,the ,complete ,work from which this ,handbook is extracted ,the ,keramic ,gallery ,,by ,,william ,,chaffers ,containing several hundred illustrations1 some in colour1 of rare1 curious1 and choice examples of ,pottery and ,porcelain from the earliest times to the beginning of the nineteenth century ,,new ,,edition1 ,,revised ,,and ,,edited ,,by ,h4 ,m4 ,,cundall1 ,i4,s4,o41 ,f4,s4,a4 ,royal #hvo1 cloth extra1 top edge gilt1 to range with the same author's ,marks and ,monograms on ,pottery ,this important book1 which was long out of print and scarce1 is not reprinted because of its rarity1 but because it is an indispensable companion to the same author's ,marks and ,monograms on ,pottery and ,porcelain4 ,as originally published in two volumes at #d guineas1 with the examples reproduced by the ,woodbury process1 it was an inconvenient book for reference1 the examples being separated from the text4 ,in this edition the illustrations are all printed in the letterpress1 and are seen in conjunction with the history and description of the different potteries4 ,the book is not a bare reprint1 but has been thoroughly edited1 in many cases new or additional specimen pieces given1 and the references made to the latest edition of the ,marks and ,monograms1 so that the book is of the utmost use for the present day4 ,this work was undertaken by ,mr4 ,h4 ,m4 ,cundall1 ,i4,s4,o41 ,f4,s4,a41 and no pains have been spared to make it worthy to be in the hands of every collector as well as every library4 ,,handbook ,,to ,,keramics ,illustration3 ,,chelsea ,,statuette1 ,,melpomene ,,the ,,collector',s ,,handbook ,,to ,keramics ,of the ,renaissance and ,modern ,periods ,,selected ,,from ,,his ,,larger ,,work1 ,,entitled ,the ,keramic ,gallery ,,with #cej ,,illustrations ,,by ,,william ,,chaffers ,,author ,,of ,,marks ,,and ,,monograms ,,on ,,pottery ,,and ,,porcelain ,,hall ,,marks ,,on ,,gold ,,and ,,silver ,,plate1 ,,etc4 ,,etc4 ,,london ,,gibbings ,,and ,,company1 ,,limited ,,new ,,york3 ,,charles ,,scribner',s ,,sons #aiji ,printed by ,,ballantyne1 ,,hanson ,,co4 ,at the ,ballantyne ,press1 ,edinburgh ,,preface ,as ,,the ,,keramic ,,gallery by the late ,william ,chaffers forms a pictorial supplement to his book ,,marks ,,and ,,monograms ,,on ,,pottery ,,and ,,porcelain1 so likewise this work1 ,,handbook ,,to ,,keramics1 which is an abridged edition of ,,the ,,keramic ,,gallery1 is intended to form a companion volume of illustrations to ,,the ,,collector',s ,,handbook ,,of ,,marks ,,and ,,monograms ,,on ,,pottery ,,and ,,porcelain4 ,whilst it has been found necessary on account of their size to omit some of the larger illustrations1 which appear in the second edition of ,,the ,,keramic ,,gallery1 care has been taken to give representations1 as far as possible1 of each individual