character offensive to _ an Europeantaste. But because these productions express clearly and
undisguisedly the Chinese mode of thought and feeling,they possess that value which belongs to every thingoriginal and national . Many of these forms have alsoremained the same
,without variation, for five hundred
years .The Chinese are, however, extremely happy in the
execution of grotesque subjects and strange animals .They model ducks and turtles, which swim upon the water .
D’
Entrecolles saw a porcelain cat, which was painted to thelife, and in whose head a lamp was placed at night, to theterror of the mice.
Among other fanciful inventions is the jug which wemay term the cup of Tantalus, or a
“ surprise hydraulique,”
in which,by means of a concealed syphon, the contents
recede from the lips of the drinker, and are spilled overhis clothes . Also
,cups appearing to contain an egg,
1 14
strange monsters .
HISTORY OF PORCELAIN. [CHAR vi .
Subjects copied from European printsare often met with . Sometimes the colours are arrangedin the pieces in zones, stripes, (F ig. and various devices .
The characters upon the fine Whiteand blue pieces (they are rarely foundupon the variegated china) are for
the most ' part composed of four or
Six Chinese words, and may easily bedistinguished from the mark of the
manufacturer. Some of these, whentranslated, literally mean “ in the yearYung- lo
,which implies that they were
made between the years 1403 to 1425 ,that being the period of the reign of thatEmperor of the Mingdynasty. Theseinscriptions serve to prove how very
F ig. 50. S triped Bo ttle,white and brown . Chinese.
(Co ll. Marryat.)
stationary the art has been in China, aspieces of the eighteenth century exhibitno difference in material, glazing, and
colouring,from those of the fifteenth . The ancient sea—green
porcelain has sometimes the inscription of Tching-
yu,
”
meaning “ precious jewel. The marks of a leaf, fish,
and other symbolical devices, are supposed to be factorymarks .product of Canton .
until a late period,a large figure of a
dragon was carried in procession,being
considered an emblem of heresy. The
devil , it will b e recollected, is frequentlycalled the dragon ” in S cripture . T h e
prevalence of dracontic ornaments on
ancient sculptu r
e in England,of the
Saxon or early N orman period, as al so
in Irela nd, as well as the serpent-orna
The china which has the mandarin mark is the
mentation of the Northern Antiquaries,
deserves notice. Possibly the origin of
the former may have been Oriental. On
th e other hand, some writers consider
the dragon to be no mere legend, andrefer to the fossil remains of the Sauriantribe, which, allowing for some exaggeration and embellishment, may be cousi
dered of the same race.
115CHAP . Vl .] CELEBRATED COLLECTIONS .
The most celebrated collection of Oriental porcelain is
that contained in the Japan Palace at Dresden . This building was purchased by the Elector Frederick Augustus I . ,
in 1717, and a great part of the collectionwas obtained byhim from Holland. In 1 73 7 he added to it the celebratedcollection of the family Bassetouche, of Dresden . FrederickWilliam I . of Prussia contributed twenty-two large vases,in return for which, Augustus the Strong made over tohim a regiment of dragoons .*
Frederick Augustus I .,Elector of
Saxony,1694,was elected King ofPoland,1697, under the title ofAugustus I I . He
was surnamed the Strong,” from hisgreat bodily strength . At Dresden, isshown the armour he usually wore, thehelmetZof which weighs 20lbs.
,and the
whole suit is so ponderous, that a strongman can scarcely lift it off the ground.There is also exhibited, a horse-shoe,which he is said to have broken in piecesbetween his fingers . He was gifted withhigh mental endowments, and a taste forintellectual pursuits, which he retainedduring the whole of his life . He was
liberal in his patronage of the fine arts,
and expended a large portion of the
revenues he received from the silvermines of Freyberg, in collecting paintings, gems, porcelain, and other articlesof virtu. T he galleries, and the GreenVaults ”
(Grime Gewolbe) at Dresden,
bear witness alike to h is good taste, andlavish expenditure.
F inding Meissen, which had beenthe residence of his ancestors fromthe remotest period, too confined forhis magnificent plans, he removed h iscourt to Dresden, and adorned that citywith magnificent palaces, and publicbuildings, which are not surpassed
EurOpe was in a state of semi-barbarism.
His ambition led him,in 1697, to
aspire to the crown of Poland, which hewon, lost, and afterwards regained, in17 18. He was deeply engaged in th e
celebrated struggles between CharlesX11. and Peter the Great, in whichhe was the constant antagonist of th e
one and the firm ally of the other, andSaxony was, in consequence, invaded byCharles XI I . He endeavoured also toaggrandise himself at th e expense of th e
succession of Charles VI ., of Austria, byengaging in the all iance against h isdaughter, Maria Theresa, stil l keepingin view h is favourite project of makingth e crown of Poland hereditary in h is
In furtherance of this object, he
abjured the Protestant faith of h is
ancestors, and embraced the Roman
Catholic religion, and although the
Lutheran, from the time of the B eformation, has been the established religionof Saxony, h is descendants have to thisday, remained Roman Catholics. His
consort, however, nobly refused to
change her religion, and was conse
quently not crowned Queen of Poland .
By the beautiful and celebratedCountess of KOnigsmark he had a son,
by any in Germany, and all this hedid at a period when the north of
“
who entered the French service, and
became th e illustrious Marshal Saxe.
r 2
116 HISTORY OF PORCELAIN . [CHAP . v 1 .
The Oriental porcelain fills thirteen rooms . The first in
the series contains the unglazed red ware of Japan, withraised patterns painted in white, red, and black, and rich lygilded . The Blue Gallery has the rarest and most valuablepieces, namely, forty—seven vases, two ellS high, the colour of
all Shades of blue, of the greatest purity, as well as buff and
brown . The Japan rooms contain eighty—two large vases,one ell twelve inches high, the groundbeingwhite,with green,
During his few intervals of peace,he
abandoned himself to pleasure, luxury,and the patronage of the fine arts . I t
was at this period that he exchangedh is finest regiment of dragoons withF rederick William of Prussia
,for some
dozen large vases of porcelain. He
died in 1733, while attending a diet at
Warsaw.
He was succeeded in th e electorate byh is son, F rederick Augustus I I .
,wh o
,
three years afterwards, ascended the
throne of Poland under the title of
Augustus I I I . Without th e talents of h isfather
,he inherited his ambitious views ,
h is love of luxury, and h is taste for thefine arts . He enriched th e gallery of
paintings,by th e acquisition of the cele
brated picture of th e Madonna de SanS isto
,by Raffaelle, for which he gavea considerable sum at that period,
and th e Correggios of the Madonna Collection. Under h is encouragement, theporcelain establishment of Meissen
became celebrated for the exquisitebeauty of its productions and he
arranged in the Japanese Palace,the
magnificent collection of porcelain, towhich he made great additions . T he
extravagance and luxury of h is court
were unbounded . In the midst of which,alarmed at th e increasing power of the
Prussian monarchy, h e formed an
alliance with Maria Theresa, which
brought upon h im the vengeance of
F rederick the Great ; Saxony was invaded
,in 1745, and upon the approach of
the enemy, Augustuswas compelled to flyfor safety from Dresden, to the impregnable fortress ofKonigstein, taking withh im h is most valuable works of art ; butleaving to th e conqueror, his queen and
the archives of th e kingdom ; and soon
afterwards,he witnessed from th e walls
ofKonigstein, the total destruction of his
army. Hewas again involved in hostilitieswith F rederick during th e SevenY ears’War, Saxony was once more invaded in1756, and was devastated by contendingarmies for six years successively. B eingdespoiled of h is kingdom of Poland bythe Czarina Elizabeth, h e returned toDresden at the peace of 1763, havingsaved th e treasures deposited atKo'nigstein those which remained at Dresdenand Meissen
,having been carried off by
F rederick and h is generals. He diedthe same year
,leaving h is kingdom
greatly impoverished. His successors ,
though raised to the rank of Kings of
S axony,possess neither the power nor
the riches which they enjoyed whilethey were simple Electors . DuringN apoleon’
s conquests,Ko
'
nigstein once
more protected the collections of the
Green Vaults,
”and their immense
value forms a curious contrast to the
general poverty of the country.
118 HISTORY OF PORCELAIN . [CHAR VI .
having been found in England, is a curious basin or
drinking- bowl of the pale sea-green, thick ware, of whichcolour much has been sold lately in England, with raisedornaments on the surface. This piece is called ArchbishopWarham
’
s, 1504- 1532 . It is mounted in silver-gilt, and
the workmanship of the mounting may be as old or olderthan that time. It is preserved at N ew College, Oxford ;and the ancient inventories which were annually taken,would doubtless Show the precise time when itwas broughtthither, and whethen it may be taken with certainty as
a Specimen of porcelain which existed in England in the
S ixteenth century .
The collections at Strawberry Hill, and of his RoyalHighness the Duke of Sussex ,
were both extremely rich inthe old Celadon varieties, the former in the turquoise, blue,
F ig. 51. TurquoiseMatch Pot. Chinese. (Coll .Marryat. )
and red, the latter in the yellow description . That of the
late Mr . Beckford, transferred from Fonthill Abbey to his
residence at Bath,and Since partly sold
,contained an
CHAP . v1.] CELEBRATED COLLECTIONS .
assemblage of very rare and curious pieces .
119
The portionnot sold has been transferred to Hamilton Palace.
At Strawberry Hill sale, two small vases of the old sea
greenware sold for 22 l.,and three match-pots (Fig. 5 1) of
turquoise bamboo pattern, for 25l. At the late Mr. Beckford’
s
sale,in November
,1845 , a pair of small egg- Shell cups and
saucers of the rare yellow ground,
” sold for 8l. 8a,and
another lot,of two pairs, for twelve guineas and a half. The
plates with ruby backs sold at from three to four guineaseach . The lapis lazuli and mazarine specimens, as wellas the green enamelled
,were of the finest description, and
fetched very high prices . A stork, of Chinese porce
lain (F ig. was among the
many rare specimens of the col
lection . The quantity of cupsand saucers was enormous
, and
it was said that Mr. Beckfordpossessed a sufficient numberfor a breakfast-set every day
throughout the year,without
using any service a secondtime .
Portugal, Spain, and Holland,in consequence of their earlyintercourse with China
, pos
sessed large quantities of Ori
ental porcelain, from which,
indeed, most of the Englishcollections have been supplied
F ig. 52. S tork. Chinese. (Co ll . Beckford. )
but the earliest Specimens extant were those which wereintroduced overland through Turkey and Italy
,before
120 HISTORY or PORCELAIN . [CHAR VI .
the navigation to India by the Cape of Good Hope wasopened .
In conclusion, it may be observed that the taste forcollecting Oriental porcelain has been much checked bythe numerous imitations of the old ware sent home fromChina . To this cause, no less than to the caprice of fashionand the influence of a refined taste in respect of forms, is
owing the preference given by amateurs to old Dresden,Sevres, and Chelsea, the quantity of which is limited, andits value, consequently, daily increasing ; whereas, theOriental (excepting in some choice varieties) has beenmuch deteriorated in value and public estimation by thequantity of fine old specimens lately brought to light, theexistence of which was not even suspected.
JAPAN .
This country, consisting of a large archipelago, butlittle known to any European nation (excepting the Portuguese and Dutch) , is supposed to have been originallypeopled from China by way of Corea. The earliestauthentic annals of the Japanese empire commence about6 60 years before the Christian era
,and its arts and Civili
sation have, of course, much resemblance to those of China,from whence they were derived .
The Portuguese first traded with Japan in 1534,and
so completely established themselves In that country,as to carry away in their commercial transactions, goldand precious commodities, to the amount of fourteenor fifteen millions of livres ; they married the richest
122 HISTORY OF PORCELAIN . [CHAR v1.
which had existed from time immemorial . This innovationwas highly resented by the Japanese Emperor, who, itappears, cared more about the subjects on the surface of
his porcelain, than the conversion of his people. Somespecimens thus painted are still extant, and are highlyprized by collectors .Upon the expulsion of the Portuguese from Japan, the
Dutch endeavoured to open a communication with thatcountry and Wagenaar was dispatched thither, in 1634,as ambassador, by the Dutch East India Company. He
arrived in the Bay of F iranda, and, after some delay, wasallowed to proceed to Jeddo, the seat of government. He
succeeded in his negotiation, but the conditions underwhich permission to trade was granted, were most degrading and severe. AS the Dutch did not interfere withthe religion of the people
, or attempt to make proselytes,they were enabled to maintain this commerce to the
exclusion of every other European power. In this theysucceeded SO effectually, that the Japanese being informedby them, that Charles, King of England, was married to a
princess of Portugal, refused to receive any English traders .The history of this embassy, written by Henri CorneliusSchaep, contains some curious matter relating to the trafficin porcelain
,in which His Excellency the Ambassador
condescends, In the way of business,to design a pattern
of a flower
Pendant que le Sieur Wagenaar se disposoit a
retourner a Batavia,il recut vingt et un mille, cinq cent,
soixante sept pleces de porcelaine blanche et un moisauparavant il en étoit venu aDisma tres-grande quantité,mais dont le debit ne fut pas grand, n
’
ayant pas assez de
CHAP . v1. ] THE DU TCH IN JAPAN. 123
fleurs . Depuis quelques années les Japanois se sontappliquez aces sortes d’
ouvrages avec beaucoup d’
assiduité .
I ls y deviennent Si habiles, que non seulementfi
les Hollandois, mais les Chinois meme en achetent. La meilleurede toutes, est celle qui se fait aEisen, la terre n
’
étant en
nul autre endroit, ui Si blanche ni Si fine. Le SieurWagenaar, grand connoisseur et fort habile dans ces sortesd
’
ouvrages, inventa une fleur sur un fond bleu qui fut
trouvée si belle que de deux cens pieces on il la fit
peindre, il n’
en resta pas une qui ne fut aussitdt vendue,
de sorte qu’
il n’
avoit point de boutique qui n’
en fut
garnle.
Speaking of the great value attached to certain of theirtea services, he writes :C ’
est l’ancienté et l’addresse des maistres qui ont faitces pots
, qui leur donnent le prix, et comme la pierre detouche parmi nos orfevres fait counnoistre le prix et la
valeur de l’or et de l’argent,de meme pour ces pots ils ont
des maistres jurez, qui jugent de ce qu’
ils valent, et selon
l’
antiquité , l’
ouvrage, l’
art, ou la reputation de l’
ouvrier,
et c’est souvent d’
un prix fort haut. De sorte, que le Royde Sungo achetta, il y a quelque tems, nu de ces pots pourquatorze mille ducats
,et un Japanois Chrestien dans la
ville de Sacai paya pour un autre, qui estoit de trois pieces,quatorze cent ducats .” it
Their monopoly of the Japanese trade enabled the Dutchto import exclusively immense quantities of this Species ofporcelain
,which was to be found abundantly in every
Ambassades Mémorables de la Compagnie des Indes Orientales des ProvincesUnies vers les Empereurs du Japon. Amsterdam, 1680 . F olio, partie 2de.
,p . 102 .
Ibid.,partie lere ., p . 2 .
124: HISTORY OF PORCELAIN . [CHAP . v 1 .
house in Holland . The exportation of it to differentparts of Europe constituted a most profitable branch of
commerce.
Though the porcelain of Japan bears a great resemblance to that of China
,it can easily be distinguished
by a practised eye : it is of a more brilliant white,and
the clay is of a better ' quality ; the designs are more
F ig. 54. B ottle, gourd-shaped, Japan. (C0 11. Marryat. )
simple, and the decorations less overloaded ; the dragonsare not so monstrous
,and the flowers are designed
more in accordance to nature . The glazing also is moretinged with blue, and more delicate. It does not standthe heat of the fire so well as the Chinese. Somedegree of taste is Shown in the forms
,which are more
natural than the Chinese. (F ig. Chinese and Japanornaments are, however, sometimes found upon the same
126 HISTORY OF PORCELAIN. [CHAR VI .
The remarks already made upon Chinese porcelainapply equally to that of Japan . Most collections of
Oriental porcelain contain a great number of JapaneseSpecimens which are seldom separately classified, exceptingin the Japan Palace at Dresden, where that ware is placed
ln distinct rooms, as before mentioned .
The finest specimens of Japan porcelain which havebeen submitted to the public for a long time, were those
sold at the late Mr . Beckford’s sale. They consisted of
bowls, plates, &c .,and obtained very high prices small
basins selling at from four to five guineas each , and platesin the same proportion.
PERS IA.
There is no authentic record respecting the existenceof any Persian porcelain. Chardin, in 1 650 , certainlymentions 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 testimonycannot be deemed decisive as to the fact of porcelainhaving been made in Persia, especially as it is unsupportedby any other evidence.
There are extant, plates and dishes painted withPersian designs and inscriptions from the Koran . Some
of these are evidently spurious,from the inaccuracy
of the characters, which only look like Persian, and wereevidently copied by artists ignorant of the language .
Others, on the contrary, from their style of pattern, and
CHAP . VL ] PERS IAN PORCELAIN . 127
the correctness of the writing, might lead to the impression of their having been actually painted by a Persianartist.* In the absence, however, of the knowledge of
any manufactory in Persia, it is impossible, without furtherinformation, to decide the disputed point of Persianporcelain.
In the collection of the writer, Bandinel
,Esq ,
possessed a dish whichthere is a plate of spurious manufac has every character of being th e proture ; but the late lamented James duction of a Persian artist.
CHAPTER VII .
PORCELAIN — (HARD PASTE . EUROPEAN .)
SAXON Y . F irst European Porcelain made in Dresden.—B6 ttcher’s Discovery. —He is
removed to Meissen.
— Precautions for keeping th e Process secret— F lourish ingS tate of the Manufactory under Royal Patronage—Description by Jonas Hanway.C alamitous Effect of th e S even Y ears
’ War. —Decay and Decline—Present S tate .
Visit ofWedgwood—C ount Briihl ’s Tailor.—Lace F igures—Honeycomb China .
C ollection at the Japan Palace described by Hanway and Klemm.-C omparison.
Marks.
THE principal manufactories of hard paste in Germanyare those ofMel ssen (Dresden) , Vienna, Hochst (Mayence) ,F ii rstenburg (Brunswick) , Frankenthal (Palatinate) , Nym
phenburg (Munich) , Baden, Ludwigsburg (Wurtemburg) ,Berlin
,Cassel (Hesse) , Fulda, Rudolstadt, Gotha, &c .
,in
Thuringia in Russia, those of Petersburg and Moscowin Holland
,those of Amsterdam and the Hague. There
are manufactories also at Copenhagen and Zurich . All
these establishments, with their branches, will be noticedin the order in which they are here mentioned .
MEI S SEN . (SAXONY . )
The Portuguese, who, in 15 18,first appeared before
Canton and by destroying the pirates of the Ladrones,had earned the thanks of the Chinese, with permission to
130 HISTORY OF PORCELAIN . [CHAR m .
The importance of this discovery was soon perceived by
Augustus, and as BOttcher’
S Operations were too much
exposed to observation in Dresden, he was sent to the
castle of Albrechtsburg at Meissen, and provided withevery comfort and luxury ; but one of the Elector’s
officers was h is constant attendant, for it was feared that,possessed of SO important a secret, he might quit thecountry . When Charles XII . of Sweden invaded Saxonyin 1 70 6 , BOttcher, with Tschirnhaus and three workmen
,were sent by Augustus under an escort of cavalry
to Konigstein, where a laboratory was erected for himin the fortress . Although his rooms there were underthe 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 thenceforthsubjected to a less rigorous confinement. In 1 70 7, he
returned to Dresden, where the king caused a new houseand laboratory to be erected for him
,and he prosecuted
his studies in conjunction with T schirnhaus . Theirresearches were long and fatiguing ; nights were passedin their labours and it is recorded, as an instance of the
cheerful 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 workmenawake by his gay and lively conversation . In 1 708,
T sch irnhaus died, but Bottcher continued the works'
upon
a more extended scale. The furnace had been burningfor five days and five nights, during which time Bottchernever left his place. It succeeded perfectly. The King
a p . vu .] KAOL IN 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 th is was a great advance upon h is former productions
,it was not real porcelain, it was only a kind of red
and white stoneware,capable of resisting a high tempera
ture itwas not until 1 709 that Bo’
ttcher at last produceda white porcelain
,which
,however
,bent and cracked in the
fire. Immediately on this discovery, Augustus proceededto establish the great manufactory at Meissen, of whichBo’ttcher was appointed Director in 1 710 . In 1 715 , he
succeeded in making a fine and perfect porcelain, and hecontinued the superintendence of the works until his death ,
which took place in 1 719 , at the age of thirty- seven, beingcaused
,or at least hastened
,by his intemperate course of
livingqL
We are not told what kaolin Bottcher employed in h isfirst essays, but it appears certain that he discovered thekaolin of Auej; 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 nearAue
,observed that his horse’s feet stuck continually in a
soft, white earth, from which the animal could hardlyextricate them. The general use of hair-powder at thattime made it a considerable object of commerce, and theidea immediately suggested itself to Schnorr that this
The cases in which the fine poree was ennobled by the King for h is dislain is enclosed, to preserve it from th e covery, but th e documents of theMeissen
direct action of th e fire of the kiln. See manufactory are sil ent upon this point.glossary, Kiln. I A territory near Schneeberg, in th e
It is usually stated that Bottcher Erzgebirge , Saxony.
132 HISTORY OF PORCELAIN . [CHAR VI I .
white earth might be employed as a substitute for wheatflour
,which was then used in its fabrication . He carried
a specimen to Carlsfeld, and caused a hair-powder to beprepared
,which he sold in great quantities at Dresden,
Leipsic, and other places . Bo‘ttcher used it among others,
but remarking on the unusual weight of the powder,he
inquired of his valet where h e had procured it. Havingascertained that it was earthy, he tried it, and to his great
joy found that he had at last gained the material necessaryfor making white porcelain . The kaolin continued to beknown in commerce under the name of S chnorrische
weisse Erde. Its exportation was forbidden under theseverest penalty and it was carried to the manufactoryin sealed barrels, by persons sworn to secrecy.
BO’
ttcher’
S discovery soon became t he object of the
most lively jealousy, and it was natural that every meansto obtain the secret Should be tried by other nations as
well as that the Elector Should take every precaution tokeep it to himself. Strict injunctions to secrecy wereenjoined 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, allthe details of the proceedings of the manufactory at
Meissen continued to be concealed with the utmost care.
The establishment 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
184 HISTORY OF PORCELAIN . [CHAR m .
thicker and heavier than the later productions . Manydelicate colours, such as the grey, green, and yellowgrounds with medallions of Chinese paintings, were afterwards employed .
HO’
roldt succeeded Bottcher in 1 720 , when magnificentservices
,with intricate gilt borders, and medallions with
F lg. 55. Grotesque T ea Pot. D resden. (Coll . Marryat.)
Chinese figures and flowers in colours were made forAugustus 11. (F ig. In 1 73 1 , Kandler, a sculptor
,
who superintended the modelling,introduced garlands Of
flowers,bouquets
,chandeliers
,vases
,and animals . His
groups of figures are particularly admired . He attemptedan 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 fouryears, is to be seen in the gallery at Dresden .
Then followed the exquisitely beautiful paintings, con
CHAP . VI I .) JONAS HANWAY . 135
sisting of copies in miniature of the best productions ofthe Flemish schools
, of birds and insects painted byLinderer 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 1 75 0 , thus writes ; “ There are about 700men 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 isnot estimated above crowns . This manufactorybeing entirely for the king’s account
,he sells yearly to
the value of crowns,and sometimes
crowns besides the magnificent presents heoccasionally makes
,and the great quantity he preserves
for his own use . They preterid they cannot execute fastenough the commissions which they receive from Asia, aswell as from 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 inthis art. It is with great satisfaction that I observe themanufacture of Bow
, Chelsea, and Stepney so improved .
”
The period from 1 73 1 to 1 75 6 was the most palmytime of this manufacture . That of the Seven Years’ War
‘
which followed, was the most disastrous .* Frederick the
it When F rederick attacked Dresden in 1745 , and Augustus fled, the PorcelainKing did not neglect to carry away h is china and h is pictures
,although he left th e
Electoral archives to th e mercy of th e conqueror .
136 HISTORY OF PORCELAIN . [CHAR Vf l .
Great seized upon, and ordered to be sold, prodigiousquantities of porcelain, both at Meissen and Dresden .
He also forcibly carried away to Berlin,for his own
establishment there, the workmen, with the models and
moulds of the finest pieces . Meissen was the battlefield between the Austrians and Prussians in 1 759 , whenthe manufactory was again plundered, and its archivesdestroyed .
Peace being restored, the establishment was once morerestored to some degree of eminence under Dietrich
, pro
fessor of painting, from Dresden Luch,a modeller
,from
F ig. 56. Vase, with Cameos . D resden. (Coll . Marryat. )
Frankenthal Breicheisen,from Vienna, and the sculptor
Francois Acier, from Paris,who in1 765 introduced the
Franco - classical style . (F ig. But the monopoly whichthis manufactory had so long enjoyed was now at an end,
138 HISTORY OF PORCELAIN . [CHAR VI I .
his other implements of trade (F ig. and the other,
his upon a she—goat, with a baby in swaddling
F ig . 57. Count B ruh l’s T ai lor D resden. (Co l l . Marrya t . )
clothes (F ig. The poor tailor was so annoyed withthese caricatures
,that he turned back without desiring to
F lg. 38. T al lo a’s Wi fe. D resden. (C 0 1. Marrya t 1
see more. These pieces,known as Count Bruhl’s Tailor
and his Wife, are now much sought after,from their
can ». m ] HANDLER’
S GROUPS . 139
historical interest.
* They were made in 1 760 by KandlerAmong the finest productions of this artist, are his allego
rical groups of the Senses, of which the Lute-player, representing “ hearing,
”is one of the best ; the Broken Looking
glass, the Mariage a la Mode, the Love- letter, the Childwith a Dog, the Little Girl beating her Doll, and variousother groups of children, whose expressive countenancesshow a great study of nature .
In form the character of this porcelain is superior tothat of any other manufacture, having for the most partbeen taken from the classical models of the ancients, withwhich it vies in elegance and beauty .
The groups from antique models,the lace figures,
—so
called from the fineness of the lace-work introduced inthe 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 greatexcellence of the artists employed .
It may be here remarked, that the early pieces incolour and ornamentation were generally copied fromOriental specimens . The well-known Honeycomb” chinawas Copied from 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 forre-moulding, but the sharpness and delicacy of the old
specimens are not to be found in these revivals .
T he Ta ilor and his Wife,as also quence of their low price
, meet with a
the celebrated Dresden groups, known ready sale . I t is needless to say how ill
as the Senses, and the S easons, are now they are executed,and how inferior they
made in S taffordshire,and
,in conse are to the originals .
140 HISTORY OF PORCELAIN . [CHAR V I I .
The celebrated collection in the Japan Palace is thusdescribed by Jonas Hanway The next curiosity is theChinese 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 elegantbuilding
,and is situated too near the river. The vaults
,
or basement story of this palace, consist of fourteen apartments
,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 pieces more are wanted to complete the intention of furnishing this single palace, which is not large .
Perhaps it may be some indulgence to female curiosityat 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 PorcelainKing .) Here are a great number Of porcelain figures ofdogs, squirrels, monkeys, wolves, bears, leopards, &c .
,some
of them as big as life also elephants and rhinocerosesof 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 representationof 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 rarematerials . A
'
clock is preparing for the gallery in thispalace, whose bells are to be also of porcelain . I heard
HISTORY OF PORCELAIN . [CHAR V l l .
previously to 1 763 , made of the clay found at Meissen,
red without glaze ; the red polished by lapidaries ; thered glazed the iron—grey without polish or glaze ; the
black glazed, in imitation of the Chinese ; the earliestblue and white, ln Imitation of the Nankin then the firstwhite porcelain ; the same painted with colours flowervases and groups of Cupids, and other exquisite productions figures by Kandler also, by this same artist
,two
leopards of natural size, a colossal bust of Augustus 11.
F ig. 59 . Ape. D resden. (Coll. Marryat . )
a concert of apes, (F ig sixteen admirable figures
,and
various others of the same description, with the favourite
F ig. 60. Empress Catherine’s D og. D resden. (Coll . Marrya t. )
light brown dog of the Empress Catherine lying upon a
blue cushion (F ig. A room is filled with basket
CHAR VI I -1 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 theformer St. Wenceslaus stands very conspicuous .
”
Comparing these two descriptions , the collection appearsto have originally occupied nearly the whole of the JapanPalace, whereas now it is confined to the basement story,which shows how much it must have been diminished inquantity Since the former period, by the plunder and
destruction committed during the Seven Years’ War.
Besides th is, during the distresses of the country, thesalaries of public Officers were often paid in porcelain
,and
large quantities were sold to defray the current expenses ofthe establishment. The Oriental portion appears to havesuffered less than the Meissen ware, which is thus renderedincomplete as a collection . It was intended that a
specimen of every fine piece made at Meissen shouldhave been placed there as a record of the manufacture,but adverse circumstances prevented this being done .
A collection of the porcelain of other European manufactures 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 assistanceto the assiduous exertions of Dr. Klemm
, the Curator,by whom the collection has been very admirably arranged .
The early porcelain, particularly the plain white, wasnotmarked, though some specimens in imitation of Orientalchina bear the Oriental symbols .The first mark was the letters fR
,signifying Augustus
Rex,this mark is found uponmany imitations ofthe Oriental
144i HISTORY OF PORCELAIN . [CHAR V I I .
from 1 709 to 1 7 12 . From that period to 1 7 15 a sort Ofcaduceus was used . Then the well- known t wo electoralswords, crossed, were introduced and the larger and freerth e swords are
,the older is the piece . HO
’
roldt’
s period
(commencing 1 720) is noted by the swords being smaller,and connected by the handles . Ko’nig’s period (1 778) isindicated by a dot below the swords ; that of Marcolini
(1 796) by a star. The royal pieces are distinguished by theletters K P M,
Ko’nigliche Porzellan-Manufactur. Theseof the Dresden, as well as all the other German porcelainmanufacturers
,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 regardsantiquity. The early specimens painted in Oriental patterns
,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 generally 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 isthe most valuable, in consequence of the best artists havingbeen employed in its finish and decorations .There occur occasionally fictitious imitations of Dresden
china, by German manufacturers, who copied the modelsand affixed the mark
, but could not arrive at its excellence in form or colour .
An ingenious method of producing reduced to a liquid by mixing it withthis lace-work h as been adopted , both gum or sugar, cotton or thread lace,at Sevres and by Englishmanufactur ers . which being consumed in th e kiln, leavesI t consists in dipping into the clay
,a net-work of real porcelain.
1416 HISTORY OF PORCELAIN . [CHAR V l l I .
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
tinned to decline. It was only after the year 1 744, whenMaria Theresa made the acquisition of it
,that it rose to any
degree of prosperity. Under her patronage and that ofthe Emperor Joseph, large sums were expended upon itsimprovement, and it then became one of themost flourishingestablishments in Europe . In 1 785 , under the directionof the Baron de Sorgenthal, it had thirty-five furnaces inoperation
,and employed five hundred workmen . It has
,
however, been since sold, and is now again a privateconcern .
The Vienna porcelain is thicker than the Dresden, theglazing inclines rather to grey, and the painting is not tobe 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 inTurkey, and perhaps from this circumstance keeps up itsold 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 theapplication, in relief, of solid platina and gold .
A déjeuner service of this porcelain,painted en grisaille
,
with representations of the battles between the Austriansand the Turks (stated to have been a present to LadyCatherine Walpole from Count Dahn) , was sold at Strawberry Hill, and is in the collection of the author. The
Clay is not of fine quality,being of the earliest period of
eni m m .1 HOCHST (MAYENCE) . 14 7
the manufacture . The later specimens, however, are muchfiner, and many Of them are exquisitely painted.
The mark of the Imperial fabric is a shield bearing thearms of Austria . The porcelain made previously to thatepoch (1 744) has no mark upon it.
Two manufactories have been recently established inBohemia, both near each other one at Carlsbad, the otherat Elbogen . The Carlsbad marks are S . and F . and R .
that of Elbogen, an arm holding a sword .
HOCHST (MAYENCE ) .
During the Electorate of John Frederic Charles, Archbishop of Mayence, a merchant of Frankfort- on-the-Main
,
named Gelz, who had a celebrated pottery establishmentin the neighbouring village of Ho’chst on the Nidda, in theterritory of Mayence, was induced by one of his workmennamed Bengraf, to try the experiment of Changing it intoa porcelain manufactory. F or some time the attemptwas unsuccessful ; but having induced an artizan of the
Vienna manufactory,named Ringler, to join him,
he at
length,in 1 740 , succeeded in making good porcelain .
This manufactory continued to thrive under Ringler’smanagement, but he being fond ofwine, his fellow-workmentook an opportunity ofmaking him intoxicated, and whilehe was in a state of stupefaction, got possession and tookcopies of his papers relating to the manufacture of poreelain, which he always carried about with him. In thismanner the Hochst workmen became possessed of the
secret, and then Offered their fraudulently acquired Skill
L 2
1418 HISTORY OF PORCELAIN . [CHAR VI I I .
to rich and enterprising parties, for the establishment of
porcelain manufactories in other districts .Ringler has th e 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 sorelyagainst his will, he must be regarded as the founder of
most of the German manufactories . Besides these, themanufactories 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 emanatedfrom Hoch st .
Emmerick Joseph, the next Elector of Mayence, madethe porcelain manufactory at Hochst a State establishment.
He appointed an intendant, director, and inspector to con
duct it, obtained the services of the celebrated modelmaster, Melchior, and provided funds for its expenses upona liberal scale . In consequence of this, the productions Ofthis period are of the highest reputation .
A considerable change took place in the correctness ofthe 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 whosucceeded him, commenced the so- called thick-headperiod . All the figures from that time have disproportionately large heads,and are, therefore, ofmuch less valuethan the manufactures produced under the superintendenceof Melchior.Great secrecy was observed in the composition of the
paste, the clay being brought from Limoges . This wasalso the case with regard to the painting, so that the
150 HISTORY OF PORCELAIN . [CHAR VI I I .
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 little
gilded wheel the second, a red wheel and the third, ablue 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 reference chiefly to the fineness of the clay .
The letter M . is engraved at the bottom of the greaterand best portion of Melchior’s productions .
Notwithstanding the original manufactory has longceased to exist
,a Mr. Dahl
,who has lately established one
in the vicinity,has affixed the Hochst mark to his fabric ,
with the addition Of a D .
KELTERSBACH.
The manufactory of Keltersbach in Hesse Darmstadt,not far from Ho’chst
,on the opposite bank of the Main
,
was established by a Saxon named Busch, during the SevenYears’ War. I t went on well for a time
, but passing intothe hands of the Court
,was injured by a frequent change
of directors,and at last subsided into a mere Fayence
manufactory .
CHAR VI I l .] FURSTENBURG. 15 1
F URSTENBURG (BRUNSWICK) .
The discovery of the art of producing porcelain whichhad been made at Meissen
,and carried from thence to
Vienna and Ho’chst,caused at this period a general sen
sation in Germany . Charles,Duke of Brunswick, felt
extremely anxious to possess an establishment of this kindin his own States, and succeeded in engaging one of the
Ho’chst workmen, Bengraf, to come over to superintend theerection 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 departure for Brunswi ck
,to communicate the knowledge
which he alone possessed, to Gelz . His repeated refusalscaused him to be placed under strict arrest
,and to be
kept without food till he should give up the secret whichhaving at length done
,he was released, and having arrived
at Furstenburg, established in 1 750 the porcelain manufactory known by that name. It was scarcely organisedwhen Bengraf died, and had it not been for Baron VonLang, it must have been given up , but he having someknowledge of chemistry, undertook the direction of the
works with success .
A colour grinder, named Von Metul,escaped from
F iirstenburg with two workmen, and attempted to establish a manufactory at Neuhaus, near Paderborn, but theywere discovered and brought back . Subsequently
, a
flower- painter,Zieseler, escaped to HOxter, a considerable
town not far from F iirstenburg, belonging to the Prince
152 HISTORY OF PORCELAIN . [cnnn VI I I .
Abbot of Corvei, and began to manufacture porcelain, butdid not succeed. Shortly afterwards
,a certain Paul
Becker, who had been travelling on Speculation with hissecret through France, Netherlands, and Holland, came toHoxter, and produced some good porcelain . This, how
ever, was no sooner known, than the Duke of Brunswickoffered him a pension, on condition of his giving up porcelain making, and retiring for the rest of his days intoBrunswick . He accepted the offer and the manufactoryat Ho'xter
,after it had produced one baking
,came to
nothing .
The ware made at Furstenburg is very similar to thatof Dresden
,though not equal in the quality of its material,
nor in the beauty of its painting. F i’
l rstenburg has, how
ever, produced fine vases,groups, and busts .
This manufactory, which has been carried on from itscommencement as a government concern, does not exceedat present 5000 l. 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 .
FRANKENT HAL (PALAT INATE ,NOW BAVARIA) .
The porcelain manufactured in th e Palatinate originatedwith Ringler
,who
,when he found that his papers had been
copied, and his secret made known, quitted Ho’chst in dis
gust,and went to Frankenthal, a town between Worms
and Spire,where he offered h is services to a merchant
named Haniing, who possessed a good pottery, which, in
154 HISTORY OF PORCELAIN . [CHAR VI I I .
workmen, also, were accustomed to place their own initialsunder the mark .
Haniing likewise established porcelain manufactories inhis native town of Strasbourg, and also at Hagenau (Dept.
of the Lower Rhine) , but from the arbitrary restrictionsthen imposed in favour of the Parisian fabrics, and the warswhich devastated that country, they were abandoned.
It was, also, through Haniing and his sons that hardporcelain was made at Sevres (see Chap . X . )
NYMPHENBURG (BAVARIA) .
The Bavarian porcelain manufactory dates its originfrom 1 74 7, when, under the orders of theElector Maximilian Joseph, Count Hainshausen established a manufactoryat Neudech on the Au, where experiments were made toproduce porcelain by a potter named Niedermeyer
, and a
burner called Lippich . CountHainshausen sent for Ringler,
who,in 1 75 6 , organised the establishment
,and
,during
the few years he remained there, it was successfullycarried on.
In 1 758, the manufactory was transferred to the
palace of Nymphenburg, a few miles from Munich, whereit was continued and supported by Maximilian’
s successor,
Charles Theodore, the Elector Palatine, wh o, in 1 7 77,
succeeded to the Electorate of Bavaria . Reisbach,how
ever,who visited it in 1 780 , states, There is a china
manufactory here, but it seems fallen to decay . Theyapplied themselves to manufacture porcelain, which couldonly be managed by artificial means, of which the most
CHAP . Vl l l .] BADEN . 155
honourable was a small lottery at the same time the
country is in unspeakable want ofmany necessaries .”
On the death of Charles Theodore in 1 799 , the Palatinemanufactory at Frankenthal was discontinued, and part of
the workmen who had been employed there were transferred to Nymphenburg, which is still in activity as a
royal manufacture,and well supported.
T he colours and gilding of this porcelain are excellent.
The landscapes, painted by Heintzmann, and the figurescopied from the best pictures in the gallery at Munich byAdler, are very superior to any other of the paintings ofthis manufacture .
The marks of this manufacture are two, the one a Shield
(fusilly) the arms of Bavaria ; the other, two trianglesinterlaced, an ancient mystic device used especially bythe Free Masons, the triangles being surrounded bynumerals.*
A manufactory has been lately established by Schwerdtner, at Ratisbon.
BADEN .
A porcelain manufactory,undertaken by the widow
Sperl, at Baden, in 1 753 , under the patronage of the
reigning Margrave, was carried on with considerable suc
cess by the aid of workmen from HOchst, until the year1 778. But having become the property of a man of the
name of Pfalzer, who was in debt, it was obliged to besold, when a tanner of the name of Meyer bought it, andat a later period got permission to make an inn of the
See Marks,
” Appendix .
156 HISTORY OF PORCELAIN . [CHAR VI I I .
building, and as such it exists at present under the nameof the Grun Winckel .”
Th e Baden porcelain partakes of the general characterof that made in the Palatinate .
A mark representing the blade of an axe is supposed tobe the mark aflixed to this porcelain .
Howitt,in h is Rural and Domestic Life in Germany
,
gives us the following smgular picture of an Old feudalmansion, still existing, fitted up a century and a half agoThe old Palace of La Favorite, about Six miles fromBaden Baden, was built by the famous Sybilla, wife of th e
Margrave of Baden,the friend of Prince Eugene, and his
fellow champion against the Turks . It is more like an old
house in a romance,than one in real life
,and its present
desertion, and some traces of decay, give it a more livelytouch of interest. The furniture comprises splendid piecesof 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 ofthe 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 fil ll of schranks or cupboards,filled with old glass and china . Here, too, you have a
curious old ch ina )L dinner service many of the dishes
with the covers being in the form,and painted exactly to
Dutch tiles , not porcelain.
N ot porcelain, but delft, of which, indeed, the greater part of what is here calledChina really consists ; a common error, which persons not cognisant of the distinctionbetween these substances are apt to make in their descriptions .
158 HISTORY OF PORCELAIN . [CHAR VI I I .
the name ofLudwigsburg (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 1 818 to the letters W . R., also under the same .
BERLI N .
The earliest attempt at a porcelain manufactory inBerlin was made in 1 75 1 , by a merchant of the name of
William Gaspar Wegeley, who had Obtained the secretfrom some of the Hochst workmen, who were in possessionof copies of Ringler’s papers . The manufactory does notappear to have remunerated its first projector, as he
entirely abandoned it. He was succeeded,in 1 76 1 , by
John Ernest Gottskowski, celebrated as a banker duringthe Seven Years’ War
,who brought it to greater per
fection and the war having much depressed the Meissenmanufactory, 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 clayto Berlin
,and also caused a portion of the collection to be
transferred thither ; and commanded thatmany of the bestmodellers and painters of Meissen * Should be removed to
Among these were Meyer,Klipsel , those ofmodern war , allow Of transport
and BOhme . Wraxall thus writes on this ing the male and female manufacturersforcible removal of the Saxon artists of a conquered state into th e dominions
There are acts imputable to F rederick 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 S axony, famous for th e
BERLIN .159CHAP . V l l l .]
Berlin for the formation of a Royal Manufactory in that
city, and employed the most skilful chemists in th e com
position of the paste. At the close of thewar, thismonarchpurchased the then existing establishment at Berlin, en
larged it, and supported it so well, that seven hundred menwere constantly employed there. The Seven Years’War had
So much injured the manufactory at Meissen, that the productions of Berlin came very soon into repute. The
manufacture yielded the King crowns annually,besides the magnificent presents which he occasionallymade
,and the large quantity reserved for the use of the
C ourt and the h ousehold .
The Berlin manufacture stands second only to Dresdenin point of form and painting .
The mark affixed during the time that the fabric was inthe hands of Wegeley and Gottskowski was a W. , two
Strokes of the letter Shorter than the others, and resemblingthe mark of Meissen at that period, but notwithstandingmeant to be a W .
When the manufactory became a royal establishment,the marks adopted were, on painted and gilded porcelain, asceptre 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
admired under th e name of Dresdenchina . All the best artists were forciblysent to Berlin, and there compelled tocontinue their labours for the benefit ofa sovereign the inveterate enemy of theircountry. They and their descendants ,or their scholars, wh o are still here, have
become the involuntary denizens of an
other soil, th e subjects of F rederick H .
”
—Memoirs of the Cour t of B erlin, 1777
79, vol . i ., p . 212.
Our readers will also recollect MissEdgeworth
’
s tale of “ The PrussianVase .
”
HISTORY OF PORCELAIN . [CHAR V l l l .
on the white porcelain the mark, in blue, is a sceptre and
the letters K P M (Ko’niglich Porzellan
Another royal manufactory, two miles from Berlin,was
founded in 1 790 , of which the mark up to 1 83 0 was an
eagle, burnt in colour in the bottom, and since that period,impressed in white.
Berlin is now celebrated for the manufacture of lithophanes, or transparent pictures, ln white porcelain ; and at
Charlottenburg is made the argillaceous porcelain called bythe French Porcelail l e de Santé,
”or Hygiocérameq
L
CAS SEL (HES SE CAS SEL) .
Though a porcelain manufactory is stated to have beenestablished at Cassel by one of Ringler’s workmen about
no record of its existence has been found in thepublic 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 neighbouringmanufactories 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 quantityof porcelain .
About the period of the Seven Years’War, when the
His present Maj esty takes greatinterest in this royal establishment,which is admirably conducted . Underh is superintendence
,the celebrated
highly finished paintings were executed,which , however, brought blindness uponmany of the best artists M . F rick isthe present Director .
1‘ See Glossary, “ L ithophane,
Hygiocérame .
I Krunig’
s Cyclopedia, article, Por
zellan.
”
F ulda, the residence and burialplace of th e English Winifred , or S t.
Boniface, th e Apostle of the'
Germans,
was not raised to the rank of an episcopalcity until 1752, but had been previouslygoverned by its own Prince Abbots
162 HISTORY OF PORCELAIN . [CHAR VI I I .
establishment. The expenses,which were great, were
defrayed from the episcopal funds . The fuel Used was veryexpensive, being composed
“
solely of the best beech-wood,the cutting of which greatly injured the forests . N otwith
standing these drawbacks, the undertaking would haveanswered very well
,
”
had nOt every one of the churchdignitaries 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 everthinking 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 th e utensils were sold by auction, and a
Short time ago th e building itself, being in a ruinous state,was pulled down .
Two marks were affixed to this porcelain, VizFF .
,signifying F iirstlich Fuldaish (belonging to the
Prince of Fulda) , often surmounted by a prince’s crownand a cross
,the arms of Fulda .
T HURINGIA.
It is a very remarkable fact that the porcelain manufactures of Thuringia *
appear to have originated in thiscountry, and not to have been
,like all the others above
mentioned, introduced from Meissen, Vienna, or HOchst.
The ancient kingdom of Thuringia S chwarzburg,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 nameLandgraviate, which comprised part of is still preserved in the Th iiringerwald,themodern divisions of Prussian Saxony
, which extends over 3400 English miles .
CHAP. VI I I .] THURINGIAN MAN UFACTORIES . 163
It was at Rudolstadt, near Jena, that first arose the greatbranch
,from which emanated all the porcelain manufac
tories of Thuringia . In 1 75 8 an old woman brought somesand 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 tolay before the Prince of Schwarzburg the most satisfactoryproofs, and he o btained permission to establish a manufac
tory at Sitzerode, which so far succeeded that it employedfour workmen. It was then transferred to Volkst'
adt, and
afterwards farmed by a merchant named Nonne, fromErfurt, who enlarged and improved the works, which, in1 795 , 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 themaccording to the date of their foundation .
Wallendorf, in Saxe Coburg, which was established byGreiner and Haman in 1 762 , was early celebrated for itsfine products . It furnishes especially Turkish ware
, thatis
,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 directionof Gotthelf Greiner . The Duke Anthony Ulrich made a
grant to the manufactory, and promised that governmentshould give him the necessary supply of wood but
Greiner’s commissions for porcelain were so numerous.M 2
164 HISTORY OF PORCELAIN . [CHAR VI I I .
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 . Greinerdied in 1 79 7, and left the works to his five sons, by whomthey were carried on. The manufactory at Rudolstadtstill exists, but makes only common blue and white ware ;and the Limbach and Veilsdorf establishments are chieflyconfined to the manufacture of pipe-bowls, in which theyexcel.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 byHenneberg, by whose name the fabric is known . The bestcollection of this porcelain is at Teiffurt, a hunting- seatof the Duke of Saxe Weimar. Establishments also existedat Anspach (Briichberg) , at Ilmenau, at Breitenbach, andGera . The ware of the latter is white, prettily paintedwith blue or red flowers . We glve all the marks of thesemanufactories which are accurately known .
Marts
GREINER ’
S,3 manufactories
RUD OL S TAD T
VEI L SD ORFL IMBACHGOTHAGOTHAGOTHAAN SPACH
ILMENAU ,BREI TENBACH, and LIMBACH
GERA
a clover leaf.
Italian R.
a line in blue.
a cross with four dots .
Roman R.
G or Gotha in 1802 .
no mark in 1845 .
letter A.
double L .
letter ( i .
166 HISTORY OF PORCELAIN . [CHAP . VI I I .
The mark is the doubled- crossed Russian E. , with a
stroke through it.
An establishmentwas also formed at Twer, near Moscow,
by Garnier, in 1 756 .
HOLLAND .
During the Seven Years’ War,in which the Dutch
availed themselves of their position as neutrals to carryon a profitable commerce between the belligerent Powers
,
porcelain manufactories were established in consequenceof the ruined state of those in Germany.
A Count von Grosfield formed one on the Amstel, nearAmsterdam, having brought over workmen from Saxony,and succeeded in making a porcelain celebrated for itsfineness and beauty. But after the cessation of hostilities,the revival of the German manufactures , and the greatercheapness 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 establishmentwas sold by public auction at the close of the last centuryand 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 1 778,
a porcelain manufactory on the Canal, which was afterwards transferred to the Nieuwe Mol
” street. The
quality was excellent. The political events of the periodfrom 1 785 to 1 793 brought to a stand- still this branch of
industry, which also laboured under the disadvantage of
being restricted to home consumption, the importation
CHAP . vm . ) COPENHAGEN . 167
into other states , which had their own manufactories, beingprohibited. This ware, as well as that of the Amstel, has th egeneral characteristics of the German porcelain the clayis fine
,and the paintings, particularly that of the Hague
manufactory, are generally well- executed .
The mark of the Hague porcelain is a stork standingupon one leg,
— Blue .
The letters MCL are supposed to refer to the Site of the
manufactory .
At Arnheim on the Rhine, the ancient residence of the
Dukes of Guelderland, an establishment also existed inthe last century, but it shared the same fate as the
preceding.
DENMARK (COPENHAGEN) .
The porcelain manufactory at Copenhagen was com
menced in the year 1 772 by an apothecary of the nameofMil ller the capital was created by Shares but in 1 775 ,
the parties interested, finding it did not answer, applied forassistance to the government, which thereupon took it intotheir own hands
,paying the Shareholders at par. It has
since been continued on as a government establishment, buthas never paid its expenses ; the annual deficit
,in some
years, amounting to from to rix dollars
(4s . 6d. each) . At present, however, the annual loss doesnot exceed 6000 rix dollars .
It is supposed that Von Lang, who least known that he entered the Danishwas employed in the F iirstenburg 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. I t is at ( See F iirstenburg) .
168 HISTORY OF PORCELAIN . [CHAR VI I I .
Muller, who carried on the works until 1802 , made
figures, but this branch of the business ceased in 180 7,
and few ornamental articles were producedfie Latterly
however, the copying of Thorwaldsen’s works in biscuit,
has given a great stimulus to the establishment the valueof the articles sold having increased from a few hundreddollars to four thousand annually.
Some curious specimens of Copenhagen china were soldat Marlborough House— black jugs
,with a large gilt Latin
cross embossed upon the side of each . They had beenpresented to the Queen Dowager during her stay at Malta .
The mark is three parallel wavy lines, signifying the
Sound, and the Great and Little Belts .
SWITZERLAND .
The origin of the manufactory at Zurich is ascribed toone of Ringler’s workmen, who came to that town fromHochst, but at what period is not exactly known . It was
carried on by Spengler and Hearacher, from 1 763 to 1 76 8 .
The fabric has the general character of German porcelain .
The mark is the letter Z.
it In one of Lord Nelson’
s letters toLady Hamilton
,dated April 14, 1801, off
Copenhagen,h e writes I was in
hopes that I should have got off some
Copenhagen China, to have sent you byCaptain Bligh
,wh o was one of my
seconds on th e 2nd . He is a steadyseaman
, and a good and brave man. I f
h e calls, I hope you will admit h im. I
have half promised him that pleasure ,and if h e can get hold of th e China, h e
is to take charge of it.
And again, on the 15th of the same
month,
“ I can get nothing here worth youracceptance, but as I know you have a
valuable collection of china,I send you
some of the Copenhagen manufacture ;it will bring to your recollection thathere your attached friend Nelson foughtand conquered .
”- P ettigrew
’s Memoirs
of L ord N elson, vol . ii., pp . 31 and 33.
CHAPTER IX
PORCELAIN .—(NATURALLY SOFT PASTE . )
C HEL SEA. Account of Manufactory by Listen—Patronised by William Duke of Cumberland.
—Rise , Progress, and F inal Abandonment.— Experiments of D r. Johnson.
Beauty ofWare .—F orms.
—C laret C olour.—Marks. —C ollections.— S trawberry Hill .
BOW. Early Establishment and Abandonment— Marks. DERBY . Established fromChelsea. Progress, and Present S tate . Ware . Marks. SALOP IAN . Mark .
WORCES T ER . Establishment by Dr. Wall . —Beauty of the Elna—Marks. NAN TGARROW, SWAN SEA, BR I S T OL , ROCK IN GHAM, and o thers.
THE term soft paste refers both to the softness of
the paste a s well as to the feeble resistance which it offersto the action of a high temperature, compared with -hardpaste and also to the softness of the glaze, which may bescratched 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 byCooksworthy in 1768, but was soon afterwards abandoned (see Worcester) .
1 71CHAP . Ix . ] ENGLISH PORCELAIN .
of Bow,and at Chelsea . In these, however, nothing but
soft porcelain was made this was a mixture of white clayand fine white sand
,from Alum Bay, in the Isle of Wight,
to which such a proportion of pounded glass was added as,
without causing th e ware to soften, so as to lose its form,
would give it, when exposed to a full red heat, a semitransparency, 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 natural ly soft paste ” productions while the ware of Sevres, Chantilly, and variousothers in France, that of Capo di Monte (Naples)and El buen Retiro (Madrid) , consist of the latterdescription .
{
The paste of the Sevres porcelain was in 1 769 changedfrom soft to hard . Other manufactories made both softand hard paste ; but these and some other incidentalanomalies are not of sufficient importance to render itnecessary to depart from the primary distinction laid downin this treatise between hard and soft paste.
Aikin on Pottery,Lond . 1832.
Bone is a very important ingredientin English porcelain
,and enters largely
into its composition. The phosphoricacid of this ingredient diffuses itself ata high temperature through all th e
materials, and unites them in a translucidenamel, which is less apt to sink and
lose its form than porcelain of hardpaste . It may, consequently, be baked
in larger kilns, and with less loss and
risk to the manufacturer .— Technology,
by Ronalds, Lond .,1848. The bones
are chiefly brought from Ireland and
from America, and are principally thoseof bullocks, the bones of pigs and horsesbeing rej ected as giving a colour to th epaste. Mr . Spode, in 1800
, first introduced, or rather brought to perfection,the mixing of bones into the paste.
172 HISTORY OF PORCELAIN . [CHAR 1X .
CHELSEA.
Of the origin of the porcelain manufactory at Chelsea ,
there does not exist any authentic record, though someinformation as to its early date has been incidentallygleaned. Dr. Martin Lister
,an English physician and
eminent naturalist, who travelled in France in 1 695 ,
remarks,*in his account of the “ Potterie Of St. Clou,
”
that the gomroon ware, at that time made in England,+
was very inferior in quality to the porcelain of St. Cloud .
He further observes that our men (meaning the workmenemployed) were better masters of the art of painting thanthe 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 existedat Chelsea, previously to 1698, the date of
‘
Lister’
s account,a manufactory of porcelain (little better at first thanopaque 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 be supposed that the general introduction of
Oriental porcelain into England, which had taken place so
far back as 163 1 , would have led to the establishment of
manufactories in imitation ofthat ware. Indeed, the earlyspecimens were painted closely to resemble the Chinese
Journey to Paris in the Y ear 1698. By Dr .Martin Lister . London, 1699, 8vo .
F rom this expression it would appear that th e term Gomroon ware includedthe English imitations, as well as the genuine porcelain of China brought from the
Persian Gulf (see p .
174 HISTORY OF PORCELAIN . [on i n IX .
encouragement to the Chelsea establishment then existing.
He caused models, workmen, and even materials, to beprocured from Brunswick and Saxony, with which Stateshe was intimately allied
,and thereby infusing a fresh
spirit into the manufactory, he enabled it to produce
articles for the use of the court and the nobility, whichrivalled in excellence and splendour those of the moreesteemed fabrics of Dresden and Sevres . The Duke of
Cumberland also took theChelsea manufactory under hisspecial protection, and allowed an annual sum for its
support. Sir Robert Faulkner likewise interested himselfgreatly in its success . It is related that during the period ofits great excellence, Viz .
,from 1 750 to 1 765 , while under
the direction of M . Spremont, a foreigner, the china wasin such repute, as to be sold by auction, and as a set was
purchased as soon as baked, dealers were surrounding thedoors for that purpose.
” if Horace Walpole, in a letter toSir 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 cost1200l. and Watkins
,in his “ Life of Queen Charlotte
,
”
tells us, “ That there are several rooms in BuckinghamPalace 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 neversaw any Dresden near so fine . Her majesty made a
if S tephensiana,” Monthly Magazine .
cum in ] STATEMENT OF M . GROSLEY . 1 75
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
realised a large fortune, and the want of skill and
enterprise in his successor, together with the prejudiceagainst the employment of foreign workmen
,caused
the manufacture to decline,and
,in a few years, to be
abandoned.
‘Monsieur Grosley, in his account of London , to whichhe paid a visit in 1 765 , states, under the head of Earthenware
,that “
the manufactures of this sort lately set on
foot in the neighbourhood of London, have not been ableto stand their ground . That at Chelsea, the most important of all
,was just fallen as I arrived at that capital .
A nobleman belonging to the Court of France undertookavoyage to England in order to impart to that nation theknowledge he had acquired in this branch by repeatedexperiments . I do not know whether the English thoughtproper to make use of it. I have been informed that thecounty of Cornwall supplied them with the sort of earthfit 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 secretaries of state themselves hadno plate.
Jr
Previously to the dissolution of the establishment, theproprietors presented a memorial respecting it to the
Life of Queen Charlotte, VOl . i . p. 45.
Mons. Grosley’
s Tour to London, translated by Thos . Nugent. Lond .,1772,
vol . ii ., p . 76 .
176 HISTORY or PORCELAIN . [CHAR IX .
government, requesting protection and assistance,*in which
they stated that, “ The manufacture in England has beencarried 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 bethe best made in Europe. It is now daily improving, andalready employs at least one hundred hands of which isa nursery of thirty lads, taken from the parishes and
charity schools, and bred to designing and painting, artsvery much wanted here, and which are of the greatest usein our Silk and painted linen manufactures .This appeal, however, was disregarded . It is supposed
that the Government were not able to resist the jealousyand hostility Shown towards it by the
”
English manufacturers
,whose remonstrances were backed by powerfil l
interests,and who thus succeeded in putting an end to
this splendid manufactory, wh ich was, consequently, brokenup, 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. Severalof the large old houses were used as show- rooms . The
whole of the premises are now pulled down, and new houseserected on the site
”
)L
The celebrated Dr . Johnson figures in a new characterin 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
F aulkner’
s History of Chelsea . Ibid .
178 HISTORY OF PORCELAIN . [CHAR 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 degreeafter 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 equalin execution to the Dresden . A deep coating of vitreousglaze is generally Spread over the surface .
The colours are fine and vivid, especially the claretcolour
,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 artistsdesigned birds and insects in great perfection, in the styleof Sevres and Dresden . A great deal of Orientalchina was painted and decorated at Chelsea with greattaste .
N0 marks appear to have been affixed to the earlierspecimens, and even the later ones are often without them.
The earliest mark is a white embossed anchor . Then followed the anchor
,painted either in red or in gold . The
latter is found upon the finest specimens . Three dirtyspots 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 beenmuch esteemed, and still retain their value . At the saleof the effects of her late Majesty, Queen Charlotte, theChelsea porcelain, of which her Majesty had a largecollection, brought very high prices .
CHAP . Ix .] BOW CHINA. 179
The collection at Strawberry Hill contained some beautiful 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 delivered . Another pair, th e ground blue,with
gold figures,” sold for seventeen guineas . A similar pair
,
with groups of flowers upon a gold ground,quite unique
,
”
sold for l l l. 6s .
TheEarl 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 isdispersed over the country, locked up in various chinacupboards 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 appearsto have been abandoned in the early part of the eighteenthcentury
,and was mostly confined to tea and dessert sets .
A bee was embossed or painted either on the handle, orN 2
180 HISTORY OF PORCELAIN . [CHAR IX .
under the Spout, of the cream-jug. The specimen (F ig.
was purchased at Stowe by the late Mr. Bandinel forfive guineas . It is not above four inches high, and is
remarkable as having the bee”above mentioned . From
F ig. 62. Cream Jug. B ow. (Coll. Bandinel . )
its position,the bee is seldom met with in a perfect state,
being very liable to be broken . The author possesses asimilar specimen to the one figured, upon which the beeis uninjured .
‘ Horace Walpole, in h is Strawberry HillCatalogue
, 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 1 763 , aged fifty- two, an emi
182 HISTORY OF PORCELAIN . [CHAR 1X .
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 beenCaughley, near Broseley, not far from the actual worksat Coalport (near Colebrook Dale) , which were founded in1 772 , and were directed by John Turner, who came fromthe manufactory at Worcester
,and to whom is attributed
the Invention (1 780) of printing in blue upon earthenwareand soft porcelain .
WORCESTER .
The establishment of a porcelain manufactory at Wor
cester is attributed by Nash *to the exertions of Dr .
Wall”L a physIClan of that city, who was skilled in che
mistry, and who made assiduous researches, in conjunctionwith some other eminent chemists
, to discover materialsproper for the imitation Of China ware. In 1 75 1 , Dr . Wall
,
with several other individuals, established a manufactory
under the title of the Worcester Porcelain Company iThe idea of printing upon porcelain, in order to avoid
the trouble and difficulty of reproducing the Oriental andother patterns then in vogue
,appears to have originated
with Dr . Wall, who was Skilled in printing. To h im,
History ofWorcestershire,vol . of Doctor in Medicine in 1759 , and
P 124 continued to practise in Worcester
D r . Wall was a native of Powick,
until 1776 .
near Worcester . He was elected F el 3: History and Antiquities ofWorces
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 nowuniversally practised.
* This process was subsequentlyintroduced in the Caughley manufactory by a partner inthe original Worcester manufactory, named Holdship . It
was unknown in France until 1 775 and was first employedin a service ordered, in 1 777, for the Empress of Russia
,
but was little used until 1806 . Amug in the possession of
AlbertWay, Esq ,is decorated with a portrait of Frederick
the Great, in armour, dated 1 75 7 . He is represented pointing towards a trophy, with banners inscribed with the namesof 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 distinctnessand precision . The paste is not very white
,but is of tolerable
transparency and good glaze. Another mug, with Englishportraits
,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 earlierdate
,occur, printed il l a pale, purplish colour. The designs
are sometimes,curious— pastoral subjects, tea—drinkings, or
other scenes of polite life the costumes being those of thereign of George II .
The original Company confined themselves principallyto making blue and white ware in imitation of the blueand white Nankin, and some fine specimens in brightcolours were also copied from the Japan . Subsequently
,
M . Brongniart, however, states that this style of printing was first used in theLiverpoo l works (Traite’
des Arts Ce’
ramiques, tom. p He also says (p. 174)that th e art of printing was practised upon enamelled pottery at Marieberg, il lSweden
,in 1760 .
184: HISTORY OF PORCELAIN . [CHAR 1x .
the Sevres style was followed in imitating the Bleu
de Roi and salmon scale grounds, and the Dresden in thepaintings of birds, insects, and flowers . Many vases and
tea- sets were made after these models, in which the coloursare rich, the forms good, and the paintings accurate
,
though sometimes stiff. The paste, however, is veryinferior 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 Japanhave the Japan marks affixed to favour the deception.
The following extract from a correspondent in the
Annual Register of 1 763 , Shows the estimation in whichthis 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 knownfor their elegance and beauty with these - I may class ourown of Chelsea
,which is scarce inferior to any of the
others but these are calculated rather for ornament thanfor use
,and if they were equally useful with Oriental . china,
they could yet be used by few because they are sold at highprices . We have indeed many other manufactures of poreelain
,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 boilingWater.
”
Cookworthy, in 1 768, 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) .
186 HISTORY OF PORCELAIN . [CHAR Ix .
of the ware has been more justly estimated, and the prices
which are now eagerly given by amateurs and collectorsfor pieces of Nantgarrow porcelain, in particular, are muchgreater than those originally demanded by the makers .*
Porcelain, Lardner’s Cyclopaedia .
We subj oin a letter received by the authorfrom L . D ILLWYN , ESQ .
,on th e subject
of Swansea andNantgarrowPorcelainMY D EAR S IR,
I twas, I believe, about the y ear1750 that earthenware was first madeat Swansea on a small scale, and 1790the manufactory, with th e name of
Cambrian Pottery, was much extendedunder th e management of Mr. GeorgeHaynes
,but it had not attained to half
its present size when I purchased th eestate in 1802. Throughout it has beencarried on in the same way as the
S taffordshire potteries, and it was not
till 1813 that any attempts to makeChina commenced . At this time two
persons, under the assumed names of
Walker and Beely, set up a small kilnat N antgarrow,
and sent a specimen of
beautiful porcelain,having a granulated
fracture much like fine lump sugar, witha claim for Government patronage
,and
through my friend S ir Joseph Banks, asa member of th e Board of Trade
,I was
requested to Visit N antgarrow,and to
report my opinion of its quality . F rom
the great number of broken and imperfect articles which I found
,it was quite
plain that they could not b e producedwith any certainty
,but I was made by
the parties to believe that th e defectsarose entirely from the inconveniencesof their little factory , and was inducedto build a small China work adjoiningthe pottery, that th e granulated bodymight have a fair trial . While engagedin some exper iments for strengtheningthis body
, so that the articles might S helty Ha ll,
retain their shape in th e kilns,and for June 5 , 1849 .
removing their liability to craze and
shiver , I was astonished by receiving a
notice from F light and Barr, of Wor
oester, that the persons who calledthemselves Walker and Beely had clandestinely left their service
,and warning
me not to employ them. F light and
Barr,in the most gentlemanlike way, at
th e same time convinced me that thisgranulated body could never be madeof any use
,and as it was not worth
their while to prosecute them, th e run
aways went back for a few months toNantgarrow, and I do not know whatafterwards became of them. Beely,
under the name of Billingsly, though he
had another a lias, was well known in all
th e British China manufactories to bea first-rate modeller of flowers, and
Walker,whose other name I forget
,had
married h is daughter, and was employedwith h is father-ln-law ill F light and
Barr’
s mixing room.
Except for a few trials,in which the
transparency was injured,I believe that
all th e China with granulated fracturewas marked N antgarrow,
”and that
with a compact fracture was mostlystamped Swansea
,
”or sometimes with
a Trident.
”
With th e aid of some scientific friends,
I made a tolera bly good sound porcelainwith a compact fracture , but in 1817
I removed to Penlivgan, and relinquishedall attention to this th e more troublesome
part of th e pottery concern, which now
belongs to my son, Mr . L . L . Dillwyn.
I remain,my dear S ir,
Y ours very truly,L . W. D I LLWYN .
CHAP . Ix .] MODERN MANUFACTORIES . 187
BRISTOL .
The name of “ Bristol china is given to a white warewhich was formerly not uncommon in the west of England.
The groups of figures resemble the white Dresden, but th ecostumes are, in their fashion, decidedly English . Theyare said to have been made by Cookworthy, in which casethey must be of hard paste, (see page 1 70 and
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 wasactually made ill Bristol * or whether that city was merelythe depOt for its sale. In the latter case
,the manufactory
was probably in Wales .
Besides the above, there have existed and still exist,
many other manufactories of porcelain in various parts ofEngland and Wales, but being ofmodern date, they do notcomewithin the compass ofthis sketch. The principal are atWorcester and Derby, and those in Staffordshire of Messrs .Spode and Copeland, Davenport, Minton, &c . We mustfurther notice the Rockingham works
,near Rotherham
,in
Yorkshire, on the property of the Earl of Fitzwilliam. Of
the produce ofthis establishment,twomagnificent specimens
exist inWentworth House,which are deserving ofmore 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 . [CHAR I x .
common attention,as denoting the degree of advancement
of the art in England . One of these pieces is a Copyin enamel colours, made on a porcelain tablet, from a
painting by Vandyke, the subject, The Earl of Straffordoccupied in dictating his defence to h is Secretary ”
In
regard to expression and colouring, this piece has beenpronounced 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 believedto b e the largest piece of porcelain that has hitherto beenmade in this country . It is a scent jar, forty- four incheshigh
,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 lions’ paws, whence theyentwine round the handles . The cover of the vase is alsodecorated with oak and by a figure of a rhinoceros .The three compartments of the jar are painted in enamelcolours from designs by Stothard, the subjects taken fromCervantes .*
The English soft porcelain is susceptible of receivingthe most brilliant and richest decoration
,as well in
painting and coloured ornaments as in gilding. )L
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
paedia .
” pro tected 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 b e restrained
the ware and copying th e marks of th e from committing similar frauds uponforeign fabrics of Sevres and Dresden. others . See p . 139 .
190 HISTORY or PORCELAIN . [cum x .
manufactory of St . Cloud may be considered as the parentof the porcelain manufactories of France . In 1 73 5 an
unfaithful workman carried the art to Chantilly,and again
,
in 1 740 , the brothers Dubois, transfuges” from Chantilly,sold the secret of its s porcelain manufacture to the infantestablishment at Vincennes .The first recorded notice of the porcelain manufacture
of France is contained in th e published travels of MartinLister, who visited the establishment at St. Cloud in 1698,and whose work we have before quoted . His account isas follows
I saw the potterie of St. Clou,with which I was mar
vellously well pleased, for I confess I could not distinguishbetween the pots made here, and the finest China ware Iever saw . It will, I know, be easily granted me, that thepainting 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 leastbehind theirs, not for whiteness, nor the smoothness of
running without bubbles again, the inward substanceand matter of the pots was to me the very same, as hardand firm as marble, and the self- same grain, on this sidevitrification. Further
,the transparency of the pots the
very same.
I did not expect to have found it in this perfection,but imagined thismight 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 Iaccount part of the felicity of the age, to equal, if notsurpass
,the Chineses in their finest art.
They sold these pots at St. Clou at excessive rates,
can ». 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 chequework. They had sold some furniture of tea-tables at fourhundred livres a set.
There was no moulding or model of China ware whichthey 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, hadbeen practising the secret of his paste for more than twentyfive years, yet it was only within the last three that hehad succeeded in bringing it to perfection. This makesthe discovery of soft porcelain in France to have been in1 695 , consequently at a period fifteen years anterior tothe discovery of hard porcelain by Bottcher .Voltaire observes, in his Siecle de Louis XIV., On a
commencea faire de la porcelaine a St. Cloud,avant qu’
enen fit dans le reste de l’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, andlittle 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 1 718, when Chicoineau was Director ofthe Works . He was succeeded by Trou.+
The manufacture of porcelain occupied much of the
attention of Reaumurgi and he succeeded in producing a
Page 138. S everal specimens are in th e MuséeA blue and white fayence
,similar to C éramique
, one of which bears the datethat of Rouen and Nevers , appears to of 1688. T he porcelain manufactoryhave been made at S t. C loud in th e still existed in 1773 .
seventeenth and eighteenth centuries . I F rom 1727 to 1729.
192 HISTORY OF PORCELAIN . [CHAP . X .
substance known as“ Réaumur’s Porcelain
, a designationwhich it owes to its appearance rather than to its realproperties, 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 althoughhe did not completely succeed, Macquer and others, proceeding upon the indications which he pointed out
, pro
duced, when the requisite materials were discovered, thefine 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 1 740 , the brothers Dubois, who had been carrying onthe manufactory at Chantilly, proposed to the Marquisd
’
Orry, Minister of Finances, to reveal to h im the secret ofthe composition of porcelain paste . The minister, desirousthat France should possess a manufactory that would rivalthat of Saxony, and thereby make herself independent ofa foreign country, received the brothers Dubois, and gavethem a laboratory atVincennes for their experiments . Butthey did not realise the promises they had held out, and
were dismissed, after three years, for bad conduct, after anexpenditure of francs . Gravant, an active and intelligent man, succeeded them, made soft porcelain, and soldthe secret to M . Orry de Fulvy
,brother of theminister, who,
in 1 745 , formed a Company,under the name of Charles
Adamfi‘ for which he obtained exclusive privileges for
Charle s Adam was a celebrated lence of th e modelling of the DresdenF rench sculptor, who had been employed porcelain, he brought back with himby F rederick
,King ofPrussia
,to execute on h is return to Paris specimens of
at Berlin a statue of F ield-Marshal the manufacture which attracted the
Schwerin. Being struck with the excel admiration ofMadame de Pompadour .
194 HISTORY OF PORCELAIN . [CHAP . X .
the Royal Porcelain Manufacture of Sevres,and gave
it every encouragement. It is recorded in her BiographyApres plusieurs tentatives faites en France pour imiter
les porcelaines de Saxe, et suppléer a des mediocres contrefacons de celle de la Chine, elle fut frappée en voyantquelques échantillons 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 otherdescription of porcelain except the pate tendre,
”the
composition of which was very complicated, as well as veryexpensive
,from the frequent accidents arising from the
liability of the soft paste falling in the process of firing.
Besides it differed essentially from the porcelain of Chinaand Japan
,which alone were considered as real porcelain .
Consequently, notwithstanding the brilliant quality of the
pate tendre of Sevres, researches were still made to discover the secret of hard porcelain, which had been madefor 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 1 76 1 ,
to the Sevres Manufactory, who had previously been innegociation with his father, for an annuity of three thousandlivres . 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, hadfounded
,in about 1 750 , a laboratory at Bagnolet, under
the direction of Dr. Cruettard, in order to discover the art
ofmaking hard or Chinese porcelain . Guettard discovered
CHANGE TO HARD PASTE. 195CHAP . x . ]
kaolin near Alencon, with which he made porcelain, butthe kaolin was grey, and very inferior to that used inChina or Saxony. Cuettard published the result of his
researches in a memoir, which he read at the Academy of
Sciences, in November, 1 765 .
Chance led to the discovery, in the same year, of thequarries of St. Yrieix, near Limoges, producing kaolinof 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 towu, a white unctuousearth, which she thought might be used as a substitutefor soap in washing, showed it, with that object, to herhusband, who carried it to a pharmacien at Bordeaux .
This person having probably heard of the researches whichwere making to obtain a porcelain earth, suspecting itsnature, forwarded the Specimen to the chemist Macquer,who recognised it immediately as kaolin . Having determined the abundance of the kaolin of St. Yrieix,
in
1 768, Macquer, after several experiments, established at
Sevres, in 1 769 , the manufacture of hard porcelain”L whichwas soon carried on upon an extensive scale, but the twokinds of porcelain continued to be made until 1804 . Thusdid this accidental discovery lead to a most importantchange in the Keramicmanufacture of Franca i
is indebted for th e means of attainingthe highest rank in the manufacture of
‘ porcelain, was living unknown, and in
misery, in 1825,when she applied to
The quarries of S t. Y rieix produce ,not only the kaolin itself, but it is alsoaccompanied by the pure white felspar(Petunse) so indispensable in the manufacture of porcelain.
In the Musée Céramique there isa small figure of Bacchus,made with thefirst specimen ofLimoges kaolin broughtby Darnet.1 Madame Darnet, to whom France
M. Brongniart for the means of return
ing on foot to St. Y rieix . Louis XVI I I .,
immediately on being acquainted withher situation, granted her a pension fromthe c ivil list.
l 96 HISTORY OF PORCELAIN . [CHAR x .
Before this, the porcelain was remarkable for its creamyand pearly softness of colour, the beauty of i ts 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 lessabsorbent material ; and very indifferent specimens wereproduced .
The direction of the manufactory passed, on the deathof M . Boileau, successively in the hands of Parent and
Regnier. The latter was deprived of h is appointment, andimprisoned in 1 793 .
Sevres manufactory, a royal establishment, which had, byits immunities and privileges, excited the hatred of privatemanufactories, and which made only objects of luxury
,
should, at a time when simplicity was in repute, not onlyhave escaped being sold or suppressed, but, on the con
trary,should have received the support of the revolutionary
It is a singular circumstance, that the
Government. It was managed by three Commissionersuntil 180 0 , when the First Consul appointed the lateM . Brongniart sole Director. At his death, in 1847,
AlexandreBrongniart,who for nearlyfifty years was director of th e manufac
tory of Sevres, was at the same time one
of th emost eminent ofmodern geologists .
I t is to h im and to his friend Cuvier thatwe are indebted for th e first insight intoth e more recent formations of our globe,and from their united labours has re
sulted the modern science of Palaeon
tology, or th e history of organic bodiesburied in th e depths of the earth. M .
Brongniart wrote, in conjunction withCuvier
,the celebrated essay on the geo
logy of th e environs of Paris, th e textbook of tertiary geology. He was alsoth e author of several works on mine
ralogy, the Traité des Artes Oerae
miques,”&c. His early study of chemistry
well fitted h im for the post of Director ofthe manufactory at Sevres
,which owes
to h is talents and exertions much of itsmodern celebrity. He was the originatorof the Musée Céramique, a zealous and
kind encourager of artists, and it was byh is patronage that the talents ofMadameJaquotot, Philippine , Constans
, and
other celebrated artists of Sevres, weredeveloped. M . Brongniart was the son
of th e distinguished architect of thatname
,who built the Bourse at Paris,
and father to the present professor of
botany.
198 HISTORY OF PORCELAIN . [CHAR x .
time of the transfer of the establishment to Sevres . Theseflowers were the work of women, and so highly were theyesteemed, that two bouquets which were mounted in 1 748for the King and the Dauphine cost the enormous sum of
livres each.
By an arret issued in 1 76 6 , and renewed in 1 784, all
manufactories, excepting the Royal Sevres, were prohibitedfrom using gold in the decoration of their porcelain . Thisexclusive 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 isnot to be seen, in the large pieces at least, the classicaland elegant designs of the Dresden, but on the contrary,forms stiff and inelegant. (F ig. A visit to the collec
tion at Sevres will convince every one that the antiquemodels have rarely been studied for imitation.
* Hereexamples of all the several forms produced from the firstcommencement of the manufacture are ranged in regularseries, each with their respective date and it is said tohave been the pride of the Royale Fabrique never to con
fuse the stately succession by a repetition of the sameshapes in any subsequent yearqL
Drawings of these forms, with the
periods of their adoption, taken from the
Archives of th e Royal Manufacture,
would b e not only extremely interesting,but would afford a simple test as to the
frauds practised with regard to this description of porcelain : for it would bealmost impossible to combine withaccuracy on a spurious piece th e preciseform, with the date and artist employedin its decoration. As the form decides thedate of its manufacture
,any discrepancy
between it and th e two last particulars
would at once betray the piece not to begenuine.
Louis XVI .,in 1785, obtained from
M . Denou a r ich and interesting colleetion of Greek vases, to serve as modelsof pure and simple forms, and thuschange the bad contours given to the
porcelain in th e preceding reign, whichwas then considered
'
to b e in bad taste.
The elegant style common to all otherF rench productions in the time of
Louis X IV., certainly did not extend tothe porcelain.
can . x . ] FORMS OF THE SEVRES PORCELAIN . 199
Little regularity appears to have existed in affixingtheir marks . Sometimes one piece only in a set was
F ig. 63. Vase. Sevres. S tiff style. (Coll.D resden.)
marked, the others having no mark at all . Most frequentlythe double L . only is found without the letters denotingthe 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 imperfectionexisted in the piece, which was for that reason not allowedto bear the royal cypher. The fact that the mark wasalways aflixed before the glazing, at a very early period of
the process, is much against this hypothesis .On the porcelain made at St. Cloud, from 1 740 to 1 753 ,
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 1 702 , is a sun.
200 HISTORY OF PORCELAIN . [CHAR x .
AtVincennes, in 1 753 , was introduced the royal cypher,which was stiff and formal, until 1 760 , when a more flowingstyle in the form of the L . was adopted.
A letter inside the cypher denotes the year of the
manufacture . A monogram under the cypher designatesthe artist or decorator employed upon the piece.
The crown, or fleur- de- lis, was especially used to denotethat the piece was painted for royal use. The finestspecimens of royal porcelain are those produced from1 760 to 1 769 , and these are marked with the peculiarcrown of Louis XIV.
Revolutionary France, in 1 793 , abolished all the insigniaof royalty wherever placed, and substituted for the cypherthe letters R . F . (Republique Francaise) , or Sevres withthe date.
Napoleon,during the Empire, affixed his imperial mark,
the eagle .
Louis XVIII ., at the Restoration, replaced the royalcypher
,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 themost 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 beenmade onlyfrom 1 740 to 1 769 . A great quantity of common warewas 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 theRoyal Manufactory of Sevres,were put up to auction
,and
9“ F or other marks of this period, see Marks and Monograms .
202 HISTORY OF PORCELAIN. [CHAR x .
A dej euner service, with portraits of Louis XIV. and
the principal ladies of his court, having been offered toLouis XVIII .
,in 181 6 , as having belonged to his grand
father, Louis XV . ,was sent to Sevres to ascertain its
authenticity. The irregularity of the marks, added to theanomaly in the forms, particularly that of the plateau,
which was of a form that was not invented until 1 788,furnished easy proof of the fraud . It being of no furtherinterest to the king, it was placed in the Museum at Sevresas a specimen of fraudulent imitation . In some pieces, themarks of a second firing may be detected, in consequenceof the unskilful way in which the work has been done.
Amidst the destruction and havoc made in the royalpalaces 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 transportedto foreign countries . Mr. Beckford possessed, at Fonthill,one Splendid vase, which was rescued from t he pillage at
Versailles,its companion being lost.
We learn, from his biographer, that the celebratedBeau Brummell was a virtuoso in Sevres china. CaptainJesse states
,
916that to meet the demands made upon him
(Brummell) , he had a sale of h is 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, wentover to Calais solely for the purpose of making this purchase . Mr. Crockford described this china as the finestand purest ever imported into England .
’
George theFourth gave two hundred guineas for one tea- set, and a
Life of Geo . Brummell,by Captain Jesse . Vol . p . 22 .
CHAR x . ] COLLECTIONS . 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- serviceof “
white quilted china of St. Cloud and the collection atStrawberry 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 HerRoyal Highness the Duchess ofGloucester,which is very richin the finest colours of Sevres porcelain that of the EarlLonsdale, who possesses a dinner—service of turquoise whichwas either made by order of the Empress Elizabeth 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 belongedformerly to Mr. Auriol . Mr. Bernal possesses a splendid setof Bleu deRoi vases . Mr. Charles Mills has lately procureda matchless set of the same colour
,as well as a set of Rose
Dubarry from the collection of the late Princess Sophiathe latter vases are unrivalled in beauty of form (not usualwith Sevres porcelain,) as well as in delicacy of colour.Capt. Ricketts possesses some cups, on which are paintedthe most highly finished miniatures . Numerous otheramateurs of this most exquisite porcelain might be mentioned, were their collections more generally accessible, andthe specimens they contain made known to those who wishto describe them.
The very choice collection of Sevres porcelain at Stowe
See coloured Plates .
204 HISTORY OF PORCELAIN . [cam x .
sold at high prices . A small coffee cup, which weighedscarcely three ounces
,realised 46 guineas ; and another,
similar, but somewhat inferior, sold for 3 5 guineas . A
chocolate cup and saucer,Bleu de Roi
,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 formost 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 3 51. and another, somewhat inferior, for2 1 guineas . A salver, mounted in a table with ormoluornaments, sold for 81 guineas the companion piecefor 1002.
CHANT ILLY (DEPT . OI SE) .
This manufactory owed its origin to Siroux, a transfuge ” from S t. Cloud, in 1 73 5 . It was carried on bythe Brothers Dubois, who left it in 1 740 , in order tomake experiments at Vincennes, where they were dis
missed for bad conduct. The Prince of Condé especiallyfavoured this establishment by his patronage.
Horace Walpole, i n his Catalogue, mentions blue and
white coffee cups and saucers of Chantilly, most probablyimitations of Nankin China .
The mark is a hunting horn.
MENECY .—VILLEROY (DEPT . SEINE-ET -OI SE) .
This manufactory was founded in 1 735 , under the
auspices of the Due de Villeroy,by Francois Barbin, who
206 HISTORY OF PORCELAIN . [CHAR x .
BOURG LA REINE (PARI S ) .
Soft porcelain Jacques Julien, the manufacturer, in1 773 . The mark is BR .
LILLE (DEPT . NORD ) .
A manufactory of soft paste is stated to have beenestablished here in 1 708, when the Dutch were mastersof 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 1 785 - 86 ,
which interested M . de Calonne, to employ Coal instead of
wood in the manufacture of hard porcelain . A tableservice was made for the Dauphin, under whose patronagethe manufactory was placed . On the whole, the experi
ments may be considered to have been successful, althoughthe paste was often yellow,
and spotted with the fine
ashes of the coal which penetrated the seggars . There isa saucer of this manufacture in the Musée Céramlque,inscribed Fait a Lille, en Flandres , cuit au charbon de
terre,
ARRAS (DEPT . PAS DE CALAIS) .
A manufactory of soft porcelain was established at
Arras,about 1782 , by the Desmoiselles Deleneur, under
Coal is now chiefly used atMeissen,
is used at Sevres in other manufacand 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 . ] HARD PORCELAIN . 207
the patronage of M . de Calonne, who was at that time
Intendant of Flanders and Artois, the government beingdesirous of raising a rival fabric to that of Tournay, whichsupplied a great part of France, but the manufacture at
Arras lasted only four or five years . The mark is A. R .
T OURNAY .
A manufactory of soft porcelain was established at
Tournay in 1 750 , conducted by Petrinck. It employedSixty workmen in 1 752 , and two hundred and forty in1 762 . The mark is two swords crossed, with four smallcrosses in the angles . When Tournay was separated fromFrance in 1 815 , a manufactory on the same principleswas established at St. Amand- les- eaux,
near Valenciennes .These fabrics
,together with that of Arras, are classed
by M . Brongniart under the denomination of “
p a‘
te tendre
artz’
ficielle commune, in contradistinction to the finerwares . The porcelain is very strong, of a yellowish white,and almost opaque.
We subjoin the principal manufactories of hard porcelain in France, which completes our notice of Frenchporcelain .
PARI S (FAUBOURG S T . LAZARE) .
Hard porcelain Hanung the manufacturer in 1 773 .
The mark is the letter H .
208 HISTORY OF PORCELAIN . [CHAR x .
PARI S (FAUBOURG S T . ANTOINE) .
Hard porcelain Morelle,manufacturer in 1 773 . The
mark is M A PHard porcelain Souroux, manufacturer in 1 773 . The
mark is S .
PARI S (GROS— CAILLOU) .
Hard porcelain Advenir-Lamarre,manufacturer, 1 7731.
The mark,his initials in Italian letters .
PARI S (RU E THIROUX) .
Hard ' porcelain Lebeuf,manufacturer called Porce
laine de la Reine 1 785 to 1 792 . The mark is A undera crown, for Marie Antoinette.
PARI S (RUE DE BONDY ) .
Hard porcelain ; Dihl and Guerhard, manufacturers .The mark is their initials .Hard porcelain, called “ Angouleme, 1 785 to 1 792 .
The mark is the same initials as above,enclosed in an
oval, and surmounted by a crown .
PARI S (RUE DE CRU S SOL) .
Hard porcelain Charles Potter, manufacturer calledPrince de Galles (Prince ofWales) , 1 790 . The markis C P under a crown.
210 HISTORY OF PORCELAIN . [CHAR x .
formed the beginning of the present extensive Museum,
which is admirably arranged, so as to afford every facilityfor the study of the Keramic art in its different bearings .The manufacture of pottery is seen in all its varlous
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 illustrationof the progressive stages Of improvement in the manufacture. The Museum also contains a series of painted glass ,models chronologically arranged of all the forms manufactured at Sevres, specimens to show the various improvements 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 . Riocreux, the able coadj‘
utor of M . Brongniart in the
interesting Catalogue du Musée Céramique.
”
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 judiciousdirection of Sir Henry De la Beche, at the Museum of
Economic Geology, to which many individual collectorshave already contributed . Were this Institution liberallyencouraged by the Government, specimens would quicklybe contributed which might tend to throw some light uponthe history of our own pottery, at present involved inmuch doubt and obscurity .
CHAPTER XI .
MANUFACTURES OF ITAL Y AND SPAIN .
F LOREN CE. Marquis of Ginori’s Manufactory at Doccia. VEN ICE. Bassano , at Le Nove.
TUR IN , at Vineuf, by D r. Gioanetti. NAPLES . C apo di Monte, established byCharles II I .—C hatham C orrespondence .
—S tate of the Manufactory under F erdinand.—Extract from a Letter of L ord Nelson.
—D ecline and Ruin.—Character of the
Porcelain C ollection at Portici . S PAIN . Charles I I I . establishes the Manufactoryat Buen Retiro .
-Secrecy observed—Extracts from Swinburne .—Bourgoanne.
Rev . J . Townsend, D on A . F onz, and Laborde.— Des truction of the Manufactory by
the F rench.—Southey. -Mr. F ord.—Beauty of theWare . POR T UGAL . Vista Alegre.
IN the beginning of the eighteenth century, when the
Duke of Lorraine acquired the Dukedom of Tuscany,
Charles, Marquis C inori, of a noble and wealthy family,established
,on h is 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, + who visitedit only two years after this period, thus writes of it °
I was struck with the large size of some of the pieces ofthis porcelain . Statues, and even groups of figures, halfas large as nature, and modelled from some of the finestantiques, were formed of it. The paste of the porcelainappeared to be extremely beautiful, and to possess all the
S ee page 7 1. Memoires de 1’Académie des S c iences .
212 HISTORY OF PORCELAIN . [CHAR x i .
qualities of the best Oriental porcelain . The glazingemployed seemed to be inferior in whiteness, a circumstance supposed to be owing to the desire of using thosematerials only which are found in the country.
”
Two kinds of porcelain are made here : a fine,hard
porcelain,like the French (all use di F rancis ) , as the
Italians term it : this is made with the kaolin of St. Yrieix ,
combined with the native materials . The other ware is ofa 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 wh ite Oriental, particularly of the raised and piercedvarieties, 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 bySir Horace Mann to Horace Walpole
,about 1 760 , 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 producegood articles ; but when competition arose and pricesfell
,they were compelled to manufacture common and
cheap ware to meet the demand . It is now workedunder the same family of Ginori to some extent
, but its
products are very ordinary .
A pair of vases with blue and white oblique flutes ofthis 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 .
214 HISTORY OF PORCELAIN . [CHAR X I .
NAPLES (CAPO DI MONTE) .
The manufactory of porcelain of Capo di Monte wasfounded by Charles III. in 1 73 6 . This beautiful ware,from its peculiar character, could not have originated fromany German source. Independently of its bearing verylittle resemblance to the productions of that country, therewas scarcely time for the art
,which was kept a great
secret, to have reached Naples in so short a period afterits first discovery at Meissen. It may, therefore, be con
sidered of native origin,though there is little doubt
that the manufacture was afterwards greatly improvedin the time of Queen Amelia of Saxony, the consortof 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 28thApril
,1 760 , speaking of Charles III .
,He is par
ticularly fond of the china manufacture at Capo di Monte.
During a fair held annually in the Square before his palaceat Naples, there is a shop solely for the sale of part of thischina and a note was daily brought to the King of whatwas sold
,together with the names of those who bought
and it Is said he looked often favourably upon the personswho made any purchases . When, shortly afterwards
,he
left Naples to assume the Crown of Spain, he tookaway with him twenty- two persons to form the intendedestablishment at Madrid . One of these individuals,
Chatham Correspondence, vol . p . 34.
CHAR x 1. ] CAPO DI MONTE. 215
now ninety-five years of age, was still living nearNaples in 1844 .
Under his successor, Ferdinand, permission was givento his subjects to establish other porcelain manufactoriesand in the case of two of them
,the King allowed his
own workmen from the royal manufactory to assist in theirfirst 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 articles employed for models . These two private establishments had but a very short existence, possessing no capital ;and as soon as the property stolen from the Royal establishment was expended, the works stopped .
Lord Nelson,in a letter to Lord St. Vincent
,mentions
the china of Capo di Monte . He writes“ A little 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 all 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 theking had directed whatever I chose should be deliveredfree of all cost it was handsome of the king 1”
The porcelain manufactory naturally languished during '
the succession of Revolutions which afterwards took place,
and finally became extinct in 182 1 . There are still
Pettigrew’s Memo irs of Nelson, vo l . i ., p . 152.
216 HISTORY OF PORCELAIN . [CHAR x1 .
remaining, however, in the Royal Establishment, situatedAlla vita della Sanita (in the valley under the bridge of
the new road leading to Capo di Monte) , many valuablespecimens . Lately
,two vases were found valued at 1000
ducats each The existing Government requiringsome part of the locality for an Hospital for the Albergo deiPoveri, 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 originality .
Shells and corals, embossed figures, &c .
, exquisitelymoulded
F ig. 64. Basin. Capo diMonte. (Col l. Marryat. )
in high relief,constitute its peculiar beauty and
A basin (F ig. or ewer, }L for example, is formed of a
variety of native sea shells grouped together, interlacedwith 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 th e sale at S trawberry Hill,
S icilies . 4to .,with plates .
” This rare
seventh day, L ot 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, See coloured plate for the ewer
by order of th e King of the Two belonging to the basin, F ig. 64.
ca n». xx. ) PALACE AT PORTICI . 217
services and small pieces of the finest quality, and Of ex
quisite design and execution . The salt- cellar (F ig. is
a specimen of the taste Shown in this manufacture.
F ig. 65. Salt Cellar. Capo diMonte. (Co ll .Marryat. )
The Capo di Monte tea and coffee services are perhapsthe most beautiful description of Porcelain which has everbeen manufactured in Europe, both as regards the trans
parency and thinness of the paste, (equal to Oriental eggshell
, ) the elegant form of the pieces, and the gracefullytwisted serpent handles but more especially the delicatemodelling of the ornamental groups of classical and
mythological subjects laid on the surface in high relief.These groups being painted and gilt, forma pleasing con
trast with the ground,which is left plain. This rare
Porcelain is found but in few collections ; the late LadyBlessington had of it two services of cups and saucers
,
which fetched the very high prices of eighteen guineas apair, at the late sale of her effects at Gore House. The
cream- ewer sold for 2 6 guineas,
and a smaller one
for 201.
2 18 HISTORY OF PORCELAIN . [CHAR x 1.
These high prices set to work the ingenuity of Chinafabricators, to produce specimens which might be soldfor th e genuine ware, and a few sets were sent fromItaly to try the market. Some were at first purchasedat high prices, by persons who had not an opportunityof comparmg It, or who perhaps were not acquaintedwith the genuine specimens . But its inferiority is veryapparent, the paste is coarse and thick
,the form of the
cup is very ordinary, /and there is nothing resembling thereal but the ornaments, which are skilfully imitated
, so
much so as to lead to a presumption, that the parties hadby some means obtained possession of the original moulds .The colouring as well as the gilding of these groups is,notwith standing, very indiflerently executed.
The best collection existing, is that in the Royal Palaceat Portici, of which Lady Blessington, in her Idler inItaly
,
” gives the following graphic descriptionOne of the saloons at Portici particularly attracted our
attention . The ceiling and walls were covered with panelsof the most beautiful China, of the ancient and celebratedmanufactory 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 varieddyes, in alto- relievo, among which birds of the gayestplumage, squirrels, and monkies, all of china, are mingled.
The chandeliers and frames of the mirrors are also of por
celain, and the eflect is singularly beautiful . The floor
was formerly covered in a similar style to the panels inthe walls
,but the King, when obliged to fly from Naples ,
intended,it is said, to remove the decorations from this
220 HISTORY or PORCELAIN . ( am p . x 1 .
Bourgoanne, who visited Spain in 1 777, in the reign of
Charles IV.,makes p articular mention of the porcelain
manufactory at El Buen Retiro . He Writes that In the
gardens of Buen Retiro the monarch has established a
China manufactory, which strangers have not hithertobeen permitted to examine. It is undoubtedly intendedthat experiments shall be secretly made, and the manufacture brought to some perfection before it be exposed tothe eyes of the curious . Its productions are to be seennowhere except in the palace of the sovereign, or
‘
in someItalian Courts, to which they have been sent as presentsCharles III . rendered then due homage to our Frenchmanufactories, when he excepted the Court of Versaillesfrom his distribution
,notwithstanding the latter regularly
forwarded some of the finest works of our Sevres manufactory to the Princess of Asturias . Louis XV. establishedthis custom on account of h is granddaughter
, and his
successor did not discontinue the practice .
”
The same secrecy as to showing the manufacture, anddistrust of strangers, seemto have continued to a still laterperiod . The Rev . James Townsend, who visited Madridin 1 785 , 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 withany one who had ever been able to procure that favourfor himself. I was the less mortified upon this occasion,because, from the specimens which I have seen both in thePalace at Madrid and in the provinces, it resembles themanufacture of Sevres
, which I had formerly visited in a
tour through France .
”
CHAP- X L I INVASION OF THE FRENCH. 221
Don Antonio Ponz, in his “ Viage de Espana,” notices
this establishment in 1 793 and Laborde,as recently as
1808, in his“ View of Spain, says, N0 China is made
except at Alcora and Madrid, the former very commonand inconsiderable as to quantity. The china manufactured at Madrid is beautiful, and without exaggerationmay 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 ofthe manufactory is strictly prohibited .
”
During the events so disastrous to Spain,which occurred
in the early part of the present century, the establishmentand everything connected with it was destroyed .
Southey states, that, On the invasion of the Peninsulaby the troops of Napoleon in 1808,
”Madrid was takenpossession of by Murat. Buen Retiro was occupied by
men on that memorable massacre . King Josephwas subsequently compelled to evacuate the town upon thenews 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 Retiro,which had been
fortified with some care, and a breach being made in thewalls
, the place was carried, but not till after one thousandSpaniards had fallen in defending it.
”
Mr. Ford,speaking of subsequent events
,says
,Near
this quarter was La China , or the Royal Porcelain Manufactory, that was destroyed by the French, and made bythem into a fortification, which surrendered August 14th ,1 812 , to the Duke. It was blown up October 3oth by LordHill
,when the misconduct of Ballasteros compelled him to
222 HISTORY OF PORCELAIN . CHAR x i .]
evacuate Madrid . N ow La China is one of the standingSpanish and Afrancesado calumnies against us, as it is statedthat we, the English, destroyed this manufactory fromcommercial jealousy, because itwas a rival to our potteries.
”
The real plain truth is this : The French broke the‘OllaS ,
’
and converted this Sevres of Madrid into a Bastille,which (not the pipkins) was destroyed by the English, whonow so far from dreading any Spanish competition, haveactually introduced their system of pottery, and accordingly very fair china is now made at Madrid and Sevilleby English workmen . Ferdinand VII .
,on his restoration,
re- created La China, removing the workshops and warehouses to La Mancha, once a villa of the Alva family inthe Manzanares .”
M . Sureda, the ancient director,upon thedestruction of
the manufactory in 1812 , established another in 182 7 atMoncloa, near Madrid .
That this porcelain was celebrated for its quality isevident, from a published letter addressed from Madrid byM . 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 theporcelain of France .
This ware, as before remarked, is very similar in cha
racter to that of Capo de Monte, and is highly embossedwith various patterns which are finely moulded in highrelief. 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.
APPEND IX.
Mustang of alarms
USED IN THE DESCRIPT ION OF POT T ERY AND PORCELAIN .
Where the F oreign synonyme is ahnost the same as the English word, it is omitted .
ADOBE, Sp— 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 N ew World. The ancient
temples of Peru were built of bricks sun -dried and hardened bypressure. Pietro della Valle compares the sun-dried bricks of
Babylon with the Spanish lapp iafi“or mud walls, which were
known in the time of Pliny, who thus mentions their generaladOption.
’
l‘
In warm,dry climates
,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 I sraelites in the fifth chapter of Exodus and
T appies, or Tapia (Arabo-Spanish) ,“ mud wall,” - the case of boards or wat
tles which served to support the earthin making the wall . T he word is ArabicC ob ; whence the Spanish , Adobesun-burnt bri cks. T he use of these
wooden cases was introduced by th e
Meow—See Quarterly Review,” Apri l ,
1837, C ob -Walls, byRichar d Forcl,Esq.
Quid ? non in Africa Hispaniaque ex
terra parietes, quos appellant F ormaceos,
quoniam in forma circumdatis utrinque
duabus tabulis interj iciuntur verine, quamconstruuntur, sevis durant, incorrupti imbribus, ventis, ignibus, omnique cemento fir
miores —P lin.
,lib . xxxv.
, chap. xiv.
Q
226 ADOBE.
—ALCARAZZA. [APPEND IX.
the modern Egyptians almost always introduce straw in their
bricks to this day. Pocock describes a pyramid on the plainsnear the Nile, which is built of sun-dried bricks . He foundsome of these bricks 1312 inches long, 6% broad, and 43; thick,
F ig 66. Brickmakers . From th e paintings atT hebes .
chopped straw having beenmixedup with the clay. In the cata
combs,the Theban brickmaker’s
occupation is represented . A
painting upon the wall exhibitsslaves, in one part employed inprocuring water, inmixing, tempering, and carrying the clay, orin turning the bricks out of the
mould, and arranging them in
order on the ground to be driedby the sun whil st, in another part (F ig. one man is carrying
the dried bricks, by means of the yoke, to the spot Where theyare to be used in building ; and another is returning, after
carrying the bricks .
*
A L’AIR, 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 hyah n-ce
’
rames . The
a lcurazza (F ig. 67) is called in Portugal alcaraclza . The éucaro,
made in Estremadura, is red,and less porous than the a lca
razzasl“ These vessels have been -made from the most remote
period, in all warm climates,in Spain
,Egypt, and Asia. The
Wilkinson’s Manners and Customs of
the Egyptians, vol . ii., p. 99 . T he figuresin F ig. 66 are taken from a large woodcutrepresenting foreign captives employed in
making bricks at Thebes .
1‘ Spain has been ever celebrated for itsmanufacture of Hydrocérames or water
coolers. T he ancient Q ooleh of the Arabs
is identical with the modern Alcarazzas of
Spain. They were made of various shapes,many and especially in Valencia and Andalusia being of the unchanged identical formof those similar clay drinking vessels discovered at Pompeii. They are the preciseTrulla.
’ Martial, iv . 46, xiv. 106, speaksboth of the colour and thematerials of those
228 ALCARAZZA.
—AMPHORA. [APPEND Ix
water,and afterwards suspended enveloped in wet cloths . These
coolers can be used only five or Six times,as the pores are Soon
stopped upfi< The ancients were well acquainted with the process of producing cold by the evaporation of water. We find
that the soldiers of the army of Antiochus cooled water invessels of clay
,which they put during the night upon terraces,
Where children were employed to keep themmoist; thence it waspoured into large amphorae covered over with straw
,which kept
it fresh . In the time of Galen,vessels of earth filled with
waterwere suspended in the windows,in order that the current
of air might render it coolfr These vessels are not of use in thetemperate climates of Europe
,their efficacy depending upon a
high degree of temperature,and a dry atmosphere.
AMPHORA, Lat , from ducpt, on hoth sides,and (te
'
pw, to carry— A
vessel which derived its namefrom its beingmade with a handl e on each side of the
neck, whence it was also called cliola, thatis,a vessel with two ears . Amphorae were
used for the keeping of corn,oil
, _grapes,
and other food, but more especially for thepreservation of wine. They were made ofearthenware
,and
,in later times, occasion
ally of glass .
’ Wh en filled with wine, themouths were stopped with wood or earth,
which was smeared with pitch or clay . On
the outside, the title of the wine was
painted,
and the date indicated by thename of the consul s of the year. The
amphorae were then plunged into sand, or
supported by a frame, and were usuallyF ig. 69. Amphora .
placed in the upper part of the house .
wh ich is transported down the Nile in a is seated, and floats down theNile, retailingcurious manner. A quantity of
-
jars are his cargo as he goes.
placed perpendicularly, and lashed with the 9" Chardin, Voyage en Perse, t. i . , p. 202 .
fibre of date to parallel poles, forming a Brongniart, t. i., p . 540.
triangular raft, upon wh ich the conductor
GLOSSARY.] ARABESQUE.
—AZULEJO. 229
ARABESQUE, Fr.— After the Arabian manner. A Species of decora
tion SO called because it was practised by the conquerors of
Spain—Arabs,Moors, or Saracens
,as they were indiflerently
termed by their Christian neighbours . The dogmas of the
Mahommedan code,forbidding the representation of animals,
in order to avoid even the semblance of idolatry, they employedplants and trees, with stalks, tendrils, foliage, flowers, and fruit,producing an endl ess variety of forms and combinations. Henceall fanciful decorations of natural Objects used to form the con
tinuous ornament of a flat surface, came to be called arabesques,though differing so widely from the Arabian compositions as tobe filled with representations of animals of every variety, andwith fantastic combinations of plants and animals almost equallycontrary to nature. The ancients excelled in this species of
decoration, as we see in many of the Greek vases, in the edi
fices of Herculaneum and Pompeii, in the ruins of the baths ofTitus, and in Adrian
’s vill a at Tivoli . The most celebrated
arabesques ofmodern times are those with which Raphael ornamented the Loggu
”of the Vatican, and they are often
gracefully introduced in the decoration of the Majolica pottery.
(See coloured plate, “ Pilgrim’
s Bottle.
”
AVANTURINE.—A micaceous quartz
, composed of shining particles .
The most common colour of the base is brown or reddish brown,enclosing Spangles of a gold colour . It is imitated by theJapanese in lacquer ware
,with which their porcelain is Often
covered .
AZULEJO,Ska—Arabic, Zulay
'
,fi l leieh
,a varnished tile — Enamelled
tiles, of Spanish -Moresco manufacture, with which the Alham
bra,the Al cazar at Seville
,and other Moorish buildings are
profusely decorated. During the thirteenth and fourteenth
centuries, Granada was the favourite place of residence of theMoslemmonarchs
,who spared no pains or expense to adorn
this beautiful city. The fortress and palace of the Al hambra
rose in the midst of it, and its towers were adorned with themost exquisite architecture, and its courts paved with tiles or
230 AZULEJO. [APPEND Ix .
azulejos of the greatest beauty. This building was left toruin and dilapidation after the expul sion of the Moors byFerdinand and I sabella, and received afterwards still greaterinjuries from the Spaniards of modern times
,as Well as from
the French, during their late occupation of the Peninsula.
Swinburne, in 17 75, describes the blue and yellow tiles,
which covered the walls to the height of five feet from the
ground, as well as the large painted and glazed tiles of the
roof, some of which Still remained . Owen Jones states his
opinion that the pavementOf the Whole of the courts (which is
now of stone and various other materials) originally consistedof these tiles, which the Spaniards ruthlessly destroyed. He
further says,that the pattern appears to have been impressed
in the clay by moul ds,and the colours run in, in a liquid state,
between the lines.
* The colours employed were,in most
cases,primitive ones . (See coloured plate, Besides
the Alhambra,the Cuarto Real, a royal Moorish villa in Gra
nada,contains white tiles coveredwith themost elaborate
.
designsin scroll -like foliage in gold . These form a band beneath thespringing of the roof
, and are about hé inches square. GeorgeStuart Nicholson, Esq. in a recent visit to Granada, succeeded,after great diflicul ty, in Obtaining the permission of the authori
ties to make a hasty tracing of one of these tiles . He describesit “
as one of a row under the roof of a vestibule in the Cuarto
Real .”
The form he cannot determine,although he believes it
to be square,the top being hidden by the bracket-pendants of
the roof. The pattern is gold of a greenish tint ; and, as far
as he coul d judge,in the dim light gained from the few win
dows not blocked up, he imagined the whole to be beneath theglaze. The design
,as shown by the woodcut (F ig. which
we give from the drawing which he made from the above
mentioned tracing, is certainly of the most elaborately beautifulcharacter. In the Alcazar Of Sevillefr specimens of Azul ejos,
T heMoorish tiles are generally painted, the Catholic stamped.
“ Seville is very rich in this Moorish decoration. Azul and Azulej o are both
232 BASE.
-BEAKER. [APPENDIx .
painted and enamelled, with the arms and motto of the
kings of Granada,
There is no conqueror but God.
”
The date of its manufacture appears to be about 1300 .
This tileappears, by another specimen, to have been Copiedin a very inferior style in 1400 .
A Tile : Moorish, finequality ; pattern a star, to imitate inlaidwork . This also appears to have been copied
,in a stamped
and inferior style, at a later date.
A Tile : Moorish, forming part of the panelling of a dado of
a wall,inlaid
,fine
,and as early as
,
1300 . This 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 V.,
about 1490 . The
pattern is stamped ; colours white and yellow.
A Tile of the same class, from Toledo,with the arms of
Castile and Leon, of the period of Charles V . about 1525 .
The pattern is stamped
In the Mayor’s Chapel, at Bristol, there exists a pavement oftiles of Spanish manufacture (Azul ejos) , which were probablyimported for this special purpose by some one of the numerous
Bristol merchants who had great traffic with Seville inbottles. They are engraved in “ Lyson’
s Antiquities of Gloucestershire.
”
BASE . PI ED , Fr.-The bottom or solid support of a vessel
,which
is either simple, or formed of various ornamental shapes, or
consists of feet,and thence call ed a tripod (Fig. 11) base.
BASIN. BACINO,I tal — A cup or bowl used to hold water for
washing the hands, and other purposes ; that used for broth
(houillon), with cover, handles, and saucer, is called Ecuelle.
”
BEAKER,BECHER
,Gen
,BEBER, Dutch, BOCAL, F r.
—Ménage derivesthe Italian Bicchiere from the Greek Bums, vas sive urna
habenS ansas”
(Hesych)“ A
_beaked cup .
”—a -S/rinner.
“ A
cup that has a spout. Thomson’s D ictionary . In the
Langue Romane, “ Bec”signifies a drink .
GLOSSARY.] BENITIER.
- BOTTLE. 233
“ D id they coin bowls, and flagonsInt
’
officers of horse and dragoons PAnd into pikes and musqueteersS tamp beakers, cups, and porringers ?
Hudibras, p . i, c. I i .
He lives, and o’
er his brimming beaker boasts.
”
Cowp er’s Task, b. vi .
From the above, it is clear that the Beaker is a vessel havinga handle
,and a spout or beak, and not having a c over as a
tankard . It corresponds, therefore, with the publicans’common
pewter pot in general use. The Chinese beaker, so called(F ig. 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 .
BENI TIER,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. (F ig.
BI SCUIT .—Thls teim is applied to hard porcelain before it is glazed,
and when it is without gloss (matte) .
BODY . BAUCH, Gen—That part Of a vase, bottle or jug, which maybe said to correspond with the body in the human figure. Its
shape is either simple, or a combination oftwo (hiforme) ormore
forms . The French term it p ause. They also use the word
p omlowr, 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 7
BOTTLE . BOUTEI LLE, Fr.—A vessel used to contain liquids
,with a
long neck andnarrowmouth, in the form of the ancient leathern
bottles, and mostly spheroidal (F ig. Wh en it is flattenedat the sides it is termed a pilgrim’
s bottle (houleille ale voyage,
bielou) . (Fig. The horizontal handles and perforated base,
which we find on such bottles, are for a cord or strap to be passedthrough, for the convenience of carriage. (See coloured plate
,
Pilgrim’
s Bottle ”
) These bottleswere ofvery early use. Many
234 BOTTLE — BOX. [APPENDIx .
have been found in the Theban tombs (F ig. The gourd-shapedOriental bottle ( F ig. 54) finds its prototype in American
B ottle . Pers ian F ayence. (Coll. Marryat. ) F ig. 72. Pilgrim‘
s B ottle. Egypt . (British Museum )
pottery . The double or yoked bottle is found in
Egypt (F ig. and again in Chili (F ig. and Peru (F ig.
F ig . 74. D ouble B ottle Chili.F ig. 73 . Twin-jo ined Bottle. Egypt.
(British Museum. )(British Museum. )
BOWL . BOL , JATTE, Fr. SCHALE, Ger.
— Hemispherical vessels,
wider than they are deep, and larger than the cup, which is
deeper than it is wide. Thej aile is larger than the hol .
Box .DOSE, Gen— A snuff-box, or, when of larger Size, call ed a
Casket ; always with a cover. The Dose (Ger.) is flat. The
B ilehse (Gen ) is high .
236 CANDLESTICK .
- COLOUR. [APPENDIx .
(F ig. and a curious one of old English manufacture
(F ig. The porcelain chandeliers made at Dresden are
extremely beautiful .CANI STER . BUCHSE, Gen—A box used for holding tea, introduced
from China.
CELAD ON. Couleur entre‘
le bleu et le verd . Parle caprice des
Dames de la Cour cette couleur a été ainsi appelée de Celadon,personage du Roman de l’ Astrée.
—Me’
nage.
The term was originally applied to the soft sea-green colour
upon pieces Of old Oriental porcelain, which command a veryhigh price. The colour is put on while the clay is yet moist,and burnt in at the first baking (le grandfeu) , which processgives a peculiar softness to the colour . (See page This
term has,however, since been applied in France to all porcelain,
ofwhatever colour thus manufacturedfii
CHINA. PORCELAINE, Fr. PORZELLAN, Gen— I s formed of pastewhich is translucid, whereas the paste of pottery is alwaysopaque.
COFFEE-POT . CAFETIERE, Fr.—A vessel used for coffee, generally
with a long spout (gargouleile) . (F ig.
COLOGNE WARE . GRES -CERAME,Dr.
- Stoneware of very singularforms and designs, made on the Rhine and in Flanders
,and
which was imported from Cologne in the sixteenth century.
(Figs. 35 to In one of the Lansdowne MSS . mention is
made, that in the year 1581,
“ the potts made at Cullein,
called drinking stone potts,were first imported into England
by Garret Tynes, ofAken, or Acon, (Aix-la-Chapelle) who had
previously supplied 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 C atalogue du Musée C éramique (page where above twenty varieties of
colour are enumerated.
Gnossm i d COLOURS .
— COMPOTIER. 237
throughout by the mixture of a metallic oxide. In porcelainthe paste is, or should ,be
, . nearly white and translucid, and thecolours are laid over it. As regards the external colouring, thefine blue upon the old Nankin Porcelain, the ruby upon the
egg-shell plates as well as the soft sea-green, the verdigri s, and
the imperial citron yellow,constitute the choicest specimens of
Oriental colours . The bestEuropean colours are the ruby foundupon the old Majolica of Pesaro
,the Bleu de Roi
,Turquoise,
and Rose du Barri U pon 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 . Wh en painted, the poroclain 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 .
Reel—Nitrate of iron,chromate of lead, and muriate ofman
ganese.
Pinh— Subchromate of tin
Rose 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 .
B lack— Oxide of platinum or iron,cobalt
,nickel and anti
mony .
While— Arsenic and tin.
Gold is applied to china in the state of amalgam,ground
fine in turpentine,with a metallic flux
,and afterwards
burni shed with agates .
COMPOT I ER, F ix— A Shallow dish in which dried fruits are served up
at table. (F ig.
CONES .
—CRACKLE. [APPEND Ix.
CONES, SEPULCHRAL .
— Small Egjfptian conical vessels, in which are
found the mummies of birds and other (F ig.
F ig. Mummy Cone. (British Museum. )
CONJURING CUPS, TASSES A SURPRI SE HYDRAULIQUE,page 112 .
COVER . COUVERCLE, Pru— The portion which serves to cover any
vessel, &c .,and is either flat or dome- Shaped, conical
, &c .,
with or without a knob (houlon) at the top .
CRACKLE . CRAQU ELEE, Fr . KRACK-PORZELLAN,Gen— The name
given to those pieces of Oriental manufacture, in which the
glaze appears cracked all over into small fissures, occasioned, inthe opinion ofM . 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 appearanceof 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. Wh en these cracks (lre’
zalures or lressailhl res)occur in small regular figures
,the china is most esteemed and
sold at a high price. The French call it Porcelaine lruile’
e.
It is also call ed Snake Porcelain,
”and
,by the Chinese,
240
CU P .
CU P,
CRUET .
—CU P . [APPENDIx .
distinguish between the wine and water : and this is positivelyordered by the existing Roman 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 l ’abbaye de St.
Denys,Plate I I I . of the Treasure, he has figured a pair of
crewetts whi ch formerly belonged to the Abbe Suger ; they areof crystal, mounted in silver, gilt, and setwith precious stones .
*
“ Deux enfants de Choeur en tuniques portent chacun une
grande burette d’ argent del
la mesure d’un pinte oii sort 1’ canet le Vin, ces grandes hurel les sont du temps qu on communioit
sous les deux espéces .
”
1‘
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 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.
TAS SE, Fr. TAZZA
,I tal . NAPF
, Ger— A small hemi
spherical vessel, more or less flat, used for drinking . Those forhot liquids have handles attached . The Chinese have a doublecup, without handles, the exterior one serving the purp ose of
protecting the fingers . (See page 117 The Chalice (heleh,Ger.) and the classical Italian Tazza have both stem and base.
TEA,COFFEE — The forms ofthese are various
,and are described
in the Description duMusée Céramiqire as cylindrique, hemis
phérique, calice, campaniforme, turbiniforme, oviforme, semi -ove,ov
‘
oide, semi-ovoide, cylindro -ovOide,turbino -cylindrique
,quad
rangul aire, polygone, &c . Sometimes without a handle,some
times with one or two .
CU P, DRINKING.
— Drinking cups have been made in every variety ofform
,those of the civilised nations of antiquity bearing much
resemblance with the ruder designs of the N ew World . From
Pugin’
s Ecclesiastical Ornaments. S t. Galien de Tours.
GLOSSARY) DRINKING VESSELS . 241
Chili, we have a drinking vessel in the form of a fish (F ig.
is interesting to compare a Peruvian drinking in the
F ig. 76 . D rinking Vessel . F ish . Chili . (Co ll . Marryat. )
form of a human head,used by the Incas (F ig. 77 ) with a Greek
vessel (F ig. 78) of Similar design. Perhaps one of the most
Singular forms of a drinking vessel that has been suggested is
F ig. 77. D rinking Cup. Peru.
that of the human leg, of which a figure is given (F ig. 79) from
one in the British Museum,which was found at Vul ci
, and
DRINKING VESSELS . [APPEND Ix .
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.
F lg . 78. D rinking C up . Greek . F ig. 79. D rinking Cup . Vulci.(Col l . Museo Borbonico . ) (British Museum) .
A similar form is found in old Swiss pottery, and puzzled
coll ectors 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 his military boots,filled it with
wine,and drained it to the bottom,
before he parted from the
company . In the Musée Céramique there is an earthenware
goblet in the form of a military boot, painted in blue, and
ornamented with arabesques . Thi s form is also to be found inglass .
TheGermans sometimes imitated a helmet to form a drinkingcup, but the origin of this is more readily accounted for.
For other curious forms we refer to Rhyton,
”and we
He was sent in 1625 .
24541 ENAMEL .
—FAIENCE. [APPEND Ix .
have been moulded from the enriched chasings of the silver
plate of that period . (F igs . 29, 30 ,
ENAMEL . EMAI L , Fr. (en-email) . —An opaque vitrifiable composition used for coating pottery
,in which tin forms an essential
ingredient. (See Enamel colours are placed over
the glaze.
EWER . AIGUIERE, Fr .
— A vessel with beak and handl e for holdingwater for washing the hands . Ewers and basins are very frequently ornamented with the same pattern. See coloured plates,“ Majolica Ewer ”
and Capo di Monte Ewer,”with Basin.
(F ig. 64. Also F igs. 7 and
FAENZA . WARE . MAJOLI CA .— 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 Raffaelle
and Umbrian ware are more natural and intelligible.
FAI ENCE, Fr.
—Fai ence, Fayence, or Fayancefii 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
English word crockery. The name is commonly supposed tobe derived from Faenza ; but it may well be doubted whetherupon any authority much to be relied upon, Since
'
neither histo
rians nor topographers seemto have considered thematterworthyof their attention or examination. Moreri
’s opinion can only
be guessed at -
twhil e Menage, after distinctly stating the termto be taken fromFaenza
,says II se fait aussi de la Fa
’
iance
it <4 Maty écrit ‘F ajence,’ — C
’€St une (F ayence) avec F aenza ville d’
I talie, au
faute ; il faut F ayence par nu y grec, ou sujet de la vaisselle qu on fait dans cette
F aience,’
comme M . C orneille.
”-D ict. derniere ville.
” Moreri , D iet. Hist. ,de Trevoux, P aris, 1721, torn. ii. P aris
,175 1.
Quelques auteurs confondent cc bourg
GLOSSARY.] FAIENCE. 245
err Provence dans la petite ville de Faiance i i and then adds,upon the authority of Le Duchat, Mezerai, dans sa GrandeHistoire
,Paris
,1651, tom. iii .
,p . 978— prétend que c
’est de
la, et non pas de Faiance d
’
Italie, que cette poterie a pris sonnom.
”
1“A reference
,however
,to the above passage at once
shows the danger of a blind 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 mentionhe makes of the little town
,and his words are Simply these
Fayence, plus renommee par les vaisselles 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 Fayence . In l ike manner,Hofmann corroborates its high keramic reputation, and call s
the town by its ancient name ; i; 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 well as in
support of its claim to originality of title,is that incidentally
cited in a work ofM . Petit Radel,the librarian of the Biblio
theque Mazarine. Although Simply suggestive and unex
amined,it becomes, as Opposed to the all but total silence of
his more indifferent predecessors,fairly entitled to the attention
of the present age. The Opportunities they had of determiningthe point may possibly have escaped us . He says in a note
Parmi les lettres de St. Gregoire (elu Pape; A .D . 590) on en
lit une,dans laquelle ce pape remerciait Etienne, Abbe de
Lerins,”pour écuelles et assiettes que cet abbe lui avoit
Now the ch ief place of a canton in the
district of D raguignan,in the Department of
th e Var ; between which and the old town
of Grasse, it lies nearly equidistant. I t is
only a few miles from the Old castle and
now Obsolete port of F rejus (F orum-Julii) ,and the same from C annes
, whereNapoleonlanded on h is return from Elba. I ts potteryis still admired, and in request.
Menage, D iet. Etymol ., Paris, 1750,tom. i. , p. 57 1.
F aventia, nulgo F aience . U rb ec
Provincim in Gall z—cujus figl ina laudantur. Prope amuem Bensonem. 5 leuc a
Grassa in Occ : to tidem a F oro -Julio in
Bor.
”— Lexicon Universa le, Leyden,1698.
Rech erches sur les Bibliotheques Anc .
et Mod. par L ouis C . F . Petit-Radel .Membre de l
’
Institut et de la L egiond’Honneur.
— P a ris, 1819 , p . 41.
Lerins—two smal l islands opposite toC annes
,in th e Mediterranean z— tll e Lero
246 FAIENCE. [APPEND Ix.
envoyees . I l est donc bien probable que la petite cité deFayence, 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 cete
sont encore occupes a ce genre de manufacture ; et nous yavons appris que les Génois exercent de temps immémorial cecommerce sur toute la cete d
’Espagne et de Portugal On
voit assez d’
aill eurs les rapports du nom de la petite ville de
Fayence avec celui de l’
ancienne Faventia, dont Tite-Live etPline 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 atrade in the article had been carrying on upon their coast from
time immemorial, - the inference is fair enough that the Abbot’spresent was of crockery . There can be nothing 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 anything more probable than, if that fabric produced cupsand plates, that he shoul d send what was in his day considereda great luxury. As regards Faenza
,— if that town produced
ornamental pottery at the period (and the abbot was hardlylikely to have sent any other) , it must not only have been of a
very superior quality, since it conferred its name on the potteryof other countries, but as such
,must doubtless have become
common among the wealthy citizens of Rome ; in which case it
would have been a poor compliment to send the pope a presentof 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 S t. Honorat, in honour of that
larger of the two is now called S t. Mar saint, who was the founder of the celebrated
guerite. Planasia or Lerina bears the monastery so long existing there.
248 FLASK.
— FORMS . [APPENDIx .
calls a F lacon une bouteille a vis that is,with a screw or
cover over the top . I t was probably shorter in the neck,and
less spheroidal than the flask .
When the communion was administered under both kindst othe laity, much larger vessels were required than when the priestonly received it. The
‘crewet (See 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 frommotives 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 .
F LASK . F LASCHE, Gen— A bottle with a spherical body and narrow
neck, but longer than the flagon .
FORMS — These are very numerous, and are derived from a resem
blance to such simple forms as a globe (sp he’
rigue) (F ig. 8 1) a
F ig. 81. Cooking Pot. Vellore . ( S ir E. Burnes. )
cylinder a disk (F ig. 41) an egg
( F ig. flowers, such as the lotus,the campanula
,lily
,tulip,
GLOSSARY.] FORMS .
—FUNEREAL . 249
&c . : these prevail in the ancient Greek pottery . Al so from
fruits, such as the olive (whi ch form in later products has been so
elongated, compressed, blown out and distorted, as to lose all natural grace) , the apple (p omiforme) , the pear (pyriforme) ,(Fig. 85) the gourd
,double and triple (F ig. Other forms are
derived fi om a leathern bottle or flask (lageniforme) , a spindle(fusiforme) , a helmet (forme ole casque) , a purse (bursiforme) , aring (annuli orme) , (F ig. 82) a cylinder (cylindrique) , funnel
F ig. 82. Annular Vase . Campanian. (From Brongniart . )
shaped (infunclihuli orme) , (F ig. Another form is derivedfrom the shell Turbo (turbiniforme) , but might more clearly bedefined as resembling the Stern of a ship . Angular shapes areformed in a moul d
,such as the cubic, the hexagonal, polygonal,
&c . and lastly, the forms of the head (F igs . 77, legs (F ig.
and other members of the human figure, of animals, birds, fishes(F ig. 7 reptiles
,850 . Two ormore vessels are sometimes found
joined together in Egyptian and South American specimens .
(F igs . 73, 74, The forms of the latter pottery are extremelybizarre . (F igs . 104,
FUNEREAL .
—This term has been erroneously applied to all potteryfound in tombs
,even where the utensils have no relation to
funereal purposes, but were probably in common use. Therehave been found
,however, in Corsica vessels of earthenware,
which may strictly be call ed “ funereal .”
Though the precise period of the fabrication of the funereal
250 FUNEREAL . [APPEND Ix .
vessels in Corsica is not ascertained,they must be con
sidered of very ancient d ate. These
vessels, when found entire,at first ap
pear completely closed up, and no traceof joining can be discovered . But it
has been ascertained that they are composed Oi two equal parts, the end of
one fitting exactly into the other, and
so well closed that the body, or at least
the-
b ones which they contain, appearto have been placed within them beforethey were baked upon the kiln . D io
F ig. 83. Half of a Funereal U rn.
Com a. (p rom dorus SiculusfiXe in Speaking of the usagesof the inhabitants of the Balearic I sles,
states that these peoplewere in the habit of beating, with clubs,
the bodies of the dead which, when thus rendered flexible,
were deposited in vessels of earthenware. T his practice of the
Corsicans coincides singularly with that of the Coroados Indians,
who inhabit a village on the Para'
i'ba 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, 1 we give the whole extract from
Book v. chap . i .Brongniart, tom. i.
,p. 456 .
I Les Coroados avaient anciennement1a coutume d
’
enterrer leur chefs d’unemani ere particuliere : la dépouille mortellede cc chef révéré etait renfermée dans un
grand vase de terre cuite nommé Camucis,’que l
’
on enfouissait assez profondément au
pied d’
un grand arbre on en découvrequelquefois aujourd’hui dans les défrichements . C esmomies, revé tuesde leurs insignessont parfaitement intactes, et sont toujoursplacéesdans leur urne funéraire , demaniereaconserver 1’attitude d’
unhomme assis sur sestalons, position habituelle du sauvage qui serepose .Voudraient-ilspar lafaireune allusion
alamort, cet eternel repos ? C ’est cc que le
faible développement de leur intel ligencene personne guerre de supposer le peu deplace que le corps occupe dans cette positionexplique plut6t la preference donne’e acetteattitude.
- T om. i., p age 19 ; Paris, 1834 .
Coroados. Suivant l’
opinion d’un
écrivain tres respectable, les sauvages duBrésil appelles C oroados
,
’
seraient les an
ciens Guaylokazes.- C enom de C oroados
(C ouronnés) leur fut primitivement donnepar les Portugais a cause de la coiffure de
leur chefs, qui effectivement se coupentles cheveux de maniere a se réserver uneespece de couronne isolée sur le sommet de
la téte.
”—I bid .
252 GOMBRON .
—GREYBEARD . [APPEND Ix .
substances with which pottery is covered when fini shed,into
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) .
Couoerle— 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 inoriental porcelain, the bottom edge being rough and sandy .
This defective appearance is obviated in Europe by supportingthe piece upon a tripod with very small points . The three
ugly marks upon old Chelsea china are caused by the clumsytripod which was employed .
GOMBRON WARE — The porcelain first imported into England camefrom the port of this name in the Persian Gulf
,being the only
place in the east where any English factory existed in the
seventeenth century. From this circumstance arose the name,
originally given to all Indian ware in England,of Gombron
or Gombroon Ware.
” When,
subsequently,however
,the
ware came direct from China, the name was changed to thatof “ China Ware, which it has retained ever since. (See
page
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 -bakedbannock which the children couldna eat.
’ — Scol l’s Monastery,
chap . ix .
The jar (F ig. found at Lincoln,is a Grey-beard .
Stone pots, with a bearded mask on the neck, and resemblingin Shape F ig. 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 soughtto detach the English Roman Catholics from their oath of
F ig. 85. Greybeard. L incoln.
allegiance, having called forth a rejoinder from the pen of the
royal author .
GROTESQUE . GROTTESCHE, I tal . from Grotto .—Distorted iii figure
and proportion. Also paintings of creatures of imaginary form,
chimaerae, griffons, centaurs, women with wings, &c .,interwoven
with flowers and foliage. Such designs are found upon old Italian
pottery of the sixteenth century . Fromthis style of decorationhaving chiefly originated from the paintings found at Hercu
laneum,Pompeu
,the Baths at Rome, and other subterranean
ruins (i . e. grottoes) , the term owes its derivation.
HAN DLE . AN SE,Pru— This is single (F ig. double
, and some
times triple,as in the ancient hydria or water-jars
,in the
Italian orcia,and the Engli sh Tig
”
(page Wh eremore innumber
,they are considered as mere ornaments . In the Musée
“ De Potestate Summi Pontificis in Rebus T emporalibus ; against Barclay, condemnedin 16 10, by Act of Parliament.
254 HYGIOCERAME.
—IMAGE. [APPENDIx .
Céramique, there is a Calabrian pitcher with nine. Handlesare Simple, horizontal (F ig. 63, perpendicular (F ig. and
interlaced, of various devices and forms,
such as serpents,
reptiles (F ig. twisted cords,&c . (F igs . 5,
F ig. 86. Etruscan Cyathusfl"(From Brongniart . )
HYGIOCERAME . PORCELAINE DE SANTE. GESUN DHEI T s-GESCHIRR,
SAN I TAT SPORZELLAN,Germ. An in
’
ferior kind of porcelain,
manufactured by M . Praessel, at Charlottenburg, on the Spree,near Berlin . A considerable quantity of plastic clay is introduced 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 ofmost fruits when hot,and in boiling fat. Hence its appellation of porcelaine desanté .” Above two hundred and fifty workmen are employedin this manufactory.
IMAGE . IMAGO, Da l
— This word was used,among the ancients,
more particularly to denominate the portraits of their ancestors .
The Greeks and Romans entertained the greatest veneration
for these images,and had them carried in their funeral pomps
and in their triumphs . The imagines were figures painted,
C yathus, the single-handled drinking cup, was often represented on the painted vasesin the hands of Bacchus
,but the two handled cup (Cantharus) was particularly sacred to
that divinity.
256 JAR. [APPENDIx.
manufactured in various parts of the globe. Large vessels aremade in France (ourier, j arre) principally in Auvergne and in
the Pyrenees in Tuscany,in the neighbourhood of Leghorn,
where they are called copp o, in Sienna ceiro,and orcio in the
Florentine territory. 1‘ Some of these are of enormous diameter
,
and of extraordinary “
capacity. In Spain,similar vessels are
termed tinaj a (F igs . 86 , and are of the most gigantic Size
known,some of them requiring twenty men to lift them from
the kiln . A tinaja in the Musée Céramique at Sevres (F ig.
is upwards of 10 feet high, by 5 feet 2 inches in diameter and
Baron Percy, a surgeon of the Imperial states to have
F ig. 89. Koupch ine. Caucasus (F rom Brongniart.)
measured some four metres (13 feet 1g inches) by two
metres in diameter. They had probably been introduced intoSpain by the Moors
,as Similar vessels are found among theArabs
of Mount Atlas . The oil jars of the Forty Thieves,”in the
Arabian Nights,
”were probably of this description. They are
called houp chines (F ig. 88) by the Caucasian tribes of Armeniaj ;bywhom they are used to containwine. The one (F ig. 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. It Parret and D ubois, Voyage autour du
T he orcio in the Musée C éramique C aucase.
measures metre x 2 about
C LOSSABY .] JAR. 257
from the Atlas to M . Brongniart’s work
,is nearly 10 feet
high by 6 feet 6 inches in its largest diameter. Gigantic vesselsare also made by the Boshmen of the Cape
,
'
l‘
and by the Indiansof who use them for water, and for holding gold-fishes .
F ig. 90 . Vase Cerclé . Egypt. (From Brongniart. )
Fragments of gigantic vessels are found on the borders of the
Ohio, and the camucio of the Brazilian Indians has been alreadydescribed . (See In the class of gigantic piecesmay also be placed the vessel that was made to contain the
famous turbot (rhomhus) of Domitian, and for the baking of
which he caused an oven to be constructed j; 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 (F ig. 90) which is made in horizontal circles (cercle’
)sometimes they are striped longitudinally
3 metres X 2 metres T he F rench metre is equal to 39 -3English inches.
D aniel , Voyage ai l C ap de Bonne Esperance. I Juvenal , Sat. iv.
258 JAR. [APPEND Ix.
Under the article Jar,we cannot omit La Jarra, or the
celebrated Jar of the Alhambra, of which we givea representation (F ig. It is of earthenware ; the ground white, the
F ig. 91. La Jarra. Alhambra. (F rom 0 . Jones’s Alhambra . )
ornaments blue of two shades, or of that gold or copper lustreso Often found in the Spanish and Italian pottery . This beautifulspecimen
,of old Moresco pottery
,together with another similar
to it,was discovered beneath the pavement of the Alhambra
,
and is said to have been filled with gold . Its size is 4 feet
3 inches in height,and 2 feet 11 inches in diameter . Its com
I t was copied in 1842at the Manufactory of Sevres, from drawings made in Spainby D auzats.
260 KERAMIC — KILN . [APPENDIx.
The late M . Brongniart, the talented author of the “ Traitédes Arts Céramiques,” to whom both science and literature
,
in every thing connected with the plastic art,
are much
indebted,has furnished us with thi s term
,which has the
advantage of comprehending the product of,as well as the
material used in,thi s
"
very ancient handicraft. The Greek
word, Kepanos‘, from whence keramic is derived,appears, from
the earliest times, to have been applied in its several varietiesof Kepaluis
‘
,a tile ; Kepapi tov, a drinking vessel ; Kepapii
'
rts yn,
potter’s earth ; Kepapios, a large jar or amphora,—not merely
to the plastic clay itself, but to every species ofmanufacture,in
which it was used . Thus pots,jars
,cups
,and di shes
,and even
bricks and tiles,were all included within its range ; whereas
the English words,
earthenware and “ pottery,
”have each a
limited and distinctivemeaning ; the first being chiefly applied toarticles of the ruder and larger description
,such as coarse jars
and pans ; the second, to thefinest products of the fictile art,
including even porcelain. The Greek word herameus is identicalwith the Latinfigularius, the German topfer, the French p olier,and English p otter.
KI LN . FOUR,Dr — The furnaces employed to fire or bake pottery
,
F ig 92 Common Po ttery K iln.
and are of three descriptions,of which we give representations
from M . Brongniart’
s work,—viz .
,for common pottery (F ig.
GLOSSARY .] KILN .261
for hard pottery (Fig. and for porcelain (F ig. To pre
serve the fine pieces from the direct action of the smoke and
flame of the kiln, they are inclosed in cases call ed seggars,”
F ig. 93 . Hard Po ttery Kiln.
(cazel les) . The seggars are piled up in layers, so as to fill the
interior of the kiln, as represented . ( F ig. 94 )
F ig. 9 1. Porcelain Kiln.
The first process is the firing, or first baking (le granel feu) ,
262 KILN . [APPEND Ix .
in which the piece is exposed to a heat of 47170of Fahrenheit.
This transforms the paste into the state of biscuit. The
glazing is next applied,the heat of the glazing furnace (le elemi
granol feu) being 1300oFahrenheit.
Fixing the colours by vitrification is the next process . Theyare put on the piece either before or after the glazing, accordingto their Strength to resist heat. Those which will bear intenseheat without volatilising (couleurs ale granel fen) are put on
before glazing . Those, on the contrary, which are of a more
delicate nature (couleurs clemoufle, or enamel colours) , are put
on after the glazing . The former class is chiefly employed inChina
,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 extremeheat 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 chrome
,was discovered at Sevres in 1802,
to which have been Since added yell ows from titanium and
uranium. These pigments will all resist the volatilising powerof heat
,and may be employed in the grand feu.
”
Violets,reds and browns, prepared from manganese and
copper,compose an intermediate class (couleurs au elemi grancl
feu) .
The soft paste enamel colours (as in the old Sevres) sink
into and incorporate themselves with the glaze. In the hardpaste, 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 diflerent tints require different degrees of heat to fix them,
264 LEGEND — LUSTROUS . [APPENDIx .
of the Greek potter but as well might mathematical science
be attributed to the common turner in wood and ivory of
modern times, whose productions Show great geometrical
accuracy,though produced merely by mechanical Skill .
LEGEND — The motto or words engraved in a circular manner roundthe head of a person or other representation on a coin
,medal,
&c . The 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.
LI THOPHANIE . TABLEAU x L I THOPHAN I QU ES, F r.
— Porcelain tabletscast in a mould from a model made in wax
,which against the
light have the appearance of being painted in grisaille, the variousthicknesses of the tablet being so arranged as to give the effects
of light and Shade. These tablets are made in great perfectionat the royal manufactories of Berlin and Sevres . They wereinvented, in 1827, by M . de Bourgoing.
LUCA DELLA ROBBIA. WARE — The ware of that celebrated artist
who discovered the art of enamelling upon clay,usually call ed
terra invetriata,
”
(vitrified earth ) . His works,
consist
ing chiefly of altar-pieces and figures,
are much esteemed .
F ig. 3 is an Al tar-piece
LUSTRE METALLI C . LUSTRE METALLI QU E, LUSTRE CHATOYANT , Fr .
— A pecul iar lustre which is fou nd 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 lustresare remarkable upon the Spanish pottery, and Maestro Giorgio
invented the ruby lustre of Gubbio (page
LUSTROUS,ach
’
. LUSTRE,F r. Lustrous glaze . A slight varnish
(cernis) laid on some kinds of pottery to make them capableof holding water The 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
S ee Report of Proceedings of Society of Arts, held January 19, l 848, wh en th is
subj ec t was discussed .
GLOSSARY.] MAJOLICA.
—MOULDS . 265
Roman pottery. It is SO thin,that chemists have never been
able to detach a sufficient quantity free from the substance of
the vessel to discover its component parts . It is,however
,
supposed to consist of asphaltum.
MAJOLI CA .— Italian soft-enamelled pottery. Thi s term is derived
from Majorca,from which island the ware was first introduced
into Italy. It is also called Raphael ware, from the subjectof the paintings being mostly taken from the works of thatgreat painter and of his school . (See F igs . 2, 3, 4, 5, and 6 ;
coloured plates 5 to
MARK .—A letter, monogram, or some device upon the bottom of a
piece,intended to denote the place of its manufacture
, the
artist employed, or the date (F ig. It is sometimes stampedwhil st the clay is in a moist State, or is traced in blue, red, orgold before glazing . (See Marks and Monograms .
F ig. 95. Roman Potter's Mark. (Brongniart. )
MEDALL I ON .—Medals of a larger Size
,supposed to have been struck
by the emperors for their friends,foreign princes
,or ambas
sadors . Medall ions had no current value,holding with ancient
coins the same relation as modern medals do to money .
MONOGRAM (no’
vos single,and — A character or cypher
,
composed of one, two, or more letters interwoven ; being a sort
of abbreviation of a name, anciently used as a seal,badge
,
arms,&c .
,and employed by artists to designate their works .
(See Marks and Monograms .
’
MOULD S are used for figures and for the various ornaments which
are fixed upon the piece. The moulds are generally made of
plaster of Paris, which absorbs moisture readily . The modelsfromwhich the moulds are made require artists of the highestexcellence. Wedgwood paid Mr. Webber 400l . for modellingthe Portland or Barberini vase (page although the workcalled for no original or inventive powers .
266 MUG.
—MURRHINE. [APPENDIx.
MU G— Small drinking vessel,distinguished from the cup by its
cylindrical shape.
MURRHINE VASES — Mentioned by Pliny,*
as coming from the
East ; but the material, as well as the place of manufacture,
is much disputed . He describes them as brilliant, gem-like,
of various colours,generally purple and white, mingled with
the iridescent hues of the rainbow pervading the substance,and made from a stone found in Caramania
,in Persia.
They were first introduced into Rome by Pompey, when hebrought to Rome the treasures of Mithridates . Antiquariesdiffer much respecting the material of which they were com
posed . Count Vollkeim maintains that the murrhine vessels
were the jade or soap -Stone productions of China, and adducesmany plausible arguments in support of his assertion. Others
contend that they were made of sardonyx, moss-agate, fluor
spar,amber
,meerschaum
, or glass pasteri‘ They were evidentlyof Eastern origin ; and many modern writers
,among whom are
Scaliger,Salmasius
,and Dr. Vincent, are inclined to think that
they were true Chinese porcelain,quoting the words of
Propertius“ MU RREAQU E IN PARTH IS POCU LA COCTA FOCIS .
”
Lib. iv. 5, 26.
And murrhine cups baked in Parthian furnaces ;
onwhich passage alone rests the authority for their being porcelain or earthenware. This opinion is rendered more probableby the statement of SirWilliamGell
,that it seems certain that
the porcelain of the eastwas called Mirrha di Smyrna’to as late
a date as I Of whatever substance the real murrhine
cups may have originally been made,the spurious vessels were
probably opalescent glass,to which were imparted iridescent
colours,as may be seen now in some rare specimens of ancient
Venetian glass,and were, according to Arrian, manufactured by
the Egyptians,who were celebrated of old for their perfect imita
Pliny,H. N .
,xxxvn. 7 . D r. Klemm.
I Pompeiana, vol . i., p. 98 but he does not give his authority.
268 NEOK.
-N IELLO. [Ap PEND Ix .
NECK. COL, Pru— This is of different lengths
,in the bottle
,flask,
and flagon. The throat (goulot) is wide or narrow, perpendi
cular,inclining inwards (42 60rd rentmnt) , or widening gradually
outwards
NIELLO,I ta l .
, N I ELLUREh Fr. Niello is a composition of silver,
lead,copper, sulphur, and borax, and derives its name from the
black colour which the mixture assumes when melted . At a
certain degree of heat it becomes fluid allowed to cool it is
hard and brittle Niellure ”lavoro di niell o
,
”or
working in niello,is the process by which this composition is
made to impart the shadows to engravings on metal,most
commonly silver,giving them the appearance of the most
exqui site pen and ink drawings on a dark ground . This iseffected by carefully washing and cleansing the amalgam
,until
brought into the granular state of the finest millet- seed,when
it is spread over the metal surface,which is
’
then heated till thegrains are fused . When cold
,the plate is cleaned and polished
,
the only portion of the niello remaining being that embedded inthe engraved design, and the lines hatched to form the blackback ground . Niellure also signifies the art of running a
similar description of black encaustic (encaustmmnigmm) into
lines or patterns chiselled on surfaces less hard than metal,
such as marble,ivory
,and even earthenware. In France alone,
however— and there only in the fine pottery especially designated as the “ Fayence de Diane de Poitiers -was the niello
work in its monochromatic form introduced into a plasticsubstance. In the Fayence of Francis I . and Henri II .
,
generally,as in that of the Moors in Spain, the delicate tracery
of their beautiful arabesque patterns is constituted of a varietyof colours
,all of which are in like manner damaskeened into
the incised surface, and then smoothed and polished, butcovered with a thin varnish instead of the usual glaze. As far
as minute symmetry of pattern is concerned, no specimensuperior to these keramic productions of the French
“ Renaissance is known to exist— not even in Mahometan
GLOSSARY ] NIELLO. OLLA. 269
art. Always excelling in every kind of surface ornament, these
elaborate and tasteful examples of their favourite “
guillocfiz’
s’
work are perhaps unrivalled .
According to Duchesne, * niellure on metal was an art
practised in France as early as the seventh century, and verysuccessfully until the twelfth, when it appears to have declinedand have been almost forgotten, until its revival in Italy aboutthemiddle of the fifteenth century . Chiefly employed
,however,
in France in the ornaments of armour,the panels of small
cabinets,book-covers
,&c .
,it soared little beyond their usual
scroll and arabesque patterns 3 but with the Italian goldsmithsit took a bolder flight
,and directing its efforts to church
decoration,soon produced those beautiful plates, which are stil l
the pride and glory of so many of their altars . Maso
Finiguerra not only carried the lavoro di niello to its
highest perfection,but was the first to discover
,by the well
known happy accident related by Vasari,the means of taking
impressions on paper of the plates he had engraved . Fine
proofs of these first attempts at chalcography are nevertheless
of extreme rarity,and accordingly form the boast of all the
great collectors of engravings . Their market value may be
estimated by the fact, that a proof from a Niello,believed to be
from the burin of Finiguerra himself, was sold at Sir MarkSykes’s sale in 1824
,and fetched 300 guineas , although
only 4: inches in height by 3 in width . It represents theMadonna seated on a magnificent throne
,with the infant
Saviour on her lap, and surrounded by no less than thirtyfigures
'
t Within little more than fifty years after thi s important di scovery, the working in niello had again fallen into
neglect. Cellini relates that,in 1515
,the art was almost
entirely abandoned .
OLLA.
—A vessel in common use,made of earthenware
,bronze or
9" Essai sur les Nielles. Paris : 1826 . Page 29 .
“ Inquiry into th e Origin and early History of Engraving, by W. Y . Ottley.L ondon : 1816 . Vo l. i. 304.
270 OLLA.
—ORNAMEN TS . [APPEND Ix .
stone, having aWide mouth similar to the fait/50.9. I t was usedfor cooking, or for holding solids
,and was sometimes supported
over the fire by a tripod, or made with tripod feet in one
piece. A painting upon a vase found at Canino,and now in
the British Museum (F ig. represents the story of Medea
F ig . 96. Greek Vase, with painting of Olla. (B ritish Museum.)
boiling an old ram in an oll a,with a view to persuade the
daughters of Pelias to put their father to death . The ram,
restored to youth, is just in the act of leaping out of the pot.
0 11m were also used to hold solids,whil e amphorae were
employed for liquids . Another use of these vessels among the
Greeks was to put infants in them to be exposed . The term
Olla is also applied to a cinerary pot.
ORNAMENT S .—These are in relief (saillam) , incrusted or impressed,
graved or painted, and consist of arabesque and grotesque
patterns, lines crossed in angles, lozenges, zig-zags, the
labyrinth pattern zones and ribands interlaced,
(known as Byzantine) , plaited striated (cannele’
engine-turned (guillocfie’
reticulated, diamonded (at facetées) ,
272 PATINA.
—PERS IAN FAIENCE. [APPEN DIx .
the vi ctims . The Romans derived this usage from the Etrus
cans, who shaped the patera round and shall ow, with a handle
underneath, but the Romans occasionally suppressed the handle.
Originally, paterae were made of earth,but subsequently of
metal . The Royal Academy of Antiquities at Paris possesses amagnificent gold patera
,which was discovered at Rennes in
177 by some masons, when pulling down the Chapter-house .
It has been described by Mill in. The subject on it is a contest
between Hercules and Bacchus, who coul d drink most.
* Smallpaterae were sometimes used in cooking
,although the operation
was more frequently performed in the pot (Olla) , and the bowl
(p atina) . Paterae were also used at meals,but many persons
abstained from the practice,in consequence of their being
employed in sacrificial rites .
PAT INA.— A basin or bowl of earthenware
,rarely of bronze, in
which the ancients cooked and served up ragouts, fish,and
other cul inary preparations . Although the patera and olla
were also used, the articles of diet were more commonly prepared either over or without a fire on the patina. It varied fromthat species of plate called lam ,
which was used only for roastedviands, and which was of metal and of so large a size that a
boar might be brought whole to table. These patinm were
originallymade of earth, but as the Romans increased in luxury,they were
,in common with other utensils, whether for use or
ornament, formed of more costly materials . When Vitellius
wished to obtain an enormous bowl in which to serve up his
famous ragout,which he styled the ZEgis of Minerva
,he had
an oven purposely constructed to bake it, which cost a million
of sestertiafi In the Roman Catholic Church, the term patina,or p atience, is used to denominate the small plate which serves
to receive the consecrated wafer.
PERSIAN Fai EN oE.
—Distinguished by being generally covered withan azure blue or golden yellow ground, the figures
,birds
,
Monumens Antiques Inedits , tom. i. , pl . 24 . Pl iny, l ib . xxxv.
, cap. 12 .
GLOSSARY ] PERSIAN WARE.
—PITHOS . 273
foliage, and other ornaments,being traced in white. F ig. 71 is
a bottle of blue Persian faience about six inches high .
PERS IAN WARE — According to Athenaeus, * the art of making fictilevessels of fine quality was practised at a very early date inPersia
,these utensils
,in addition to other excellencies, pos
sessed the quality of resisting the action of fire in a degreewhich fitted them for being used in the preparation of food .
Athenmus further adds, that the Persians from the abundanceof gold and silver
,held their earthenware utensil s in such
low estimation that they condemned persons to drink out of
fictile vessels as a punishment.
PETUNTSE, crim e, can non
, F ix— Cornish Clay— Pegmatite.
Felspar of a brilliant white,used with kaolin in the composition
of porcelain. Felspar melts at the heat of a porcelain furnaceinto amilky glass ; kaolin does not melt at the same temperature. It is the kaolin
,therefore
,which gives strength and body
to the porcelain . It is related that some Europeans, having
privately obtained some blocks of petuntse in China, and
conveyed them to their own country, vainly endeavoured toconvert them into porcelain ; which becoming known to the
Chinese manufacturers,they deridingly remarked
,that
certainly the Europeans must be a wonderful people,to go
about to make a body whose flesh was to sustain itself without
bones "”“PITCHER . CRUCHE
,Fr . KRUG
,Gez.
—Anciently called Gorges,
a vessel having a handl e,and a beak for pouring out liquids .
Identical With J1lg.
”
(F igs . 36,
PI THOS, GT .
—A. description of earthen vessel or jar, distinguishedfrom the Amphora by its large mouth
,and comparatively
flattened base . Its shape was more that of a gourd,or pot ;
its size large enough to have rendered it applicable to the
purposes of a cistern,or water-butt. Such
,indeed
,appear in
some instances to have been its dimensions,that it has long been
as Athcn. vi. , p . 229 ; xi. , 464, 483 .
274 PITHOS . [APPEND Ix .
a matter of dispute amongst the learned, whether, if Diogenesdwelt in a tub at all
*
(a point by no means settled) , his humblehabitation were of wood or earthenware. Brongniart adoptsthe latter opinion
,and has illustrated it by a partial copy
from a print inWinckelmann‘r ( F ig. In the original
,the
philosopher is shown holding his well -known chatwith Al exander
F ig 97. D iogenes in a Pi thos .
the Great, at the gate ofthe Metroum,or Temple of the Mother
of the Gods at Athens ; but his tub has there the addition of a
dog lying on the outside,above his master’s head
,evidently on
the watch to defend him,if necessary
,against any attack from
the royal warrior. Winckelmann’
s engraving is taken from a
bas-relief di scovered in the Villa Al bani in which the cynic’stub is clearly of earthenware
,having a large fracture on one
side,which has been repaired with some other material dove
tailed across the crack . This, Winckehnann concludes to have
Smith’s Dictionary of Greek and Roman Biography, Art. Diogenes .
VVinckelmann,Monumenti Antichi
,F ol . tom. ii. 229 ; Roma, 1821.
276 PLATE — PORCELAIN . [APPEND Ix.
safeguards of the city,
and looked upon earthen vessels as
proper for religious ceremonies, although gold and—
silver might
be admitted in their private entertainments for Pliny says, *
that the productions of this class,“ both in regard to their
skilful fabrication and their high antiquity,were more sacred,
and certainly more innbcent, than gold .
”
PLATE . PIATTA,I ta l . TELLER, Gen— A small circular shall ow
vessel from whi ch meat and other food is eaten at table. So
dexterous are the English p otters, that M . Brongniart states,
that a good turner will make 600 earthenware plates a day ; of
porcelain not more than from 60 to 80 can be made,in conse
quence of the greater nicety required with the finer paste.
PLATEAU . A stand used to hold a tea-service.
PORCELAIN.—A semi-vitrified compound, in which one portion
(kaolin) remains infusible at the greatest heat to which it can
be exposed, while the other part (petu ntse) vitrifies at that
heat,and, enveloping the infusible part, produces that smooth
compact and shining texture, as well as transparency,that are
di stinctive of true porcelain.
PORCELAIN —A species of porcelain made by this
celebrated chemist from the component materials of glass,but
which wanted the aluminous substances necessary to give theconsistency of true porcelain.
A singul ar change takes place in the texture of glass whenexposed for some time to a moderate red heat, or any other
higher temperature,but below its melting point. Neumann
appears the first who noticed thi s change, which was afterwardsexamined more at large by Reaumur ; and from the porcel
laneous texture which the glass assumes when thus changed,
it has been commonly called Réaumur’s porcelain. By ex
periments made by Dr. Lewis, in a strong red heat not
sufficient to melt the glass,in two hours the glass assumed the
appearance of porcelain ; after that,it became gradually white
Hist. N at., xxxv. 46 .
Gnossim j PORCELAIN .
—POTTERY . 277
and opaque, and the texture was no longer vitreous, but fibrous .
By degrees the glass became throughout opaque and fibrous,and the '
colour of a dul l white. A longer continuance of the
fire induced a further change of texture from fibrous to granular
,like common porcelain ; from being compact it became
porous,and at last resolved itself into a friable substance like
white sand . N o use has been made of it in manufacture, from
the circumstance,that though the inner texture is fine and
white,the outer is coarse and dirty looking
,friable
, and liableto return to its vitreous state— AIKIN DI CT . (Article Glass,
”
29.
Many specimens of early Chelsea are of this description, aswell as some of Chinesemanufacture.
PORCELAIN,COMPOS I T ION
‘
OF .
-Seven parts silex,six parts aluminous
earth, and two parts alkaline earth,is the basis upon which the
German and French produced their manufactures of hard paste.
The English soft paste contains a large portion of bone. (See
page By thi s means,a brilliant white porcelain is pro
duced, which, however, is deficient in density and very liable tocrack on the application of hot liquids .
POT . TOPE,Gen— Vessels used for culinary and similar purposes
,
such as porridge-pots (marmites) , water-pots (casters) , tea-pots
(mamaPOTTER’
S CLAY , ARGILE PLAST IQUE et ARGI LE F IGULINE, F an,
TOPFERTHON , Ger.
POTTERY . FAYENCE — This term is applied to all ware which is
distinguished from porcelain by being opaque and not trans
lucid . The word is derived from P otam,Latin
,a drinking
vessel .
POTTERY— of aboriginal tribes, —German,Sclavonian
,Scandinavian
,
Celtic . This pottery,supposed to date from about a century
before the Christian era,is found in Germany and other parts of
Europe,and throws great light upon the topographical history of
these tribes . It is found in tombs (See and either
278 POTTERY . [Ap pEND Ix.
contained the ashes of the dead,when it was the custom to burn
the body,or was ranged round the skeleton when the custom of
burning had ceased,as a homage to the dead . These vessels
are found of every Size and dimension,and arranged with great
symmetry and regularity,when
not disturbed by the lemmings orthe rabbits . Many superstitionsrespecting them exist even at
the present day. In Hanover,
the peasantry break every vessel
F ig 98
bgl
gi
zf
lgigéfiof
ggsidrawing they find
,believing that the soul
of the Vandal,whose ashes it
contains, will reappear and haunt the person who woulddare to carry it away . In Dessau and Forgan
,the people con
ceive them to be the manufacture of a race of dwarfs,who live
F ig. 99. Vase. F ound near Breslau, from F ig. 100. Vase . F ound near Mech lenberg.
a drawing by G. S . N icholson, Esq . B rongniart .
*
under ground and continue to make them. They call them
dwarf-pots (zwwgea -zfqpfe.) (See Tumulus . This potteryis soft, very fragile, and of an ashy grey colour
,sometimes
black,probably prepared from black lead . The rattle (Fig. 98)
was found in the tomb of a Sclavonian child,and we give it
F rom the Museum F riderico -F ranciscum or C ollection of German and SclavonianAntiquities of the Grand Duchy of Mecklenburg, by S chro’tter Lisch.
280 SOUTH AMERICAN POTTERY . [APPEN DIx.
collection of this pottery in the British Museum,from which
these cuts are taken.
POTTERY (SOUTH AMERI CAN ) . —The pottery of Peru,Chili, and
F ig 103 . Group . Peru. (Briti sh Museum. )
Columbia has a pecul iar character which distingui shes it fromany European, and approximates it to the Mexican
,having the
F ig . 104. Group . Peru. (Bri tish Museum. )
same clumsy and uncouth shapes . The cuts (Figs . of
Peruvian pottery are taken from specimens in the British
GLOSSARY .] POTTERY . 281
Museum . The specimen (F ig. 105) from Bogota,taken from
a tomb of an ancient Cacique, and supposed to have been filledwith gold dust, is with its companion, in the possession of
Turner,Esq . late minister at that court.
F ig. 105 . Bogota. (Col l . Turner )
Southey, History of Brazil, alludes to the excellence
of the South American potters .
The Tupinambas were in many respects an improved raceThe women were skilful potters . They dried their vessels in
the sun,then inverted them
,and covered them with dry bark,
to which they set fire, and thus baked them sufficiently . Many ofthe American tribes carried this art to great perfection. Thereare some who bury their dead in jars large enough to receive themerect. The Thipinambas, by means of some white liquid, glazedthe inside of their utensils so well
,that it is said that the
potters in France could not do it better. The outside wasgenerally finished with less care . Those however in which theykept their food were frequently painted in scrolls and flourishes
,
intricately intertwisted and nicely executed, but after no pattern ;nor could they copy what they had once produced . Thisearthenware was in common use ; and De Lery observes, that
POTTERY . [APPEND Ix .
in this respect,the savages were better furnished than those
persons in his own country,who fed from trenchers and
wooden bowls .
”
POTT ERY , HI SPAN o -ARABI C OR SPAN I SH-MORES CO.—This pottery is
impressed all over with Arabic inscriptions, and sometimes
ornamented with sunk arabesque patterns as richly as a lace
veil i‘
(F ig. The Hispano-Arabic pottery was for some time
little known, and consequently confounded with the
F ig. 106. Fragment. Moorish Po ttery . (Co ll . Ford . )
Majolica, of which it was the original type. M . Riocreux,
the learned director of the Museum at Sevres, is the first
who directed attention to the subject. That the only potteryworthy of notice in the early ages was that of Arabic pro
duction,we learn from the inventories of the time, in which
whenever we find mention of any keramic production amongthe precious valuables, it is always the pottery ofthe East. Thus
in the inventories of Charles V . in 1379, we find “ U ng petit
pot de terre en facon de Damas and again, “ Ung pot de
terre abiberon sans garnyson, de la facon de Damas . Damascus
pottery therefore was the only kind deserving mention, and weknow that Damascuswas especially themanufacturing city of the
S outhey, History of Brazil, vol . i. 243.
‘l' F ord’s Hand Book for Spain.
284 POTTERY [APPEND Ix.
died in 1441 . Another plate in the museum is ofmore careful
execution, the bottom is filled with a shield, part of Castill e
and Leon, part of Aragon and Sicily— consequently that of
Ferdinand and I sabella. Thi s plate therefore must have beenmade between 1469 and 1504 . A basin bears theMahommedancrescent, with the Shield of Leon
,and must therefore be
anterior to 1230, the epoch of the union of Leon and Castill e,
under Ferdinand I IIT he Hispano-Arabic pottery which composes the third class
,
presents ornaments in coloured enamel, combined with ornamentsof golden yell ow ; the subjects are almost always escutcheons,foliage, and cyphers ; sometimes
,however, animals . The pieces
of this class are carefully executed,and do not appear to go
farther back than the end of the fifteenth century . We may
be led to infer that the Italian artists imitated in the sixteenth
century the Hispano-Arabic pottery of this third kind . It will
require further researches distinctly to trace the history of thisHispano-Arabic pottery
,but, from the piece bearing the
of Blanche of Navarre,we are assured of the perfection to
which it had arrived at that period, and consequently anteriorto Luca della Robbia
,thus giving Spain the priority over
Italy in the manufacture of enamelled pottery.
*
POTTERY , EGYPT IAN — Often called porcelain. It is so hard as to
draw sparks from steel, and is with difficulty fusible bythe blowpipe. It is covered with a blue or greeni sh bluepeculiar glaze, such as is seen in the little blue figures and
images of Egypt ; whi ch though, as marks of art,they are of
little worth, yet it Shows that the Egyptians had made the firststep towards the invention of porcelain. The deep blue colour
was attributed to cobalt,but by analysis copper only has been
detected in its composition. 1”
PRINT ING EARTHENWARE is effected by transfer-papers from engravedCopper-plates . The ink used is made of linseed oil
,which is
M . Jules Labarte, Description de la C ollection D ebruge D uménil, IntroductionHistorique
,p. 284. 1
' S ee Brongniart, tom. i., p. 504 .
GLOSSARY.] PRINTING EARTHENWARE.
—RHYTON .
the vehicle of the colour used,and evaporates in the baking,
leaving the colour on the piece. The invention is due to
Dr. Wall,of Worcester (see page 182) and so quickly is it
executed that a plate is printed in England in eight seconds .*
In France, the process was first used in 17 77 to print thecameo heads in a service ordered at Sevres by Prince Buriatinsky, for the Empress Catherine but it was not generallyadopted in that country until about 1808.
QUEEN’S WARE . FAIENCE F INE
,F in— The hard pottery made from
pipe-clay,dedicated by Wedgwood to the Queen.
RABESCHI,[ tab —An old term for arabesques .
RETRAI TE DE LA PATE — A technical term to indicate the diminutionin volume of keramic pastes
,first in drying
, and afterwards inbaking . It varies
,according to the pastes, from two to twenty
per cent., and even more.
'l‘
RHYTON.—A drinking-cup, originally
,perhaps
,in the form of a
F ig. 107. Rhyton. Greek . (Museo Borbonico . ) Fig. 108. Rhyton. Greek. (Museo Borbonico . )
cow’s horn
,as it is often represented in the hands of Bacchus
on the painted vases,but it frequently terminates in the head
of a dog (F ig. fox,bull
,horse
,Stag
,boar
,ram (F ig.
eagle, cock, or griffin . It is sometimes represented in ancient
Brongniart, tom. p . 654. Ibid.,i. , 262.
286 ROSE DUBARRY .
—SAMIAN WARE. [APPEND Ix.
paintings with the wine flowing in a slender stream from the
extremity, which was perforated . As it could only stand wheninverted, it was necessary to drain it to the bottom before itcould be laid down.
ROSE DUBARRY .—A beautiful pink or rose-colour
,found on the old
pate tendre of Sevres. Al though this term is familiar to the
collectors of china, as designating one of themost lovely coloursSevres ever produced, it is singular that the name is unknownat Sevres, and no account can be found in the archives of the
manufactory of a colour
-
bearing that name. The only recordofMadame Dubarry, in connexion with the establishment
,is a
label affixed to two vases in the model room, Vase du Barry .
”
Probably the “rose
”may have been her chosen colour
,and
worn in compliment to her, as the bleu de roi”was the
livrée ”of the king’s domestiques
,these two words having
in those days a much wider acceptation than in the present time.
A knight in the tournament,wore the livra
’
e”
of his lady .
11 ports la livrée du duc d’
Orleans, ou du Roi,”implied that
he wore their colours, either (and usually) in a shoulder-knot,
or in uniform. The kings“ garde royale” wore the bleu de
roi The word domestique” was applied as we say servants
of the crown literally, members of the household .
SAMIAN WARE — The red lustrous pottery of Rome is usuallydesignated by English antiquarians as SamianWare
,a term
which it owes to its being deserving, from its perfection, (See“ Terra sigillata” ) to be compared with that of Samos
,which
was generally used by the better order of Romans in their
meals . Pliny says, Samia in esculi s laudantur,
”lid. 35
,c . 46 .
Samos, Athens, and Etruria, especially the cities of Arretium T
“ Les l ivre’
es du Roi sont de bleu, personne n’ose porter cette livrée, sans une
concession particuliere.—D t
'
ct. dc Trevoux .
’l‘ Aretina nimis ne spernas vasa, monemus,
Lantus erat T uscis Porsena fictilibus.
”
Martia l, l ib . xiv . 98.
S ic Aretinaz violant crystallina testes.
”
I bid . lib . i. 54.
STEM.
-TEA- POT . [APPENDIx.
STEM . CULOT, Fr.— That portion of a vase which unites the body
to the base, and is simple, elongated, Shortened, or variously
fashioned .
STONEWARE . GRES -CERAME, Fr.— Common hard pottery glazed
with salt.
1o 0
STONEWARE . FLEMI SH. GREs-FLAMANn.— A fine description of
ware, remarkable for its brill iant colour and grotesque shapes .
(See Coloured Plate and F igs. 39, 40, 41,
TANKARD .—From elaz
'
n and quart, pewter being the metal, and a
quart the prescribed capacity of the ancient tankard .
TEA-POT . THEIERE, Fr.-N o specimen of the kerami c art possesses
greater variety of form than the tea-
pot. On none has the
ingenuity of the potter been more fully exercised,and it is
worthy of remark, that the first successful production of
Bottcher in hard porcelain was a tea-
pot.
*
The so-calledElizabethan tea-pots 1‘ must be of a later date
, for tea was not
known in England until the time of Charles II ; I but, it is
interesting to trace the gradual increase in the Size of the
tea-
pot, from the diminutive productions of the Elers, § in thetime of Queen Anne and George I .
, when tea was sold inapothecaries’ Shops, to the capacious vessel which suppliedDr. Johnson with “ the cup that cheers but not inebriates .
”
Page 130 . F ig. 30.
I T he Dutch East India C ompany probably first introduced tea into Europe.
In 1660. T ea is first mentioned in an
Act of Parliament, wh ereby a duty of
eightpence a gallon is charged upon everygallon of tea, coffee, and chocolate madefor sale, but it musthave been then recentlyintroduced, for Pepys, in h is Diary, Septemb er 25, 1661, writes,
“ I sent for a cup of
tea (a Chinese drink) , of wh ich I h ad
never drunk before .
”
In 1662, Charles married a princess of
Portugal, whence Waller says, “ the best of
queens, and the best of plants, we owe to
that hold nation.
”In 1664, the East
India C ompany purchased, for the purpose
of presenting to the king, two pounds two
ounces of tea. In 1666, a quantity of teawas brough t from Holland by L ord Arlington and Lord Ossory, after which tea soon
became in request among people of fashion,
and Hanway informs us (Journal, vol . 11,
p . 21) that at that time it sold for sixtyshillings a pound. In 1678, the East
India C ompany imported 47 13 pounds of
tea, which was then, for the first time,thought worth their attention as a branchof trade ; but in the Six following yearsthe entire import did no t amount to more
than 410 pounds. In 1536, the duty waspaid for consumption uponpounds.Page 81.
GLOSSARY ] TEA—POT .
—TENACITY . 289
Mr. Croker, in his edition of Boswell’s Life, mentions a tea
pot that belonged to Dr. Johnson which held two quarts ;but this sinks into insignificance compared with the superiormagnitude of that in the possession of Mrs . Marryat, of Wimbledon
,who p urchased it at the sale of Mrs . Piozzi’s effects at
Streatham. This tea-
pot, which was the one generally used byDr. Johnson, holds more than three quarts . It is of old
Oriental porcelain, painted and gilded, and from its capacity waswell suited to the taste of one “ whose tea-kettle had no time
to cool,who with tea solaced the midnight hour, and with tea
welcomed the morn.
” i‘ George IV. had a large assemblage of
tea-pots, piled in pyramids, in the Pavilion at Brighton. Mrs .
Elizabeth Carter was also a collector of tea-pots, each of which
possessed some traditionary interest, independently of its in
trinsic merit ; but the most diligent collector of tea-pots wasthe late Mrs . Hawes . She bequeathed no less than three
hundred specimens to. her daughter, Mrs . Donkin, who has
arranged them in a room appropriated for the purpose. Amongthem are several formerly belonging to Queen Charlotte. Manyare of the old Japan ; one with two divisions, and two spoutsfor holding both black and green tea ; and another of curious
device,with a small aperture at the bottom to admit the water,
there being no opening at the top, atmospheric pressure preventing the water from running out. This singular Chinesetoy has been copied in the Rockingham ware.
TENACITY .—An important property in pottery, which consists in its
power of resisting fracture, either from the effects of a blow,
from sudden change of temperature,or from pressure. Coarse
pottery, from the porous nature of the paste,is little influenced
by temperature, and will resist a sharp blow, but it possesses
little tenacity,for its parts having little adherence
,it will
crush on the slightest pressure. Hard porcelain, again,will
4" T he Rev. Mr. Parker, of Henley, is in 1‘ D r. Johnson’
s declaration of himselfpossession of a tea-pot, wh ich belonged to as given by Murphy in his Essay on the
D r. Johnson, and which contains above two Life and Genius of Johnson.
quarts— Note to Boswell’s Life, i. p. 297 .
290 TERRAGLIA.
— TILES . [APPEND Ix .
break with a slight blow,as many a collector can attest
,
who Though some frail china jar receive a flaw,”
has been called upon to show her equanimity,and prove herself,
in the words of the poet, to be
Mistressof herself though china fall .
From the coherent nature of the paste,hard porcelain will
resist the strongest pressure, and will usually bear a high degreeof temperature. The soft porcelain of Sevres
,that of Tournay
,
and the English iron- stone,are the kinds of pottery which pos
sess in the highest degree the power of resisting a blow,and
they may even be thrown upon the ground without breaking,
but they are incapable of resisting a high temperature.
TERRAGLIA .—The Italian term for fine pottery of hard paste.
TERRA SIGI LLATA .
-A term applied more especially by the Germanwriters
,to the red, lustrous pottery of the Romans, in conse
quence of the figures and ornaments in relief with which it is
decorated . This pottery is of the same appearance in whatevercountry it may be found, its sealing-wax red colour being attri
buted to the clay being mixed with red ochre. It dates fromthe first century before
,to the third century of the Christian era.
It appears to have been made solely for domestic use,and is
never found in the tombs . The ornaments consist of lions,
goats, hares, rabbits, doves, eagles, ivy or vine leaves,&c .
TESTA,L ari — The Roman testa
,as its name implies, was made of
burnt clay, and answers,in point of size
,to our cask or vat.
Such was the ordinary wine-cask of the earliest days of Rome,
and corresponding, as it did,with the Kepap aov, as well in
material as in form,was called a Grecian cask .
”
VI LE POTAB IS MOD IC IS SAB INUM
CANTHARIS , GRE CA QUOD EGO I PSE T ESTA
COND I T U M LEVI .
”
Horace, L ib . i . 20 .
TI LES,CARREAUX
, Fr .-These are of two kinds
,— those employed
for roofing,and those for paving, and ornamental covering of
292 MAHOMMEDAN T ILES . [APPENDIx.
TI LES,FLEMI SH AN D DUTCH .
—A manufactory of tiles also existedin Flanders, from whence they were imported into England .
A. tile in Holnaker House, Chichester, has inscribed upon it in
F lemish, D ie tijit cort, wacht na loud .
”
(The time is short,wait for the knell .) In the reign of Henry VII I .
,paving tiles
of green and yellow were imported from Flanders for ChristChurch
, Oxford, and Hampton Court Palace. The Dutch delfttiles used for lining fire-
places, dairies, &c .,are too well known
to need any particular description. They are remarkable fortheir beauty of colour and glazing
,and are certainly the finest
specimens of this kind of pottery . They seem to have come
into fashion in England about 1625 . Some curious passagesoccur in the travels of Sir W. Brereton of Cheshire, edited byMr. Hawkins for the Chetham Society, relating to these tiles,or
“ painted stones, their prices,devices
,&c .
*
TI LES , FRENCH.— See Tiles
,Norman
,
” “ Palissy Tiles,
”(Fig.
TILES, GERMAN .— See Page 42, F ig,
23.
TILES,ITALIAN .
— See “ Majolica,”
(Pages 8 and 15, F ig.
TI LES,MAHOMMEDAN.
— These date from the period ofMahomet, as
their name indicates, and are described by Burckhardt, whowasfortunate enough to gain access to his tomb in the Mosque ofMedina
,built in A.D . 707 He describes the columns as cased
for half their height with bright glazed green tiles or slates,
decorated with arabesques of various colours . M . Botta
procured a tile taken from the tomb itself, which is in the
royal museum at Sevres . It is covered with a fine glaze,the pattern is divided longitudinally into two parts by a blackband
, one side being green (the sacred colour ), and the other
blue. When the Mahommedans,in A .D . 1101, extended their
empire over half of the continent of Asia, they introduced tilesand architectural ornaments in the construction of their
mosques,specimens of which may be seen in the museum of
the East India Company,who possess glazed tiles from Gowr,
the ancient capital of Bengal,others from Golconda, and from
Nepaul,all of Mahommedan manufacture. Similar tiles are
Pages 59 , 66 , 69 .
GLOSSARY ] NORMAN TILES . 293
met with in Syria according to Dr. Russell and at Adrianople,according to Lady Mary W . Montague. In Africa
,also
,glazed
tiles were used by the Arabs in their mosques and palaces,as
recorded by Mr. Windus in 1721, 1Land Captain Kennedy in
4.
hi s work upon Al geria. + Some from the latter place are figuredin the Atlas of the Musée Céramique.
TI LES . NORMAN — Among the earliest specimens of Norman tiles
are those described by Lord Henniker § as forming the pavement of the guard-chambers [l of an ancient palace of KingWilliam the Conqueror, at Caen, built in the eleventh century .
The floor is paved with tiles,each near five inches square,
baked almost to vitrification. Eight rows of these tiles,
running from east to west, are charged with different coats of
arms, generally said to be those of the families who attendedDuke William in his invasion of England . The intervals
between each of these rows are fill ed up with a kind of
tessellated pavement, the middle whereof represents a maze or
labyrinth . The remainder of the floor is inl aid with small
squares of difierent colours, placed alternately, and formed intodraught or chess boards for the amusement of the soldierywhile on guard .
” These tiles are now in the museum of the
F ig. 109. Norman T ile. F ig. 110. N orman T i le.
Society of Antiquaries at Somerset House, having been presented by Lord Henniker. Two specimens, one bearing the
Russell’s Aleppo . and history of Norman tiles stained with1‘ Pp. 101 and 221. armorial bearings.I Algeria and Tunis in 1845. ll This chamber is nowwholly destroyed .
Two letters, addressed to the S ociety I t was first noticed by D ucarel , in h is Tourof Antiquaries, on the origin, antiquity , in Normandy, published in 1767 .
294 PERSIAN TILES . [APPEN D Ix .
arms sometimes attributed to William the Conqueror, the other
those of France, are here given. (F igs . 109,
Twenty of these tiles, which were taken up in the summer
of 1786, are figured in the Gentleman’
s Magazine,”vol .
lix .,p . 24, where they are described as glazed earthenware,
and the vitrified colOIirs upon the surface with which they areornamented, of a light grey and black,
*
and the tiles them
selves as being reported by the monks to have been laid downin the floor in the time
_
of William the Conqueror. It is a
point,however, generally admitted by antiquaries
,that no
armorial bearings existed at all at the period above mentioned .
As they did not, a later date ’l‘ must be assigned to the tiles .
Some of the best specimens of these tiles that have been
found of the date of the twelfth century,are those at
i
St. Pol
de Leon in Lower Brittany . In the Abbey of Voulton, nearProvins, founded in the thirteenth century by Queen Blanche,mother of St. Louis
,there are ancient tiles of which the
ground is red,with ornaments in yell ow,
some having a lion,
some a cross composed of “cul ots enfil és
,
”with a fleur-de-lis
in each angle,the fleur -de-lis being that of St. Louis
,as is
evident from its form. Similar tiles have been met with in theChateau of Fontainebleau in taking up the floor of one of the
rooms occupied by that monarch .
TI LES,PERSIAN .
— Tll ese date from the tenth century,and are
described by Pietro delle Valle,1'
who travelled in Persia in1 617 The French author of the “ Beautez de la Perse,
”who was
,
in 1665,at the court of Shah Abbas
,§ Tavernier
,Hand Chardin
,
all describe the tiles in the mosque at Com,the most celebrated
in theEast,in which the descendants ofAl i are interred . Chardin
describes it as lined “ with square China tiles, painted inMoresco
work,and adorned with gold and azure.
” ‘ll W . J . Beck
, Esq .,
These tiles are now at Mavesyn Rid I Vol . i. , Letter 1.
ware, S taffordsh ire, in a sepulchral chapel Paris Edition of 1673, p . 12.
belongi ng to th e Chadwick family. II T om. i., p . 58.
Their date is probably the earlier part fl] Travels in Persia, sec. 20 .
of the thirteenth century .
296 TUMULUS . [APPEND Ix .
have been '
extended to childrens’ obsequies,as toys of pottery
(F ig. 98) have been found in children’s tombs
,bOth in Greece
and Germany .
*
F ig. 111 . Tumulus w ith Skeletonsfi (B rongniart. )
F ig. 111 represents a family tomb,found in the centre of a
tumulus at U nterweeden, near Oberfarrenstadt,
placed,like all of that district, due east and west it was care
ful ly closed,and divided transversely into two chambers
,with
a skeleton in each,and bottle- Shaped urns, with other pieces of
pottery .
F ig. 112. T umulus with Ash esnL (Brongniart .)
F ig. 112 represents another kind of tomb, formed of irregular
blocks of Stone,also under a tumulus
,but containing no
skeleton. It would appear that the body had been burned, andthe ashes placed in the urns inclosed in the tomb . This wasfound near Radesberg, not far from Dresden i
Millingen, Introd.
"l‘ F igs. 111 , 112 are taken from Bergner in D r. F . Kruse’
D eutsclte Alterthumer.
I Brongniart, Traité, tom. i., p . 471.
GLOSSARY ] TUMULUS . 297
The following are drawings of the Greek tombs of Cam
Fig. 113. T omb, near N ola.
pania. F ig. 113 represents a sepulchral chamber,near Nola,
and Shows the position of the vases and the body .
F ig. 114. Vases in T ombs . (D’Harcanvrl le)
F ig. 114 is a tomb in cut stone.
298 TUREEN .
—URN . [APPEND Ix .
The celebrated Etruscan tomb,brought home by Campanari
is to be seen,in detached pieces
,in the British
—
Museum .
TUREEN, from the French lerrirze.—A vessel used for holding soup
at table ; a smaller kind is called from its form a boat, such as
sauce-boat, &c .
U RN —A classical‘
form of vase of which the mouth is generallynarrower than the body (F ig. It is particularly used to
F ig. 115. U rn, b lack . N orfo lk . (British Museum. )
designate those vessels which, found in the tumuli, containashes and bones of the dead, but the term is also (incorrectly)
F ig. 116 . U rn. Mecklenburg. (Brongniart. )
applied to vessels of all descriptions found in tombs or barrows .
One of the most characteristic specimens yet discovered, was
300 VASES . [APPEND Ix .
and painted, of Greece, her colonies, and her conquests. The
variety and elegance of the forms which pervadeevery description of this ware, the Singularity and beauty of the designs
,
no less than the extraordinary composition of the subjects ofthe pictures, have all combined to render it peculiarly attractive .
The thinness and lightness of thisware are much to be admired .
That it was an object of ambition to excel in these respects,is
known from the story of a master and his pupil, who con
tended which could throw the thinnest clay,and whose two
Amphorae,the result of the trial, were preserved in the temple
at Erythrafi"
The fictile vase-painting of the Greeks was a distinct art of
itself, and was practised by a distinct class of artists . A part
of Athens was called Keramicus, from being inhabited bypotters . Statues were erected and medals struck in honour of
the most celebrated potters, and their master-pieces were
publicly exhibited at the Panathenaeafr and were given, withsome oil from the sacred olive tree in the Acropolis, as prizesto the victors at the games . These Panathenaic vases seem
to have been buried with their owners, for they have been discovered only in tombs . They were of large size some of those
which have been dug up are two feet high . They represent onone side the figure of Athena, on the other the various con
tests and games,in which these vases were given as prizes .
D’Harcanville supposes that vase-painting had entirely ceased
about the time of the destruction of Corinth, and that the art
ofmanufacturing vases began to decline towards the reign of
Trajan, and arrived at its last period about the time of the
Antonines and Septimius Severus . Vase-painting had evi
dently ceased long before the time of Pliny,for he states that
painted vaseswere more valuable than even the Murrhine vases,but the manufacture of the vases themselves appears to have
Pliny, xxxv. 46 .
T he great Athenian festival in honour of Athena, the protectress of the city, andcelebrated by all the Attic tribes conj ointly, by religious solemnities, games, and amuse
ments. I H. N .
,xxxv. 46.
GLOSSARY ] VASES . 301
been Still extensive,as he mentions Sixteen celebrated potteries
in his own time. Even in the time of the Empire,painted
vases were termed operis antiqui,
”and were then
F ig. 117. Greek Vase. (Dodwel l’s Greece. )
for in the ancient tombs of Campania and Magna Grascia.
Suetonius mentions the discovery of some vases of this
description in the time of Julius Caesar, in clearing away somevery ancient tombs at Capua. It is also remarkable that not asingle painted vase has yet been discovered either in Pompeu,Hercul aneum,
or Stabiae, which is of itself almost sufficient to
J ul . C ass , 81 .
302 VASES . [APPENDIx .
prove that vase-painting was not then practised,and also that
painted vases were extremely rare .
F ig. 117 represents a vase found in the neighbourhood of
Corinth, which was brought home by Mr. Dodwell .F ig. 118 is a specimen from the collection of the late Mr.
Beckford,representingBacchus upon the Dromedary. It sold
for 200 guineas . The figures were enriched beaten gold .
F ig. 118 Greek painted Vase. (Co ll. Beckford.)
Smith’s D ictionary ofGreek and Roman Antiquities, p . 907 .
304 CLASSIF ICATION OF POTTERY .
F IRS T GRO U P.
P a le yellow orfawn colour, sofaint as nearly to app roach to dirty white.
EXAMPLES.
Egypt : Utensils and vases of Thebes .
Greece : Amphorae of Tarentum.
Rome : Water-jars, or cisterns, and amphorae.
Moortslt Tinajas, jars, and drinking cups .
and
Catfiollc. Al carrazas,tinajas
, 850 .
Italy, Al geria Jars,amphorae, and hydrocérames .
England, France, &0 . Sugar-moul ds,culinary and household
vessels, pitchers, pipkins, plates, and pans .
S EC ON D GRO U P.
D ull red, p assing to red brown.
EXAMPLES .
Egypt : Cones of mummies ; vases, painted in the times of the
Ptolemies .
Greece (Aucteut) Of all localities and all forms .
(Modern) Of the Ar chipelago,bottles, and other pieces .
Gallo and Anglo-Roman : Of different places,principally bottles
used by travellers .
Peru (Aueteut) : Large amphorae, bottles, figures .
(Modern) : Of all forms and for all purposes .
Chile (Modern) : Of Talcuhuano of all forms and for all purposes .
India and Cochin China : Of Pondicherry ; of all forms and for
all purposes .
France,England
, and all countries where common pottery ismade : Boilers
,chimney-pots
,&c .
,milkpans, bottles, sugar
moul ds, and most ordinary and common red ware.
CLASSIF ICATION OF POTTERY . 305
T HIRD GRO U P.
Ashy grey—more or less deep .
EXAMPLES .
Egypt : Hydrocérames .
German, Sclavonian, Scandinavian, and Gallo-Celtic Funeral
vases, &c .
,in tumuli, barrows, and burial places in Germany,
England, 850 .
ROme : Common vessels,in all countries once occupied by the
Romans .
Corsica Funeral urns .
FO U RT H GRO U P.
D ead black, or shim/ing, either by p olishing or anthracitic lustre.
EXAMPLES .
Etruria : Volterra,&c . Vases, 850 .
Gaul (Ancient) . Ditto .
India : Bengal . Various utensils .
America : Peru. Ditto .
France : Cessel, Department of Al lier, &c .
England : Black ware of Staffordshire.
Portugal : Schavo, made black by smoke.
B lack, p olished, or shin ing by friction.
EXAMPLES .
Jutland, Madagascar, Columbia : Common coarse wares of these
countries .
B lack, with an thracitic lustre.
EXAMPLES .
India Calcutta—bottles,&c .
Holland : Black bricks .
306 CLASSIFICATION OF POTTERY .
2 2mmSoftware—lustrous (F ayence lustre
’
e.)
This pottery is distinguished from all other kinds by the followingcharacteristics
Paste : Homogeneous— fine, but of loose texture— tender Smooth
fracture,more or less coloured— yellow-reddish or g
’
reyish .
Surface : Shining from a v ery thin vitreous covering, alkaline
(a lealtfére) , reddish , and often of a fine black . The sounddull .
Workmanship good, made either by the lathe or in a mould .
EXAMPLES .
Egyptian, Tyrrhenian, and
Phoenician,
Etruscan, Vessels of all descriptions .
Greek, In Tombs .
Roman,
aim 6318155.
S oft war/re, glazed (Fayence uernisse’
e. )
Paste : Homogeneous,tender
, earthy fracture, porous texture,opaque, coloured
,coated with a thick glazing, transparent
and coloured,plumbiferous ;
Manufacture : Coarse and quickly done, sometimes turned, butmore generally worked into form by the fingers
,without
either models,moul ds
,or lathe.
This class comprises principally vessels or utensils for domesticpurposes, the common tiles and coarse pottery in general use.
Colours Red,brown
,yellow
,green.
EXAMPLES .
Common pottery of all European nations .
Common pottery of Asia, Africa, and America .
308 CLASSIF ICATION OF POTTERY .
EXAMPLES .
France Fayence of Henry I I .
’S time.
England : Elizabethan ware Queen’s and Wedgwood ware.
Italy : Terraglia of Doccia,Florence
,&c .
Holland and Germany Pipe manufactures .
2 2mm" arises.
S tonewar e (Gres Ce’
rame. )
Paste : coloured,dense
,very hard ; sonorous, opaque more or
less,finely granul ar
,with or without glazing, varni shed,
lustrous, coated with a silico-alkaline glaze, or glazed by thedecomposition of common salt.
This class is divided into common Stoneware, and fine Stoneware.
F IRS T S PEC IES“
.
Common S toneware.
EXAMPLES .
Flanders and France Jars and bottles .
Germany Cologne Ware,crucibles
,&c .
England Burslem,Vauxhall, and Lambeth wares .
S EC O N D S PEC IES .
F ine S toneware.
Thi s kind differs from the preceding in the superior compositionof its paste.
EXAMPLES .
China and Japan : Vases, jars, &c .,
Germany,Flanders, and Holl and : Jugs, bottles, &c .
France : Jugs,bottles
,&c .,
.
of Beauvais .
England : Coloured wares ofWedgwood .
CLASSIF ICATION OF PORCELAIN . 309
PORCELAIN .
Translucid , argile-si liceous, alkaline, becoming soft again by heat.
This division is divided into three classes
1 . PORCELAIN ,HARD PAST E .
2. PORCELAIN , NAT URALL Y SOF T D I T TO ( tend re naturelle) .
3 . PORCELAIN ,ART I F I C IALLY SOF T D I T T O (tendre artifieielle) .
Jl’irat (Al issa.
P orcelain -Hard P aste.
This pottery is characterised by a paste, fine, hard, translucid,made of kaolin, or decomposed feldspar.
The glaze consists of quartzose feldspar, either alone or mixedwith gypsum
,but always without lead or tin.
EXAMPLES .
China and Japan ; Germany Sevres,Since 1769 .
2 2mmGriess.
P orcelaim- natw allg softP aste.
The expression soft does not apply to the actual hardness of thepaste
,but to the feeble resistance of this porcelain to the action of a
high temperature when compared to hard paste, and also to the soft
ness of the glaze, which can be scratched by the knife.
The term naturally soft is intended to apply to the nature of
the substances of which the paste is composed, which are naturallysoft whereas the term artificially soft ” is intended to imply thatsubstances naturally hard in themselves, are rendered soft by theapplication of salts
,alkali
, and other like substances . The naturallysoft porcelain is almost exclusively of English production the arti
ficially soft, of French and other continental countries .
EXAMPLES .
England : Bow, Chelsea, Derby, Worcester,Staffordshire.
3 10 CLASSIF ICATION OF PORCELAIN .
Ethan Qtiaas.
P orcelain—P aste art ificia lly soft.
This class is divided into fine and common
F I NE—EXAMPLES .
France : Vincennes and Sevres, St. Cloud, Sceaux .
Italy : Capo di Monte,Naples .
Spain : Buen Retiro, Madrid .
COMMON —EXAMPLES .
France : Tournay, St. Amand,and the common white ware used
in France,called white Sevres .
MARKS AND MONOGRAMS .
— MAJOL ICA.
MARKS MONOGRAMS.
P O T T E R Y .
early productions had seldom any mark affixed
them. The first Monograms noticed are those
upon the Italian
iitaig. (Majolica )
PESARo ,Being the monogram of MAESTRO
GERONIMO, IERON IMO BESARI ,
1542 . (F rom Passeri. )
CASTEL DURAN TE .
MARKS AND MONOGRAMS .
— MAJOLICA.
Iftalp (continued ) .
FAENZA .
GUBB I O. GIORGIO ANDREOLI .Blue .
Afterwards , when he was
ennob led , MAESTRO
GIORGIO.
URBINO. Seal of ORAZIO FONTANA .
(F rom Passeri . )
Monogram of the Painter,ALFON SO PATANAzzr.
(From Passeri . )
UNKNOWN . Reduced scale .
MARKS AND MONOGRAMS .
— POTTERY .
litalp (continued ) .
UNKNOWN . Reduced scale .
iitaig (ether ifiuttzrg) .
NAPLES .
Another.
Another.
Another.
FLORENCE. Another piece, in the
Musée Céramique,has an F in blue.
MARKS AND MONOGRAMS .
— POTTERY .
dft‘
anw
ROUEN . Blue .
Blue .
Dingy b lue ; ware paintedin blue , red , yellow , &c . ;
no bright colours . T here
are many other marks to
the F ayence of Rouen .
(IainGermans (Nassau) .
HOCHST—UPON-THE-MAIN .
ifluiianh .
DELFT . Blue. There is a great variety in themarks of the Delftware . M . Bron
gniart gives nineteen, Copied from
Specimens in the Musée Céramique .
MARKS AND MONOGRAMS .
— POTTERY .
QBtIgIattD.
SALOPIAN .
WORCESTER .
On a specimen of Wor
cester porcelain,
printed in black ,with
a portrait of F re
derick of Prussia .
LEEDS . Brown.
Another mark .
UNKNOWN . On bowl ; blue ground, ara
besque pattern in white .
MARKS AND MONOGRAMS .
— PORCELAIN .
OR IENTAL PORCELAIN.
N ANKIN .
IF rom 1403 to 1425 .
F rom 1426 to 1436 .
From 1465 to 1488.
1 These marks were furnished to the Auth or by Dr. Klemm, Keeper of theRoyal C ollection at D resden.
MARKS AND MONOGRAMS .
— PORCELAIN .
EUROPEAN PORCELAIN.
Germsag.
DRESDEN .
F rom 1709 to 1712 . In blue.
F rom 1712 to 1715 . In blue .
Usual mark . In blue .
1720 . During the directorship of
Ho'
ROLDT . In blue .
1778 . During the directorship of
K6EN IG. In blue .
MARKS AN D MONOGRAMS .
“ PORCELAIN .
elitrmany
DRESDEN. 1796 . During the directorsh ip
of MARCOLINI . In b lue .
Royal Porcelain Manu
facture . In blue .
VI ENNA .
Imperial Manufactory. In blue .
HOCHST . (NASSAU .)Usually browiiish red .
FURSTEN BERG. (BRUNSWI CK )Ducal manufacture .
Another mark.
FRANKENTHAL . (PALAT INATE )F irst period . In b lue .
Second . In blue . Mark of CHARLES
T HEODoRE , the ELECTOR PALAT INE .
T he initials of J. HANUNG, the director.
S tamped.
MARKS AND MONOGRAMS .
— PORCELAIN .
(Ba nning
NYMPHENBURG. (BAVARI A. )Royal Manufactory. T he arms
Bavaria . Stamped.
BADEN . T he b lade of an axe in gold .
LUDWIGSBURG. (WU RTEMBERG.)Generally called
"Kronenburg por
oclain . F irst period.
Second period. In blue . T he cypher
of CHARLES EUGENE, founder of the
manufactory.
BERLIN . (PRUS SIA. )Royal Manufactory . During the directorship of WEGELY .
First period. In blue .
Second period. In b lue.
(See page
MARKS AND MONOGRAMS .
— PORCELAIN .
Qfim’mattp
GERA . (THURINGIA. )
Russia.
PETERSBURG.
lfioilauh .
AMSTERDAM . In blue.
IE1 O LIn b lue .
HAGUE . In gold or b lue .
Emmark.
COPENHAGEN . Royal Manufactory. In blue .
Imperial Manufacture . In blue .
Monogram of the Emperor
NICHOLAS . T he porcelain of
the time of the Empress
CATHERINE I I. bears
monogram or the Russian
MARKS AND MONOGRAMS .
— PORCELAIN
S hottgrriauh .
ZURI CH. In blue .
NION S ou“ NYON.
(Canton de Vaud. )
Another.
Belgium.
TOURNAY . In blue or gold .
MARKS KNOWN . Blue .
On figures . Blue .
D itto .
MARKS AND MONOGRAMS .
— PORCELAIN.
M arks uut Bunion
MARKS NOT KNOWN .Stamped .
A lion and cypher in
blue . Inpossession
of Evelyn John
Shirley , Esq.
In blue . T hin trans
Elucid porcelain ;
probably Germanfabrication.
b lue . Moulded
or reeded surface,
and a garland of
blue flowers round
the rim. Paste and
glaze not unlike
Worcester .
MARKS AND MONOGRAMS .
—PORCELAIN .
QEugIauIi
MARKS KNOWN . Rather larger than originalmark in indigo blue , or
b lue andwh ite early-
printed
design, In Imi tation of
Oriental . Early period.
On Similar porcelain ; earlyprinted manufacture .
Or rather , perhaps , o
On b lue and wh ite earlyprinted porcelain, an archi
tectural design of European
character or a landscape ,
with remains of architec
ture .
S ometimes white porcelain,
with gold edge sometimes
wh ite porcelain , with small
flowers the paste creamyWhite , l ight, and very
porous the gold thicklyand well laid on.
MARKS AND MONOGRAMS .
— PORCELAIN .
:ii’tautfi
ST . CLOUD . From 1702 , when it was
privilegedbyLouis XIV.
(S ee page
CHANT ILLY . Blue , sometimes red , under
the glaze .
MENECY . Under the patronage of
the Duke de Villeror.
Graved with the hand ,
rarely in colours .
SCEAUX-PENTHIEVRE . 1773 .
CL IGNAN COURT . Indicating the period of
the protection of the
Duke of Orleans . 1750
1770 . Blue , graved
in the moist clay .
Cypher of M . Deruelle ,
manufacturer . 1775
1780 . Stencilled in red.
When under the protectionof Monsieur, brother of
the king . 1785— 1792.
Stencilled in red .
These marks are from the Description du Musée Céraq ue.
MARKS AND MONOGRAMS .
— PORCELAIN .
f rame— (centristued) .
ELLIOLES . Monnier the manufacturer .
1766 .
BOURG-LA-REIN E . 1773 .
ARRAS .
PARI S .
Blue, under the glaze .
F aubourg S t . Lazare .
Hanung,manufacturer.
1773 .
Gros-Caillou. Advenir
Lamarre,manufacturer .
1773 .
Rue T hiroux . Porcelaine
de la Reine . 1785
1792 . S tencilled in red .
Rue de Bondy. Dihl and
Guerhard , manufac
turers . In gold or colour,traced With a b rush .
Rue de Bondy . Angouleme Porcelain. 1785
—l 792 . Stencilled in
red .
MARKS AND MONOGRAMS .
— PORCELAIN .
f rame
Republican Period. F rom 1792
to 1800 . T hese th ree mono
grams of the F rench Repub lic
were indifferently employed,
always followed by the word
Sevres , ” but the custom of
marking the date of the piece
was not resumed until 1801 .
At the beginning of 1800 , the
Repub lican monogram was dis
continued, and the “ Sevres ”
mark alone used. In 1803
the mark M N13 . Sevreswas stencilled in red , wh ich was
sub stituted in 1804— 1809 byM Imp
le.
"
(See page
MARKS AND MONOGRAMS .
— PORCELAIN .
S pain, auh iBurtugaI.
TURIN (VINEUF ) . In blue .
VEN I CE. In b rownish red .
BASSANO (LE Novs ) In blue or red .
FLOREN CE (Doc A) .
Stamped . In gold on the richest
specimens
NAPLES (CAPO DI MONTE) .
F irst period ; stamped.
Second period ; blue or red, gravedin the moist clay .
OPORTo (VI STA ALLEGRE) .In gold or colours .
MADRID (BUEN RET IRO) .
In the fine pieces the fleur-de-lis is
traced in blue above the glaze , inthose of inferior quality it is applied
in relief. T he monogram of
Charles 111. is graved in the paste .
MARKS .
SEVRES MARKS AND MONOGRAMS .
ne’
e
SOPHIA CHANQU.
BOUCHET .
ROUILLAT .
BOULANGER.
BU LIDON .
BUNEL , (MME)ne
’
e
MANON BUTEUX.
BUTEUX, (Sen)
BUTEUX,(Eldest Son .)
BUTEUX,
(Y ounger Son.)
CAPELLE.
CASTEL .
CATON .
Garlands, Bouquets .
Landscape F igure and
Ornaments .
F lowers, Landscapes.
Detached Bouquets.
Detached Bouquets.
Detached Bouquets .
F lowers, Emblems, &c .
Detached Bouquets, &c.
Pastoral sub jects,Children, &c .
Various Friezes .
Detached Bouquets.
Landscape, th e Chase,Birds.
Pastoral subjects,Children, Portraits.
MARKS .
SEVRES MARKS AND MONOGRAMS .
CATRICE.
CHABRY .
CHANQU, (Mm )ne
’
e
JUL IA DU ROSEY .
CHAPU IS ,
(th e Elder .)
CHAPU IS ,
(th e Y ounger .)
CHAVAU X, (sen)
CHAVAUX, (Jnu.)
CHOISY , (DE) .
CHU LOT .
‘
COMMELIN .
CORNAILLE .
COUTURIER.
DIEU.
F lowers, detachedBouquets, &c .
Miniatures, Pastoralsubjects.
Detached F lowers,L ight Friezes, &c .
F lowers, Birds, &c .
Detached Bouquets .
Gilding.
Detached Bouquets,Gilding.
F lowers, Arabesques.
Emblems, F lowers,Arabesques .
Detached Bouquets,Garlands.
F lowers, detachedBouquets .
Gilding.
Chinese, ChineseF lowers, Gilding, &c.
MARKS .
SEVRES MARKS AND MONOGRAMS .
DODIN.
DRAND .
DU SOLLE .
DU TANDA.
EVANS .
FALOT .
FONTAINE .
FON TELLIAU .
GERARD.
GIRARD.
GREMON T .
GRISON .
F igures, various sub
jects, Portraits.
Chinese, Gilding.
Detached Bouquets, &c .
Detached Bouquets,Garlands.
Birds, Butterflies,Landscapes, &c .
Arabesques, Birds,Butterflies.
Attributes, Miniatures,
Pastoral subjects,Miniatures .
Detached Bouquets,L ight F riezes.
Arabesques, Chinese,
Garlands, Bouquets.
Gilding.
MARKS .
SEVRES MARKS AND MONOGRAMS .
LEVE,FEL IX.
MAQU ERET , (MM )
ne’
e
BOU ILLAT .
MERAU LT ,
(th e Elder .)
MERAU LT ,
(th e Y ounger .)
MICAUD .
MICHEL .
MORIN .
MU TEL .
N IQU ET .
NOEL .
NOUAILHIER (MME)
ne’
e
SOPHIA DUROSEY .
PARPET TE,
Dm LOUISON .
PFEIFFER.
F lowers, Chinese.
Detached Bouquets.
Divers F riezes, &c .
Bouquets, Garlands, &c
F lowers, Bouquets .
Detached Bouquets .
Marine and Militarysubj ects .
Landscape.
Detached Bouquets, &c .
F lowers, Ornaments.
Detached F lowers,L ight F riezes.
Detached F lowers,Garlands.
Detached Bouquets .
SEVRES MARKS AND MONOGRAMS .
MARKS .
0 c o o
PIERRE,
(th e Elder.)
PIERRE,
(th e Y ounger.)
PITHOU ,
(th e Elder.)
PITHOU ,
(th e Y ounger.)
POUILLOT .
PREVOST .
RAUX.
ROSSET .
ROUSSEL .
SCHRADRE.
SIN SSON .
F lowers, detachedBouquets.
Bouquets, Garlands.
Portraits, historicalsubjects .
Figures, F lowers, andOrnaments.
Detached Bouquets .
Gilding.
Detached Bouquets .
Landscapes,&c .
Detached Bouquets .
Birds, Landscape.
F lowers, Groups,Garlands, &c .
SEVRES MARKS AND MONOGRAMS .
MARKS .
Detached Bouquets,S IOUX ' Garlands, &c .
Detached Bouquets,TAILLANDIER. Garlands .
Groups of F lowers,TANDART ’ Garlands, &c .
TARDI . Detached Bouquets, &c .
THEODORE.
TREVENET , (Sen)F l
hifihiisc
fiels’
TREVENET, (Jun) Ornaments, Friezes
VANDE. Gilding, F lowers.
VAVASSEUR. Arabesques, &c .
VIELLARD .
Emblems, Ornaments,
VINCENT .
XROWET . Arabesques, F lowers,
LA FAYENCE.
POEME.
*
CHANTONS , Fille du Ciel, l’honneur de la Fayence,
Quel Art "dans l’Italie il recut la naissance,Et Vint passant les Monts, s
’
établir dans Nevers,
Ses ouvrages charmans vont au delades Mers .
Le superbe Plutus trop fier de ses richesses,
Meprisoit de Pallas et le gout et l’
addresse
L’
argent plait par lui-meme, et les riches buffets
A la beauté de l’or doivent tous leurs attraits .
Ainsi parloit cc Dieu privé de ta lumiere .
Jc me passerai bien de ta riche matiere,
Dit Pallas, que sert l’
or au besoin des humains ?
D’argil e la plus Vile est prisée en mes mains .
Pallas dans le courroux dont son ame est saisie,
D e deux terres compose une terre assortie,
La prepare avec soin, 1a place sur le tour ,
La presse de ses mains qu’
elle étend a l’entour,Elle anime du pied la machine tournante,Et forme cette argil e avec sa main scavante.
De cc fertile tour, (en croirai-je mes yeux, )
Sortent dans uminstant cent vases curieux
Published in the Mercure de F rance, for August, 1 734 .
346 LA FAYENCE.
Ces vases sont d’abord faibles dans leur naissance,
Séchant avec lenteur, ils prennent consistance .
Pui s du feu par degrés éprouvant les effets,Deviennent a la fois plus durs et plus parfaits,Ces ouvrages encore n’
ont rien que la figure,
11 y faut ajouter l’émail et la peinture
Cet émail dont l’éclat et la VivacitéDes rayons du Soleil imite la beauté,Pallas qui de Plutus dédaigne la richesse,Compose cet émail par son unique addresseDans l’Etain calciné
,dans le Plomb, vil métail,
Joints au sel,au sablon
,elle trouve un email ;
Le tout fondu, devient plus dur que roche ou brique,
Le broyant, elle fait une chaux métallique,U n lait
, qui n’est jamais de poussiere obscurci
,
Elle y plonge le vase en la flamme endurci,Le peintre ingénieux, de figures legeres,Embellit cet émail, y trace des Bergeres,Des grotesques plaisans, d
’agréables festons,
Des danses, des Amours, des jeux, et des chansons,Des Temples, des Palais, des superbes Portiques,Respectables debris des ouvrages antiques .
L’illustre Raphael, de Peintres le Héros,
Raphael qui traita les sujets les plus hauts,A daigné quelquefois s’exercer sur l
’
argile.
Son immortel pinceau sur un vase fragile,
Placa mille beautés, et plus habile encor,I l rendit le limon plus précieux que l
’or.
Vous qui de Raphael osez suivre 1a trace,
Animez votre main d’une nouvelle audace,
348 LA FAYEN CE.
Trop jaloux des succes de l’heureuse Fayence,Plutus en son dépit exprime sa vengeance,
La Fayence, dit-il , n’
a que fréles attraits .
Mais Pallas de Plutus repousse ainsi les traits,
La Fayence est fragile en est-elle moins belle
L e plus riche cristal est fragile comme elle,
Un email délicat et qui charme les yeux,Par sa fragilité devient plus précieux ;La Porcelaine enfin ouls bon gout réside
,
Se feroit moins chérir en devenant solide .
Plutus,ne blames point cette fragilité,
L’argile toutefois a sa solidité
,
Mieux que 1’
or ell e garde et sa forme et sa gracc,
Sur l’
argile jamais 1a couleur ne s’
efiace,
N on,ls temps qui détruit
'
la pierre et le métail,
N e scauroit altérer ui l’azur, ni l’émail .
C’est ainsi que Pallas établit la Fayence,
Pallas par cc beau trait signala sa vengeance,
Mortels,vous profitez du celeste courroux,
Pallas en sa colere a travaill é pour vous .
PIERRE DEFRANAY .
THE CASE
OF THE UNDERTAKER OF THE CHELSEA MANUFACTURE OF
PORCELAIN WARE.
FROM LAN SDOWN 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 French king has one, and has patronised and encouragedseveral ; the king ofNaples 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 .
Several attempts have likewise been made here,few have made
any progress, and the chief endeavours at Bow have been towardsmaking a more ordinary sort of ware for common uses .
This undertaker, a silversmith by profession,from a casual
acquaintance with a chymi st who had some knowledge this way, wastempted 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
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 toproduce such complete assortments as are required in a variety ofways . 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, otherthan that from India
,is not enterable at the CustomHouse, otherwise
than for private use,and of course becomes forfeit when offered to
sale, as well as lace fromFrance, or any other unenterable commodity
and though it was publicly sold in a great many shops, and that
there were even very frequent public 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 Houseas forp rivate use, bywhich 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 Housebooks, it will be found that considerable quantities have been enteredthere for private use, besides what may have been allowed to pass asfurniture to foreign ministers .
This earthenware pays eightpence by the pound when entered forprivate use but a figure of little weight may be worth five pounds,so that the real value ofwhat is sold here will be found to beconsiderable ; 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 privateways
there are of carrying it about.
352 CHELSEA MEMORIAL .
distinguish it by ; but if thi s commerce is permitted to go on, the
match between a crowned head and private people must be veryunequal, and the possessors of the foreign manufactures will at anytime, by a sacrifice Of a few thousand pounds, have it in their powerto ruin any undertaking of this kind 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 takeoff the ready money which should enable themanufacture to go on
,
it must come to a stop, to the public detriment and the ruin of the
undertaker,as well as great loss to those who have engaged in his
support.
CHRONOLOGIOAL TABLE
THE DISCOVERIES AND PROGRESS OF THE KERAMIC ART .
(FROM M . BRONGN IART )
CEN T URI ES .
Y E
B
f
éS ’
EVEN T S .
K
ati/l
ie N OTES ’
COU N TR IE S .
There was at tha ttime a superintendXX . 2060 ? Pottery In Chma .
ent of the Pottery China.
(S tanislas Julien) .
Destroyed byD a
2122 Babylon,embellished rius in 522 . Ena Babylon .
by S emiramis. melled bricks.
F igures found inXIX Egyptian Potters . the catacombs of Egypt.
Thebes .
1500 Choroebus, inventor l In th e time of Greece.
of pottery. Cecrops .
1200 Invention of the potter
’s wheel
,by Very apocryphal.
Talus .
Life of Homer,
The Potters ofSamos . attributed to Herog dotus .
mVI ] I 17 15 College ofPotters in Rome.
stituted by Numa.
592 Thurianus , Greekto vase of the boar D ’Harcanville. Greece.
590 hunt
Anacharsis the S cythian. The potter ’
s
wheel brought to Greece.
perfection ,
507 EtruscanVases . Por
senna .
500 T he Greek cup of Probably ante
Arcesilas . rior to 500 .
Greece .
Graeco-Etruscan Greece andVases .
418 T hericles of Corinthand CampanianVases .
C E N T U RIE S .
Anterior to th e
Christian era,
butwithoutanyprecise date .
A .D .
150
VI I I .
15 11
1540
XVI .1540
1547
XVI I .
1603
1695
YEARS .
CHRONOLOGICAL TABLE.
EVE N T S .
Pottery : Gallic , Celtic , Breton, German, and S candinavian .
Hard Mexican pot
tery, w ith hardsilico-alkaline lustre.
Roman lustrous pottery .
glazed pottery.
Arabian varnishedpottery .
Plumbiferous Glaze .
Enamelled Earthenware .
Plumbiferous and
S tanniferous Glaze .
Luca della Robbia,
enamelled earthenware .
Maj olica of Orazio,and F laminio F on
F lemish stoneware.
F ayence ofHenry I I
BernardPalissy,ena
melled fayence .
Fayence of Delft.
F ayence of Nevers .
F rench soft porcelain.
Armenian
Era
Arabian
Era
.
GermEra
E T C .
Epoch unknown, Environs ofbut very ancient, Mex ico,and perhaps , con Guatemala,siderab ly anterior Mitla,to th e Christian Copan in
Y ucatan.
I s dispersed in {
Passeri. Alsatia Pesaro,1taly.
I llustrata .S che lestadt
in Alsace .
F lorence .
Pesaro ,I taly
Often with ornaments in relief, Germany,enamelled with Nuremberg.various colours .
Maker and placeF rance .
unknown.
France .
Holland .
F rance.
F irst fabric , tole S t. C loud .
rahly fine .
XI I I .
X IV.
XVI .
CHRONOLOGICAL TABLE
THE ESTABLI SHMENT OF ENAMELLED POTTERY .
China .
Persia
Armenia .
1320 2
1525 ?
1530 F rance .
(FROM M . BRONGN IART .)
AUT HORIT IE S AN I)
AN N OTAT ION S .
S tanniferous enamelupon stoneware and
copper, but no common earthenware .
Blue earthenware.
Europe.
Tiles of th e AlhamGrenada . Mahomed I I . bra in 1280
, accordingto Aikin.
Vase of the Alhambra .
F lorence . Luca dellaRobbia .
T he same as Maestro
Gubbio . Giorgio Andreoli. GIOI‘gIO, wh o Invented
F lorence .
Pesaro .
Urbino .
Gubbio .
Paris .
the ruby gold lustreabout 1525 .
Date of a patent forLanfranco , th e application of gold
upon earthenware .
Variousmetallic lustres.
Orazio and F la
minio F ontana
Maestro Giorgio . Ruby red of Maj olica .
Girolamo della Chéteau of Madrid,Robbia . near Paris .
CHRONOLOGICAL TABLE.
(511e z
about1520
1555
1560
1570
1600
1603
Germany. Nuremberg .
SaintongeFrance. Paris
,at the Bernard Palissy . Chateau ofEcouen
, &c
L ouvre .
Italy.
Payment of the PaF rance . Paris .
Palissy&,h is family. lissys , in the accounts
ofCatherine deMedicis .
(See p .
It is also stated 1400Holland Delft
but this is improbab ld
F rance. Nevers . IVTdonnance OfHenry
S t. Cloud .
Rouen.
3 60 CHRONOLOGICAL HISTORY OF PORCELAlN .
A.D .
1708. Lille. Soft porcelain. Founded by the Dutch .
1710 . Manufactory of Meissen in full activity.
1 718 to 1 720 . A manufactory begun at Vienna, finally established in
1 744, by Stolzel , a fugitive from Meissen.
1720 . Gelz of Frankfort, at Hochst, afterwards Bcngraaf and Ringler,
the general founders of the German manufactories .
St. Cloud . Soft porcelain.
1735 and 1729— 1 739 . France. Soft porcelaln. Réaumur’
s experi
ments .
1735 . Doccia, near F lorence. Mixed porcelain .
Chantilly . Soft porcelain .
1 741 and 1745 . Vincennes . Transferred to Sevres in 1 756 .
porcelain.
Chelsea, England . Soft porcelain.
1 747 . Nymphenburg, in Bavaria. Manufactory begun.
1750 . Tournay. Common soft porcelain.
1 751 . Sceaux . Soft porcelain .
Worcester. (Dr.Wall .)
Berlin, proceeded originally from Ringler.
1 755 and 1760 . Nymphenburg, in Bavaria, by Ringler.
1 753 . N egotiations with P . A. Haniing and the Sevres manufacturers .
Baden-Baden. The widow Sperl .
1755 and 1761 . Manufactory of Frankenthal , which , through Hanung,introduced porcelain into France.
1 756 and 1758. Ludwigsburg, near Stuttgard, by Ringler.
St. Petersburg.
1756 . Moscow, by Garnier.
1 758. Manufactories of Thuringia independent of those of Hochst.
1 762 to 1767 . Sitzerode and Volkstedt, Limbach, I lmenau, &c .,in
Thuringia, by the Greiners .
Hildburghausen and Gotha, byWeber.
1 765 .
1 768.
CHRONOLOGICAL HISTORY OF PORCELAIN . 36 1
Buen-Retiro , near Madrid . Soft porcelain.
Keltersbach , in Hesse Darmstadt, established during the Seven
Years’ War, by Busch .
At Bagnolet, for the Duke of Orleans . (Guettard .)
At Shelton, and in Staffordshire. (Littler and Cookworthy.)
Sevres . Beginning of hard porcelain.
N iederviller . Bayerlin.
Cookworthy discovers the kaolin of Cornwall .
Establishment of Hanung, Faubourg St. Denis . Manufactory of
the Comte d’
Artois .
Manufacture of Sevres hard porcelain in activity. Kaolin of
St. Yrieux .
Clignancourt, near Paris .
Copenhagen.
Dihl . Manufactory of the Due d’
Angouléme .
Arras . Soft porcelain. (Demoiselles Déleneur) .
Introduction of calcined bones into the paste of the soft English
porcelain.
LIST OF
Mrihatz QL’
uIIzctiuns of China, &c.
IN GREAT BRITAIN .
AMHERST , Lord, Knole, KentANGERSTEIN
,WM., Esq 15, S tratton—street
ASHBURTON , Lord, 82, Piccadi llyASHLEY, Hon. WM.
,Palace Y ard
ASHLEY,Hon. JOHN ,
Upper Brooke-Street
ATTWOOD , J Esq .,25, Park-lane
AU LDJO, JOHN , Esq ., Noel House, Kensington
BAILY, ARTHUR, Esq .,Harefield, Southampton SEVRES, &c
BALE, C . S . , Esq ., 71, Cambridge-terrace MAJOLI CA, &c .
BALFOUR, Lady E1, 3, Grosvenor—square MISCELLAN EOUS .
BARIN G, Mrs. H , ,Berkeley-square SEVRES, &c .
BARIN G, Hon. and Rev . E , Grosvenor-crescent SEVRES, &c .
BARIN G, THOS ., M.P .,40
,Charles-street
,Berkeley
SEVRES and DRESDEN .
squareBARKER, ALEx., Esq ., 103, Piccadilly CAPO DI MONTE, &c .
BAYLEY, J Esq , Colby House, Kensington MISCELLANEOUS .
BEDFORD , Duke of, Woburn Abbey.
BEEDEN , W. F .,Esq ., 9 S tratford-p lace MISCELLANEOUS .
BENTI N CK, Hon. Miss, Cholmondeley Castle,Namptw1ch SEVRES .
BENTLEY, JOHN , Esq . 9, Portland-p1ace MISCELLANEOUS .
BERESFORD , Lady, 53, Portland place MISCELLANEOUS .
BERNAL, R., Esq .,M.P . , 93, Eaton-square M
agma“ SEVRES’ DRESDEN
BEVAN ,HENRY, Esq .
,4,Hamilton-place MI SCELLANEOUS .
BOILEAU, Sir JOHN , Bart , 20, Upper Brooke street AN CIEN T POTTERY.
BREADALBANE, Marquis, 21, Park-lane MISCELLANEOUS .
FREN CH,&c .
LUCA DELLA ROBBI A,MISCELLAN EOUS .
SEVRES, &c .
SEVRES, &c.
SEVRES, &c .
SEVRES, &c.
MISCELLANEOUS .
366 PRIVATE COLLECTIONS OF CHINA.
BRUNEL, I . K.,Esq .,
17, Duke-street west PALISSY WARE, &c .
DRESDEN GROUPS andF IGURES
,&c .
BURRELL , Sir CHAS , Bart , 5, Richmond-terrace MISCELLANEOUS .
BYN G, Mrs , St. James’
s-square SEVRES and ORIENTAL .
BUCKLE, JOHN , Esq ., 39, Gloucester-terrace
CADOGAN , Earl, 138, PiccadillyCARRIN GTON , Lord, Whitehall-yardCAWDOR, Earl, S outh Audley-streetCHESTERF IELD , Earl of, Bretby Park, Leicestershire.
CLEVELAND , Duchess Dowager, Seamore-place
COWPER, Hon. C . SPEN CER,22, Bruton-street
CU NDER, Miss, Basingstoke
DERIN G, J. P. G., Esq . ,
40, South street, Park lane SEYRES, &c.
DE LA BECHE, Sir HENRY, MuSeum Econ. Geol , ,
PiccadillyDE LA RU E, THOMAS, Esq ., Westbourne-terrace WED GWOOD WARE.
DE ROTHSCHILD, S ir A.
, Bart , 2, Grosvenor—place FAIEN CE of HENRI
MISCELLANEOUS .
Houses MISCELLANEOUS .
DE ROTHSCHILD,Baron LIONEL, 148, Piccadilly . MISCELLANEOUS .
DE ROTHSCHI LD,Baroness, 107, Piccadilly SEVRES .
DERBY,Earl of, Knowsley-Hal l, Prescot, Lancashire. MISCELLANEOUS .
DIMSDALE, Baron, Camfield, Herts ORIEN TAL, &c .
DIMSDALE, CHARLES, Esq ., Essenden Place, Herts ORIEN TAL,&c.
DOUGLAS, Marqui s of, Hami lton Palace SEVRES, &c .
ELLI S, ELLI S, Esq ., Richmond CHELSEA and SEVRES .
ELY , Bishop of, 37, Dover-street MIS CELLANEOUS .
ENN ISKI LLEN , Earl of, F lorence Court, Enniskillen CHELSEA, &c .
EXETER, Marquis of, Burghley, Stamford MISCELLANEOUS .
F ISH, Esq ., Sidmouth, Devon DRESDEN .
SPAN I SH MORESCO, dFORD , RD . , Esq .
,123, Park-street MAJ0 LICA .
an
FORESTER, COL, 31, St . James’
s—place SEVRES and DRESDEN .
FO E, E N rf d H 11,
LU l
gggolksq a or a near rnn
.
MAJOLI CA, &c .
F ULLERTON ,A. G.,
Esq ., 36, South-street, Grosvenor SEVRES , &c .
GLENGALL , Earl of, 34, Grosvenor-street WORCESTER.
GLOUCESTER, Duchess of, Gloucester House. SEVRES and DRESDEN .
GOD ING, J Esq .,2,Belgrave-square ORIEN TAL
,&c .
GRAN T , Capt , Royal Horse Artillery CHELSEA .
GRANVILLE,Earl, 16, Bruton-street, Berkeley-square SEVRES, &c .
GREGORY, GREGORY, Esq ., Harlaxton Manor House, ORI EN TAL and MISCELLAGrantham NECU s.
CHELSEA and SEVRES .
MISCELLAN EOUS .
SEVRES,&c.
SEVRES .
CHELSEA , DRESDEN ,SEVRES .
MISCELLANEOUS .
SEVRES and CHELSEA .
368 PRIVATE COLLECTIONS OF CHINA.
OVERSTONE, Lord, Overstone Park MIS CELLANEOUS .
OWEN ,Esq .
,Mona House, C lifton ORIEN TAL, &c .
PAGE,D r. W. E.
, Curzon-street (late Mr. Bandinel S
Collection)PALLISER, RD . BURY, Esq .
, 32, Grosvenor—streetPARKER
,S ir HYDE, 13, South Audley—street
PEMBROKE, Earl of, 7, Carlton—house TerracePHILIPS , MARK E.
,Esq ., Manchester
POWELL , JOHN A.,Esq ., 7, George-street, Hanover
squarePRICE, S ir C , Bart , 3 , KingWilliam-street
PRICE, LAKE, Esq . Radnor placePRIOR, WM.
,.Esq 7, Middleton-square, Chelsea .
RAM, STEPHEN , 84,Eaton square MAJOLI CA, &c.
RICK
tnfacSHARLES SPEN CER Esq ,
2 Hyde Park}SEVRES and MISCELLANEOUS .
RUSSELL,Lady FRANKLAND
, Chequei s’ Court, Tring,}MI SCELLANEOUSBucks .
SAMPAYO, O. H., Esq ., 22, Westbourne-terrace.
SHELBURNE,Earl of, Berkeley-square
SHREWSBURY, Earl of, Alton TowersS IBTHORP
, Col ., 27, Chester streetSLADE, FELIX, Esq . Walcot place, LambethSMITH, MARTIN , T ,
Esq ., 13, U pper Belgrave street
STAF FORD, Lady, Cossy Hall, NorfolkSTEPHEN S, L ., Esq . . Roehampton-laneSUTHERLAND, Duke of, S tafford HouseSWABY, J Esq .
, F ortis-terrace
TIDBURY, CHARLES, Regent-street, City-road MISCELLANEOUS .
TRAF F ORD , S ir THOMAS , Trafford Hall, Manchester MISCELLAN EOUS .
VIN CENT,H.W., Esq .,Thornwood Lodge, Kensington MIS CELLANEOUS .
VIVIAN , J. H., Esq ., Singleton, Swansea SWAN SEA, &c
WALL, C . BARIN G, Esq .
,44
,Berkeley-square SEVRES, DRESDEN , &c .
WARD, C . ,Esq .
, Squerries, Westerham MISCELLANEOUS .
WARWICK, Earl of, Warwick Castle FA'
i’
EN CE,&c .
WATERFORD , Marquis of, Curraghmore, Waterford SEVRES .
WELLINGTON , Duke of, Apsley House SEVRES and DRESDEN .
WHITEHEAD , THOS , Esq .,8, Duke-street, St. James’
s MAJOLI CA .
WILLOUGHBY D’
ERESBY,Lord, 142, Piccadilly SEVRES, &c .
Q
MISCELLANEOUS .
MISCELLAN EOUS .
MISCELLANEOUS .
SEVRES, DRESDEN ,MISCELLANEOUS .
}AN CIENT CHINA .
MISCELLANEOUS .
MISCELLANEOUS .
WORCESTER, &c .
ORIEN TAL, &c .
MISCELLAN EOUS .
MISCELLANEOUS .
MISCELLANEOUS .
MAJOLICA, &c .
SEVRES , &c.
AN CIEN T POTTERY .
MISCELLANEOUS .
SEVRES, &c.
MAJOLICA, &c .
I N D EX .
ACIER, Francois, French sculptor, 136 .
Adam,Charles, F rench sculptor, 192, 193 .
Adler, German keramic painter, 155.
Adobe, sun-dried bricks described, 225 .
Agate ware, 63 .
Ai kin’
s Dictionary, quoted, 277 .
A 1’
air, term exp lained, 226 .
Alcazar of Seville, 229, 230 .
Alcarazzas, water-coo lers of Spain. See
Water Cooler.
Alhambra, jar of, 258 ; tiles of. See Azu
lejo.
Alum Bay sand, 171 .
Amatorii , 19.
Amphora described, 228 ; funereal, 251 .
Andreoli, Giorgio, Italian keramic painter,8, 14, 264.
Anne, Queen, h er service of porcelain,105
Annual Register quoted, 184.
Antiochus, h is army cooledwater in vesselsof clay, 228.
Apostles’ mugs, 76 .
Arabesque, described, 229.
Arcani st,meaning of th e German term,148
Arezzo, potters of, 286 .
Astbury th e Elder counterfeits th e idiot, 82.
Astbury th e Y ounger first uses calcinedfiints, 66 .
Athenaeus quoted, 227, 273 .
Aue, discovery of kaolin at, 131 .
Augustus I I . of Saxony, memoir of, 115 ;
founds th e Porcelain manufactory at
Meissen, 129 .
Augustus I I I .,memoir of
,115 .
Avanturine described, 229.
Azulejos, Moorish tiles, of th e Alhambra,
described, 229 ; Cuarta real, 230 ; at
Bristol, 232 Royal Exchange, 291 .
BACIN I , Moorish, 4.
Baden, Margraves of, 155.
Bagnolet, laboratory of th e Duke ofOrleans,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 th e Porcelain manufactory at
Nymph enburg, 154.
Beaker, etymology of th e word, 232.
Beck, W. J h is description of th e tiles atSultaneah , 295.
Beaumont, English keramic painter, 178.
Bellarmines, stone pots so called, 252.
Bénitier described, 233 .
Biscuit described, 233 .
3 70
Blessington, Lady, h er Id ler in Italyquoted, 218 ; h er Capo di Monte china,217 .
BIeu-de-roi, exclusively a royal colour,286 ;
on Sevres porcelain, 197, 200, 203, 204.
Body, term explained, 233 .
BOhme, German kerami c painter, 158.
Boileau, M. , Director of th e Porcelainmanufactory 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.
BOttch er, J . F ., German keramist, th e dis
coverer of porcelain, memoir of, 129 ; h is
red ware, 77, 125, 133, 141 , 233 .
Bottle described,233 .
Bouchet, F rench keramic painter, 197.
Bourgoanne’
s Travels quoted,220 .
Bowl described, 234.
Box described, 234.
Breich eisen, German keramic painter, 136.
Brichart, Eloy, obtains privileges for themanufactory at Vincennes
,193 .
Bricks described, 235.
Bristo l china, 187 .
Britton’
s Beauties of England and Walesquoted, 117.
Brongniart,Alexander, admitted toMeissen,
133 ; appointed Director of th e Poreelain manufactory of Sevres, 196 esta
b lish es the Musée Céramique, 209 ; noticeof h is life and writings, 196 .
Briih l, Count, anecdote of
,and th e tai lor
,
137 .
Brummell, Beau, a collector of Sevreschina
,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, offers present of porcelainto Queen Elizabeth, 104.
Burnt-in, term explained, 235 .
Butter-pots, 63 .
INDEX.
CAI LLAT,F rench chemist, 193 .
Calonne, M. de, protects the Porcelainmanufactory of Lille, 206 of Arras, 206 .
Camaie‘
u, term exp lained, 235.
Campanari, h is 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 ofBacchus, 254.
Carter, Mrs. Elizabeth, h er teapots, 289.
Castille, King and Queen of, wrecked off
Weymouth, 47.
Catherine Empress, h er service of
Wedgwood for th e Grenouilliere palace,89 ; patroness of Porcelain manufactoryof Petersburg, 165 ; h er favourite dog,142 ; service made for h er at Sevres,183, 285.
Cavendish presents Queen Elizabeth withth e first vessels of porcelain
,104
Cazettes, F rench term for seggars, 287 .
Celadon, 111, 118 term explained, 236 .
Chalice, 240.
Chardin quoted, 126, 227, 228, 294.
Charles V.,117.
Charles 111. founds th e Porcelain manufactory of Capo di Monte, 214 and of BuenRetiro, 218.
Charlotte, Queen, th e patroness of Wedg
wood, 68 ; h er collection of Chelsea porcelain, 178 h er tea-pots, 289.
Chelseamanufacture, case of th e undertakerof th e, 349.
China, history of th e porcelain of, 95
described, 236 anecdote of th e crackedjar, 106 frauds upon, 110, 200 ; prices ofservices of, 223.
Ch icoineau, Director at St. C loud, 191 .
Christina, Queen of Sweden, 21 .
C lave, Gaston de, N ivernois author, 27.
Coffee-
pot, 236 .
Colle,Raffaelle da, Italian keramic painter,
14.
Byng, Admiral, caricatured as a collector of Collections, list of private, in Great Britain,china
, xiii . 365.
372 INDEX.
D eb ret’
s Voyage au Brésil quoted, 250 .
D e Calonne, M. S ee Ca lonne.
D efranay, N ivernois poet, 30 ; h is poem,
345 .
D e la Condamine quoted, 211 .
Delft . S ee P ottery.
D enon,Baron, forms a collection of Greek
vases as models, 198.
D entrecol les,Father, h is Letters on China,
106.
D eWitt, identical with Dwight, 62.
Diane de Poitiers, h er fa’
ience, 50 .
Dietrich, German printer and engraver,136 .
Dillwyn,L .W.
,letter on Welch porcelain,
186 .
Dish, 243 .
D iodorus S iculus quoted, 250 .
Diogenes in h is tub , 27Domestique, term exp lained, 286.
Domitian, turbot of, 257 .
Donovan’
s Descriptive Excursions quoted185 .
Douce’
s I llustrations of Sh akspeare quoted,104.
Dragon, origin of,113 jars
,267 .
Dresden china. S ee Meissen.
collection. S ee Jap an P a lace.
Dubarry, Madame, 197, 286.
Duchesne quoted,269.
Duhalde,F ather, on th e porcelain of
F okien, 109 .
Dutch embassy to China, 102.
Dwarf pots, 278.
EARS,243 .
Earthenware, fine . S ee P ottery, Hard .
East India Company ’s establishment at
Gombroon, 104.
Ehelman , present Director of Porcelainmanufactory at Sevres, 197 .
Ecouen, Chateau d ’
,decorated by Palissy,
33, 37
Egg-shell china, 111, 243 .
Egis of Minerva, th e dish of Vitellius, 272.
Egyptian bottles in tombs, 97Electrum, vessels of, 56 .
Elers , potters of Nuremberg, 81 .
Elizabeth, Queen, receives presents of porcelain, 104.
Elizabeth, Empress, founds th e Porcelainmanufactory at Petersburg, 165 h er ser
vice of Sevres, 193, 203.
Elizabethan ware. See P ottery, Hard .
Elkington’
s notice of China ware, 104.
Enamel described, 244.
Escurial,maj olica in, 22.
Etruria, Wedgwood’
s village, so called, 70 .
Evelyn quoted, 105.
Ewer described,244.
Eyes, vases with, 243 .
F .
FAENZA WARE, etymo logy, 244.
Fa’
ience, etymology of th e term,244.
of Persia, 126, 272.
a niellure, 51 .
de Diane de Poitiers, 50 .
de Henri II .,49, 247.
Faujas de St. F ond quoted, 83.
Faulkner’
s History of Chelsea quoted, 176 .
Fenelon La MOth e, F rench Ambassador toQueen Elizabeth, 56 .
F errari, Ottavio, quoted, 9 .
F ictile, term explained, 247, 275 .
F igures, 247F ilib iens
,D om
,quoted
,240.
F iniguerra, Maso . F lorentine sculptor andgoldsmith, and th e inventor of engrav
ing, 269.
F lagon described, 247 .
F lask described, 248.
F laxman, designs forWedgwood, 69 .
F lowers, porcelain, Of Vincennes, 197.
F okien, white porcelain of, 109 .
F ontana Orazio , Italian keramic painter,15, 22.
F ontainebleau, etymology of th e name, xx .
F ord,Mr.
,Handbook of Spain quoted
,221,
F orms described, 248.
Fountaine, Sir Andrew, collection, 366 .
F ranco Battista, Italian keramic painter, 15.
F rederick I I . invades Saxony, 135, 158.
F rederickWilliam 111. interests himself inth e Berlin Porcelain manufactory, 160 .
F rick, M.,director of th e Royal Porcelain
manufactory of Berlin, 160 .
INDEX . 373
F roulam, Chinese annals of, 96 . Guido,son of Savino d
’
U rbania, ItalianF rye, English keramic painter, 180 . keramic painter, 15.
Fuel, different kinds used in Porcelainmanufactory, 206 .
Fulda,Bishop of, Amandus established
Porcelainmanufactory, 161 Heinrich vonButtlar discontinued it, 162.
Funereal vessels described, 249.
G.
GALIEN U S, water-coolers in h is reign, 228.
Gatti, Brothers, Italian keramic painters,15 .
George IV. purchases Brummell’
s Sevresporcelain
,202 ; h is teapots, 289.
Gell, SirWm.,quoted, 266.
Gilding, an exclusive privilege of th e
Sevres Porcelain manufactory, 198.
Ginori, Marquis, establishes a manufactoryat Doccia, 211 .
Gioanetti, D r., 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 L ouis, Duke of N ivernois,
introduces manufacture of Fayence, 27Gorges, Old name for pitcher, 273 .
Gottkowski, banker in th e Seven Y ears
War, 158.
Gouda, pipe-works at, 66 .
Gregory, St.,receives a present from th e
Abbe of Lerins,245.
Grenoui ll iere, palace of th e Empress Catherine, 89.
Gres cérame, etymology of th e word, 72fiamand . See S tonewar e, F landers.
Greybeard, vessel so called, described, 252.
Grosley, M .,hi s Tour quoted, 175.
Grotesque, etymology and meaning of th e
word, 253.J .
Gri'me Gewolb e, th e Royal treasury of JACOBUS KANNETJE’ 73 ,
Saxony, 115 Jacqueline of Hainault, memoir of, 73.
Guettard, D r., French Chemist,h is experi Japan porcelain, history of, 120 Portu
ments at 3 38110165 194 ; discovers kaolin guese, trade with, 120 ; massacre ofChrisat 4519 1190 11, 194° tian converts, 121 Dutch embassy, 122.
H.
HAIN SHAU SEN, Count, emp loys Ringler at
Nymphenburg, 154.
Hamilton, S ir William, furnishes Wedg
wood with models, 69.
Handle described, 253 .
Hanover, House of, encourages Chelsea Porcelain manufacture, 173 .
Hanting, h is potteries at S trasburg and
F rankenthal, 45, 154 ; employs Ringler,152 negotiationswith Sevres, 194 ; manufactory at F aubourg St. Lazare, 207.
Hanway, Jonas, h is account ofMeissen, 135
and of th e Japan Palace, 140 ; of tea,
288.
Henry I I .,h is faI ence, 49 ; encourages Pa
lissy, 33 .
Heintzmann, German keramic painter, 155 .
Hippolyte, F rench 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, h is account of La Favorite, 156 .
Hudibras quoted, 233.
Hydrocérame. See Wa ter Cooler .
Hygiocérame, described, 254.
I .
IMAGE described, 254.
India warehouses, 105 .
Inventories of French kings, 101 .
Mary Queen of Scots, 103 .
Staffordshire gentleman, 57.
Ironstone china, 82, 255 .
3 74 INDEX .
Japan Palace at Dresden,maj o lica at, 21 ;
when built, 115 ; described by JonasHanway, 140 and D r. Klemm, 141 .
Jar described, 255.
Jardiniere, 259 .
Johnson, D r., interests himself in th e
Chelsea Porcelain manufactory, 176 ; h isvisit to th e Derby manufactory, 181 h is
teapot, 289.
Joseph, Emperor, improves th eVienna Poroclain manufactory, 146 .
Jug, 259 .
Julien, M. Stanislas, Member of th e FrenchInstitute, h is chronology of China, 96 ;Opini on of antiquity of Chinese bottles,98.
Juvenal quoted, 257, 275 .
K.
KANDLER, German kerami c modeller, h istorical groups, 134, 139, 142.
Kaolin described, 259 ; Chinese, 107, 259Aue, 131 S t. Y rieix , 195 Alengon, 195
Cornwall,184.
Keramic, etymology of th e word, 259.
Keysler’
s Travels quoted, 11 .
Kiln described, 260.
King-te-ching, great Porcelain manufactoryof China, 111 .
Klemm,D r. A., Conservator of th e Japan
Palace at Dresden, 141, 143 .
Klipsel , German keramic painter, 158.
Konig, Director of th e Porcelain manufac
tory at Meissen, 144.
Koupch ine, name of Armenian jars, 256 .
Krunig’
s German Cyclopaedia quoted, chapter vii. p assim, 160 .
Kylin, Chinese monster, 113, 263.
L .
LABARTE, Jules , quoted, 284.
L ace figures of Dresden, 139, 144.
La Fav’orite, 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 th eancients, 272 .
L eg, form of a drinking vessel, 241 .
Legend described, 264.
Lerins, islands near Cannes, 245 Etienne,
Abbé of, 245.
Lewis, D r., h is experiments on glass, 276 .
L ister, D r. Martin, h is account of Chelsea.
172 and St. C loud, 189.
L ith océrame. See I ronstone.
Lithophanie described, 264.
L ivrée, meaning of th e term,286 .
Loggie of th e Vatican, arabesques of, 229.
Loreto, Spezieria of, 10 described, 20sacred cups of
,21 .
Louis XIV.,h is offer for majolica, 21
orders a service of Rouen fayence, 31 .
Louis XV ., purchases a Share in th e Porcelain manufactory, 193 .
Louis XVI . Obtains a seri es of Greek vasesas models for th e Sevres manufactory,198, 209 .
Louis XVIII . grants a pension to Mme .
Darnet, 195.
Louvre, Palissy works at, 39.
Low’
s Sarawak quoted, 267.
Luca della Robbia. See Robbia .
Luch, German keramic modeller and sculptor, 136
Lustre, metalli c, described, 264Lustrous, term explained, 264.
Lye, D r.,quoted, 247.
M.
MACHELEID , German chemi st, produces porcelain, 163.
Macpherson’
s Dictionary of Commerce
quoted, 104.
Macquer, F rench chemist, 173, 192 makeshard porcelain, 195.
Maestro Giorgio , title of George Andreoli,after h e was raised to th e rank of
patrician, 14.
Magots, Chinese figures, 109.
Maiano, Luca di, German keramic artist, 8.
Majorca, Pisan expedition against, 3.
Maj olica, history of, chap . i, etymology, 9,265 early manufactories, 7 mezza
3 76 INDEX .
Panathenaic vases described, 300 . Pope quoted, 290.
Pans, 271 . Porcelain King, title given to Augustus II I .,
Panse of a bottle, 233 . 135, 140 .
Parent, Director of Porcelain manufactory Porcelain described, 93, 276 ; compositionat Sevres, 196 . of, 277 ; Réaumur
’
s,276 .
Parret’
s Voyage au Caucase quoted, 256 .
Pasquier, C laude du, establishes a Porcelainmanufactory at Vienna, 145.
Passeri, Abbate, h is work on Maj olica,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, 256 .
Persian porcelain, 126.
fa’
i'
ence, 272.
ware, 273 .
Pesaro, gold colour of, 17 .
Peter th e Great, 165.
Petit, Radel, h is Recherches sur les Bib
l iotheques Anc . et Mod ., quoted, 245 .
Petit Ch itteau de Madrid, 8.
Pettigrew’
sMemoirs ofL ordNelson quoted,168, 215.
Petuntse, 107 ; described, 273 .
Piatti da pompa, 17Piccolpasso, I l Cavaliere Cipriano, Italiankeramic artist, 15.
Pilgrim s bottle, maj olica,17, 20 Nevers,
30 Egyptian, 233.
Pipes, manufacture of tobacco , 65.
Pisa, expedition against Majorca, 3
churches of, 4, 6 .
Pitcher, 273 .
Pithos of th e Greeks, described, 273.
Place’
s fine mugs, 65.
Plastic art described, 275 .
Plate, 276 .
Plateau, 276 .
Pliny quoted, 225, 266, 272, 276, 283, 286,300.
Pocock’
s Travels quoted, 226 .
Polo, Marco, h is account of China, 98.
Pompadour,Madame, patronises the keramicart, 1 93 .
Ponz,D on Antonio, Travels quoted, 221 .
P orcelain, Manafactories of
England, BOW, 179.
Bri stol china, 187Caughley, 182.
Chelsea, 172 .
Coalport, 182.
Colebrookdale, 182.
Derby,“ 181 .
N antgarrow,185.
Rockingham,187
Salopian, 182.
Staffordshire, 187 .
Stratford-le-Bow. See B ow.
Swansea, 185.
Worcester, 182.
F rance, Angouleme, 208.
Arras, 206 .
Bordeaux, 188.
Bourg-la-Reine, 206 .
Chantilly, 204.
Clignancourt, 205.
Creil, 188.
Etiolles, 205.
L ille, 206 .
Menecy. See Villeroy,
Monsieur, Porcelaine de, 205.
N iedervi ller, 209.
Paris, Faubourg St. Antoine,208.
St. Lazare, 207
Gros—Caillou, 208.
Rue de Bondy, 208.
de laCourtille, 209.
de Crussol , 208.
T h iroux, 208.
Prince deGalles, porcelaine du,208.
Reine, Porcelaine de 1a, 208.
Saint Amand-leS-Eaux, 207Saint C loud, 189.
S ceaux ,205 .
Sevres. See Oltap . x .
Villeroy, 204.
Vincennes, 173, 190, 192.
INDEX . 377
P orcelain, Man/ufactories ofGermany, Anspach, 164.
Arnheim, 167 .
Baden, 155.
Bavaria. See N ymphenburg.
Berlin, 158.
Breitenbach, 164.
Carlsbad, 147.
Cassel, 160 .
Dresden. See Meissen.
Elbogen, 147 .
F rankenthal, 152.
Fulda, 160.
Furstenburg, 151 .
Gera, 164.
Gotha, 164.
Greinstadt, 153.
Grosb reitenbach , 164.
Haguenau, 154.
Hildburghaus, 164.
HOCh st, 147 .
HOxter,151.
I lmenau, 164.
Keltersbach , 150.
Kronenburg, 157.
Limbach, 163 .
Ludwigsberg, 157 .
Mayence . See Hochst.
N eudech , 154.
Nymphenburg, 154.
Ratisbon, 155 .
Rudolstadt, 163 .
Saxe Coburg, 163 .
Gotha, 163 .
Meiningen, 163 .
S itzerode, 161 .
S trasburgh , 154.
Thuringia, 162.
Veilsdorf, 164.
Vienna, 145.
Volkstadt, 163.
Wallendorf, 163 .
Wurtemburg . See
berg.
Other Europ ean S tates.
Amstel, 166 .
Amsterdam. See Amstel .
Bassano, 213 .
Buen Retiro , 219 .
Capo di Monte, 214.
P orcelain, Ma/rmfactories ofCopenhagen
,167.
Doccia,211 .
F lorence. See S t. Cinori .
Hague, 166 .
LeNove. S ee B assano.
Madrid. SeeBuen Retiro.
Moncloa, 222.
Moscow,165 .
Nap les. See Cap o di Monte.
Nyon, 169 .
Petersburg, 165.
Portugal . See Vista Alegre.
St. Ginori, 211 .
Tournay,207 .
Turin, 213 .
Twer, 165.
Venice, 213.
Vineuf, 213 .
Vista Alegre, 223 .
Zurich, 168.
P orcelain, Orienta l .
China, 95 .
F okien,109 .
Japan, 120 .
King-te-ching,111 .
Nankin, 110 .
Persia,126 .
Porcelaine de Santé . See Hygiocérame.
truitée . See Crackle.
Porcellana, etymology of, 12, 100, 101 .
Porter, Stanien, extract of a letter from, 214.
Portland Vase, 69, 265.
Portuguese trade to China, 100 firstappearance before Canton, 129.
Pot,277.
Potter’
s clay, 277.
P otters and Mawafactw ers.
Astbury, th e Elder, 82,Astbury, th e Y ounger, 66.
Barbin (Villeroy), 204.
Becker (HOxter) , 152.
Bengraf 151 .
BOttch er (Meissen) . S ee Index .
Busch (Keltersbach ) , 150.
Champion (Bristol) , 187Cookworthy (Derby) , 170, 184, 187 .
3 78 INDEX .
P otters and Manafacta rers P otters an d Maorafactiw'
ers
Dahl, (Manufactory near HOCh st) , 150 . Wood, Enoch (Burslem) , 90 .
Deleneur, Demoiselles (Arras), 206 . Potter, synonyms of terms, 260.
D eruel le (C lignancourt) , 205. Potters of Modern Egypt, 227 ; EnglishD ih l and Guerh ard (Angouleme) , 208. dexterity of
,276 ,
Dewsbury (Derby) , 181. Pottery, etymology, 277Dubois, Brothers (Vincennes) , 190
192, and (Chantilly) , 204.
Dwight (Fulham) , 61 .
Elers (Bradwell) , 81 .
F light and Barr (Worcester) , 185.
Gelz (Hochst), 147Glot (Sceaux) , 205 .
Gravant (Vincennes) , 192.
Green (Leeds) , 65.
Greiner (Thuringia) , 163 .
Haman (Wallendorf) , 163.
Hani‘
mg (F rankenthal) . See I ndex.
Hearach er (Zuri ch) , 168.
Henneberg (Gotha) , 164.
Julien Jacques (Villeroy) , 205,
and (Bourg. la Reine) , 206 .
Lamarre, Advenir (Gros Caillou) , 208.
Lipp ich (Nymphenburg) , 154.
Lanfray (N iederviller) , 209.
Lebeuf (Porcelaine de la Reine) , 208.
L ocre (D e la Courtille), 209.
Luca de la Robbia. See Robbia .
Lynker (Hague) , 166 .
Mach eleid (Rudolstadt) , 163 .
Marcol ini, Count (Hub ertsb erg), 71 .
Maub rée (Nyon), 169.
Morelle (Faubourg St. An toine) , 208.
Niedermayer (N eudech ) , 154.
Palissy Bernard. S ee Index .
Petrinck (Tournay) , 207Pinto Basto, Senhor (Vista Alegre)223 .
Potter, C . (Prince de Galles) , 208.
Ringler. See I ndex .
Rothenburg (Gotha) , 164.
S iroux (Chantilly), 204.
S ouroux (Faubourg St. Antoine) , 208.
S pengler (Zurich) , 168.
S pode (Staffordshire) , 171 .
StOlzel (Vienna) , 145 .
Turner (Caughley) , 182.
Wedgwood. S ee I ndex .
Wh eildon (fellow-labourer withWedg
wood) , 67
P ottery, S oft. Enamelled Manufacture.
Delft, 46 .
F rankenthal, 45.
HOCh st, 45.
Landshutt, 41 .
Majolica, Bologna, 12 .
Faenza, 12.
F ermignano, 12.
F errara, 12.
F orli, 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. C loud, 191.
Strasburg, 45.
P ottery, Hard . F ine Earthenware.
Delft, 46, 243.
Doccia, 71 .
Elizabethan, 58, 243.
Fayence of Henry II ., 49, 247
Fulham, 61.
Gotha, 71 .
Hub ertsburg, 71 .
Leeds, 64.
S taffordshire, 60, 62.
Stratford-le—b ow, 57
Wedgwood . S ee Index .
Y ork, 65 .
380 INDEX .
S lip, term explained, 287Snake porcelain. See Crackle.
Solis, Father, mentions frauds of Chinese,108.
S omerville’
s Chase quoted, 239 .
Sorgenth al , Baron de, Director of ViennaPorcelain manufactory, 146.
Spectator, T he, ridicule of china’
collectors,105.
Sperl, Widow, undertakes th e Porcelainmanufactory at Baden, 155.
S pode employs bones, 171.
Spremont directs th e Chelsea Porcelainmanufactory, 175 .
S tem, 288.
S toneware, 288. See P ottery, Hard .
S towe. S ee 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 hi s Brazil, 281 .
Suetonius quoted, 301.
Sureda, M., Director of Porcelain manu
factory of Buen Retiro, establishes one atMoncloa, 221 .
T .
TABLE, chronological, of th e various classesof pottery, 303 .
of discoveries and progress in th ekeramic art, 353.
of th e establishment of enamelledpottery, 357. UMBRIAN WARE, 3 .
of th e history of porcelain, 359. Urbino,Dukes of, great patrons of the ma
of analyses of pottery and porcelain, nufacture of majolica, 10 .
363 . U rn described, 298.
Tankard, etymology of th e word, 288.
Tantalus, cup of, 112.
Tappia, S panish mud walls, 225 .
T sch irnh aus, German chemist, fellowworker with BOttch er, 130.
Teapot described, 289 .
T ea, when introduced, 288.
Tenacity, term explained, 289.
Terraglia, 71, 290.
Terra sigillata described, 290 invetriata,264.
Terra-cottas of th e ancients, 275.
Testa described, 290 .
Theophilus,th e monk, 41 .
Thompson’
s Dictionary quoted, 232, 247Thorwaldsen, h is works Copied at COpen
hagen,168.
Thuringian district described, 162 .
T ig, th e old English parting-cup , 63 .
Tiles, described, 290 .
English, 291.
F rench, F lemish and Dutch, 291.
Irish, 291 .
Norman,293.
Mahommedan,292.
Persian, 294.
Spanish, 295.
Royal Exchange, 291.
Tinaja, Spanish jars, 255.
To lentino, Nicolo da, Italian keramic painter ,14.
Tortoise-Shell ware, 63.
Townshend’
s Travels quoted, 220 .
Trenchard, S ir Thos.,receives th e King and
Queen of Castille, 47T ressail lures. See
"
Crackle.
Tsoni -Ki, Chinese name for Crackle, 238.
Trou, Director at St. C loud,Trophies described, 295 .
Tumulus described, 295 .
Tupinambas of Brazil, 281 .
Turkey stones described, 291 .
Tureen, etymology of, 298.
V .
VALLE, Pietro della, quoted, 225, 294.
Vasajo, Maestro Geronimo, Italian keramicpainter
,14.
Vases, classification of,299.
Etruscan, 299.
Greek, 299.
Venice ware, 101.
Vitellius, h is ragout, 272.
Vol lkeim, Count, on th emurrhine vases, 266 .
Voltaire, S iecle de Loui s XIV. quoted, 191 .
INDEX . 3 81
Von Lang, Baron, establishes th e Porcelainmanufactory at Furstenburg, 151 ; Copenhagen
,167 .
Von Gronsfeld founds Porcelain manufactory at Amsterdam, 166 .
W.
WALL, D r. founds th ePorcelainmanufactoryat Worcester
,182 inventor of printing
upon ch ina, 182.
Waller quoted, 288.
Walpole, Horace, 105, S ee S traw
berry Hill .
Walpole,Lady Catherine, 146 .
Warham’
s, Archbishop, drinking bowl, 118.
Water-coolers of S pain, 226 Egypt, 227perfumed, 227 Persia, 227 .
Watkins’
Life of Queen Charlotte quoted,175 .
XAN TO, Italian keramic painter, 14, 24.
VVatteau, paintings after, 197 .
Way, Albert, on tiles, 291 .
Wedgwood, Josiah, English keramist, me
moir Of, 66 ; h is Queen’
s ware, 64 ; other ZIESELER, German keramic flower painter,
ware, 83. 151 .
Wegeley establishes Berlin Porcelainmanufactory, 158.
Wilkinson, Sir Gardener, quoted, 97Williams, Sir C . Hanbury, Poems quoted,63.
Winckelmannquoted, 274.
Wood, kinds used in porcelain kilns, 206 .
Worcester, Nash’s County History quoted,182 .
Worcester, Green’
s History and Antiqui tiesof
,182 .
Wraxall, Sir Nathaniel, quoted, 158.
Wurtemburg, Charles Eugene, establishesth e Porcelain manufactory of Ludwigsburg, 157 .
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