kind of pottery and porcelain1 which have been produced in the various foreign and ,english manufactories from the ,renaissance period down to the middle of the nineteenth century4 ,brief accounts1 extracted from the larger volume1 of the various manufactories are also given1 with a view to help in establishing the period to which any specimen may belong4 ,it is hoped that this little work may prove to be of assistance to the ,collector in identifying those specimens of ,keramics bearing no marks1 which may1 from time to time1 be brought under his notice4 ,h4 ,m4 ,c4 ,,contents ,,page ,,maiolica-- ,,italy #a ,,spain #da ,,continental ,,fayence-- ,,france #ej ,,germany #hd ,,holland ,,and ,,luxemburg #ajj ,,russia ,,and ,,sweden #ajg ,,continental ,,porcelain-- #aaj ,,italy #aab ,,spain #abg ,,germany #acj ,,austria #afj ,,switzerland #afh ,,holland #agj ,,belgium ,,and ,,luxemburg #age ,,russia #agi ,,sweden #ahd ,,denmark #ahe ,,france #ahg ,,great ,,britain-- ,,pottery #baf ,,porcelain #bee ,,oriental ,,pottery ,,and ,,porcelain-- ,,china #bhe ,,japan #bie ,,persia1 ,,syria1 ,,and ,,turkey #cjd ,,index #cac ,,list ,,of ,,illustrations ,,chelsea ,,statuette1 ,,melpomene ,frontispiece ,,maiolica ,,italy ,,fig4 ,,page #a4 ,,urbino--,plateau4 ,marriage of ,alexander and ,roxana #b #b4 ,plateau1 with ,leda and the ,swan in the centre #c #c4 ,plateau4 ,by ,alfonso ,patanazzi1 #afjf #d #d4 ,vase4 ,apollo and ,daphne4 ,circa #aehj #e #e4 ,cruet4 ,circa #aegj #f #f4 ,plate4 ,the ,stream of ,life2 signed ,mo4 ,giorgio #g #g4 ,vase1 with ,shield of ,arms1 by ,mo4 ,giorgio4 #afth century #g #h4 ,,pesaro--,drug ,vase1 inscribed ,sir di ,cedro4 #agth century #i #i4 ,bowl1 ,cover1 and ,dish1 #ahth century #aj #aj4 ,,castel ,,durante--,vase4 ,circa #aefj #aa #aa4 ,plate4 ,circa #aecj #aa #ab4 ,,faenza--,plaque2 inscribed ,andrea di ,bono1 #adia #ab #ac4 ,plate1 with motto ,en ,piu4 #aeth century #ac #ad4 ,plaque4 ,joseph ,sold by ,his ,brethren4 #afth century #ad #ae4 ,plate1 with ,arms and ,arabesques1 #afth century #ae #af4 ,,diruta--,plate4 ,circa #aebj #af #ag4 ,plate2 inscribed ,sura ,fiore4 ,circa #aebj #af #ah4 ,,forl--,plate4 ,christ among the ,doctors4 #afth century #ag #ai4 ,,viterbo--,plateau4 ,diana and ,acton4 ,dated #aedd #ah #bj4 ,,cafaggiolo--,plateau4 ,st4 ,george4 ,circa #aebj #ai #ba4 ,,siena--,plate4 ,by ,mo4 ,benedetto4 ,circa #aebj #ba #bb4 ,plate4 ,woman and ,two ,peacocks4 #ahth century #bb #bc4 ,plate4 ,vintage2 signed ,ferdinando ,ma4 ,campani1 #agdg #bb #bd4 ,plate4 ,galatea4 ,early #ahth century #bc #be4 ,,venice--,plate4 ,architectural ,subject4 ,circa #agjj #bd #bf4 ,,nove--,tureen and ,cover4 #ahth century #be #bg4 ,,florence--,cup and ,saucer #bf #bh4 ,,padua--,plate4 ,myrrha ,fleeing from her ,father #bg #bi4 ,,castelli--,bowl and ,cover4 #ahth century #bh #cj4 ,ewer and ,basin4 #ahth century #bi #ca4 ,,monte ,,lupo--,plate4 ,three ,cavaliers #ca #cb4 ,,milan--cuelle and ,dish4 #ahth century #cb #cc4 ,ewer and ,dish4 #ahth century #cb #cd4 ,cup and ,plate4 #ahth century #cb #ce4 ,,turin--,dish with pierced ,border4 ,dated #aegg #cc #cf4 ,,ferrara--,plateau4 ,triumph of ,bacchus4 ,first half of #ahth century #cd #cg4 ,,genoa--,bottle4 #ahth century #ce #ch4 ,,savona--,basket4 #ahth century #cf #ci4 ,,loreto--,two ,bowls #cg #dj4 ,,sgraffiato or ,,incised ,,ware--,bowl4 ,about #adfj #ch #da4 ,plate4 ,about #aedj #ch #db4 ,basket4 #aith century #ci ,,spain #dc4 ,,hispano-,,moresque--,vase4 #aeth century #dj #dd4 ,azulejo4 #adth century #da #de4 ,plateau4 #aeth or #afth century #dc #df4 ,plateau4 #aeth or #afth century #dd #dg4 ,,valencia--,dish #de #dh4 ,,manises--,vase #df #di4 ,,triana--,bottle in ,form of a ,lady #dg #ej4 ,dish4 ,dated #aggd #dg #ea4 ,,alcora--,plaque with ,rococo ,frame #dh #eb4 ,,talavera--,bowl #di ,,continental ,,fayence ,,france #ec4 ,,saint ,,porchaire--,candlestick #ea #ed4 ,biberon #eb #ee4 ,,apt--,vase #ec #ef4 ,,blois--,candlestick #ed #eg4 ,,avignon--,ewer4 ,about #afjj #ee #eh4 ,,palissy ,,ware--,dish1 with ,reptiles1 ,fish1 c4 #afth century #ef #ei4 ,,nevers--,pilgrim's ,bottle4 ,second half of #agth century #eg #fj4 ,ewer4 ,second half of #agth century #eh #fa4 ,pilgrim's ,bottle #ei #fb4 ,,rouen--,ewer #fj #fc4 ,ewer #fa #fd4 ,plate #fa #fe4 ,compotier #fb #ff4 ,compotier #fb #fg4 ,,strassburg--,fountain #fc #fh4 ,clock and ,bracket #fd #fi4 ,,moustiers--,plateau #fe #gj4 ,compotier #ff #ga4 ,plate #fg #gb4 ,barber's ,basin #fg #gc4 ,,varages--,plate #fh #gd4 ,,marseilles--,tureen #fi #ge4 ,,sinceny--,bowl and ,cover #ga #gf4 ,,lun,,ville--,pair of ,rustic ,figures #gc #gg4 ,dish #gc #gh4 ,,aprey--,plate #gd #gi4 ,,manerbe--,finial #ge #hj4 ,,st4 ,,cl,,ment--cuelle #gf #ha4 ,,niderviller--,vase #gg #hb4 ,,st4 ,,armand-,,les-,,eaux--,inkstand #gi #hc4 ,,sceaux ,,penthi,,vre--,plate #hj #hd4 ,,creil--,plate #ha #he4 ,,lille--,dish #hb ,,germany #hf4 ,,nuremberg--,jug4 #aeth century #he #hg4 ,dish #hf #hh4 ,,bayreuth--,coffee-pot #hh #hi4 ,,limburg--,cruche #ij #ij4 ,,raeren--,cruche #ij #ia4 ,,seigburg--,canette #ia #ib4 ,,grenzhausen--,jug #ib #ic4 ,fountain #ic #id4 ,,kreussen--,tankard #id #ie4 ,,harburg--,cruche #ie #if4 ,,dresden--,bttcher ,coffee-pot #ig #ig4 ,,teinitz--,plate #ih #ih4 ,,kiel--,bishop ,mitre ,bowl #ii ,,holland #ii4 ,,delft--,cruche #aja #ajj4 ,teapot #ajb #aja4 ,vase #ajc #ajb4 ,plate #ajd #ajc4 ,,amsterdam--,dish #aje ,,sweden #ajd4 ,r,,rstrand--,butterboat #ajh #aje4 ,,marieberg--,vase and ,cover #ajh #ajf4 ,plate #aji ,,continental ,,porcelain ,,italy #ajg4 ,,florence--,cruet #aab #ajh4 ,bowl #aac #aji4 ,,doccia--,teapot #aac #aaj4 ,basin #aad #aaa4 ,,naples--,,capo ,,di ,,monte--,vase #aae #aab4 ,saucer #aae #aac4 ,cup and ,saucer #aaf #aad4 ,coffee-pot #aaf #aae4 ,,treviso--cuelle #aag #aaf4 ,cup and ,saucer #aah #aag4 ,,turin1 ,,vinovo--cuelle #aah #aah4 ,,venice--,vase and ,cover #abj #aai4 ,vase #aba #abj4 ,,nove--,jardinire #abc #aba4 ,vase #abd #abb4 ,vase #abe #abc4 ,milk-pot #abe ,,spain #abd4 ,,madrid--,,buen ,,retiro--,group #abg #abe4 ,vase #abh #abf4 ,vase #abh #abg4 ,,alcora--,plaque #abi ,,germany #abh4 ,,dresden--,vase #aca #abi4 ,sucrier1 ,cup1 and ,saucer #acb #acj4 ,cup and ,saucer #acb #aca4 ,vase and ,cover #acc #acb4 ,bust of a ,girl #acd #acc4 ,teapot and ,saucer #acd #acd4 ,,berlin--,group #ace #ace4 ,group #acf #acf4 ,milk-pot1 ,cup1 and ,saucer #acg #acg4 ,h,,chst--,lamp-stand #ach #ach4 ,tray and ,sucrier #aci #aci4 ,,frankenthal--,plate #adj #adj4 ,djeuner ,service #ada #ada4 ,,nymphenburg--,tankard #adb #adb4 ,cup and ,saucer #adc #adc4 ,,anspach--,cup and ,saucer #adc #add4 ,,bayreuth--,cup #add #ade4 ,,kelsterbach--,harlequin #ade #adf4 ,,thuringia--,cup and ,saucer #adf #adg4 ,,closter ,,veilsdorf--,teapot #adf #adh4 ,tray #adg #adi4 ,,rudolstadt--,milk-pot1 ,cup1 and ,saucer #adg #aej4 ,,fulda--,a ,peasant #adh #aea4 ,a ,peasant #adh #aeb4 ,cup and ,saucer #adi #aec4 ,coffee-pot #adi #aed4 ,f,,rstenberg--,bust of ,augusta1 ,duchess of ,brunswick #aej #aee4 ,medallions #aej #aef4 ,,ludwigsburg--,chocolate-pot #aea #aeg4 ,coffee-pot #aeb #aeh4 ,,regensburg--,cup and ,saucer #aec #aei4 ,,grossbreitenbach--,milk-pot #aec #afj4 ,,limbach--,sucrier1 ,cover1 and ,stand #aed #afa4 ,,gera--,sugar ,basin #aee #afb4 ,cup1 ,cover1 and ,saucer #aef #afc4 ,,gotha--,figure of ,bacchus #aeg #afd4 ,,rauenstein--,cup and ,saucer #aeh #afe4 ,,wallendorf--,vase #aei ,,austria #aff4 ,,vienna--,cabaret #afa #afg4 ,milk-pot #afb #afh4 ,plate #afc #afi4 ,cup and ,saucer #afd #agj4 ,,schlaggenwald--,cup and ,saucer #aff #aga4 ,,herend--,cabaret1 portion of a #afg ,,switzerland #agb4 ,,nyon--,cup and ,saucer #afh #agc4 #afi #agd4 ,,zurich--,group #afi ,,holland #age4 ,,weesp--,ewer #agj #agf4 ,coffee-pot #agj #agg4 ,,oude ,,loosdrecht--,vase #aga #agh4 ,panel #agb #agi4 ,,amsterdam--,pair of ,bottles #agb #ahj4 ,,oude ,,amstel--,teapot and ,sucrier #agc #aha4 ,sucrier #agc #ahb4 ,,the ,,hague--,plate #agd ,,belgium ,,and ,,luxemburg #ahc4 ,,tournai--,cup and ,saucer #age #ahd4 ,plate #agf #ahe4 ,,tournai--,salt-cellar #agf #ahf4 ,,brussels--,milk ,jug #agg #ahg4 ,teapot #agg #ahh4 ,,luxemburg--,two figures of ,the ,seasons #agh ,,russia #ahi4 ,,st4 ,,petersburg--,cup and ,saucer #agi #aij4 ,verrire #agi #aia4 ,,moscow--,statuette #ahj #aib4 ,cup and ,saucer #aha #aic4 ,,korzec--,cup and ,saucer #ahb #aid4 ,,baranowka--,milk ,jug #ahc ,,sweden #aie4 ,,marieberg--,custard ,cup and ,cover #ahd ,,denmark #aif4 ,,copenhagen--,cabaret #ahe #aig4 ,cabaret #ahf ,,france #aih4 ,,st4 ,,cloud--,jug #ahg #aii4 ,statuette #ahh #bjj4 ,,chantilly--,dish #ahi #bja4 ,pair of ,figures #aij #bjb4 ,,mennecy-,,villeroy--,sugar ,basin and ,stand #aia #bjc4 ,group #aib #bjd4 ,,sceaux ,,penthi,,vre--,cup and ,saucer #aic #bje4 ,milk-pot #aic #bjf4 ,,arras--,sceau #aic #bjg4 ,,boulogne-,,sur-,,mer--,plaque #aid #bjh4 ,sucrier #aid #bji4 ,,tiolles--,cup and ,saucer #aie #baj4 ,,lille--,cup and ,saucer #aie #baa4 ,,bourg-,,la-,,reine--,custard ,pot #aif #bab4 ,,clignancourt--,milk-pot and ,cover #aig #bac4 ,cup and ,dish #aig #bad4 ,milk ,jug #aig #bae4 ,,orleans--,bowl1 ,cover1 and ,stand #aii #baf4 ,,niderviller--,milk-pot and ,cover #bjj #bag4 ,,boissette--,teapot #bja #bah4 ,,caen--,cup and ,saucer #bja #bai4 ,,valenciennes--,cup and ,saucer #bjb #bbj4 ,,strassburg--,cup and ,saucer #bjc #bba4 ,,paris3 ,,rue ,,thiroux--,sucrier #bjd #bbb4 ,,rue ,,de ,,bondy--,ewer and ,basin #bjd #bbc4 ,,rue ,,fontaine ,,au ,,roi--,part of a ,tea ,service #bje #bbd4 ,,faubourg ,,st4 ,,honor--,teapot #bjf #bbe4 ,,pont-,,aux-,,choux--,teapot #bjf #bbf4 ,,rue ,,de ,,crussol--,cup #bjg #bbg4 ,,belleville--,watch-stand #bjg #bbh4 ,,vincennes--,cup and ,saucer #bjh #bbi4 7,royal ,factory7--,vase #baj #bcj4 ,cup and ,saucer #baa #bca4 ,s,,vres--,vase #bab #bcb4 cuelle #bac #bcc4 ,group #bad ,,great ,,britain ,,pottery #bcd4 ,,staffordshire--,tyg #bah #bce4 ,mug #bah #bcf4 ,plateau #bai #bcg4 ,,etruria--,wedgwood ,vase #bbj #bch4 #bbb #bci4 ,the ,portland ,vase #bbc #bdj4 ,teapot1 ,caddy1 and ,plate #bbd #bda4 ,six ,jasper ,cameos #bbe #bdb4 ,vase #bbe #bdc4 ,ewer #bbe #bdd4 ,,burslem--,obelisk1 by ,ralph ,wood1 and ,tea ,set1 by ,aaron ,wood #bbf #bde4 ,statuette of ,chaucer1 by ,ralph ,wood #bbg #bdf4 ,vase1 by ,moses ,steel #bbh #bdg4 ,,shelton--,bowl1 by ,s4 ,hollins #bbi #bdh4 ,basin1 by ,t4 ,j4 ,hollins #bbi #bdi4 ,,new ,,hall ,,china ,,works--,cup and ,saucer #bcj #bej4 ,,bradwell--,teapot1 by ,elers #bca #bea4 ,,hanley--,barrel1 by ,miles #bca #beb4 ,vase1 by ,elijah ,mayer #bcb #bec4 ,jardinire #bcc #bed4 ,vase #bcc #bee4 ,,tunstall--,jug1 by ,w4 ,adams #bcd #bef4 ,,lane ,,end--,sugar ,basin #bce #beg4 ,teapot #bce #beh4 ,,longport--,cup1 ,cover1 and ,saucer #bce #bei4 ,dish #bce #bfj4 ,,lane ,,delph--,cup1 ,cover1 and ,saucer #bcf #bfa4 ,,liverpool--,mug #bcg #bfb4 ,punch ,bowl #bch #bfc4 ,tiles1 by ,j4 ,sadler #bci #bfd4 ,teapot #bci #bfe4 ,,jackfield--,teapot #bda #bff4 ,,fulham--,lydia ,dwight #bdb #bfg4 ,,lambeth--,dish #bdc #bfh4 ,,don ,,pottery--,tea-caddy #bde #bfi4 ,,leeds--,chestnut ,bowl and ,cover #bdf #bgj4 ,,castleford--,teapot #bdf #bga4 ,,swinton--,teapot #bdg #bgb4 ,,newcastle-,,on-,,tyne--,dish #bdh #bgc4 ,mug #bdh #bgd4 ,,st4 ,,anthony',s--,jug #bdi #bge4 ,,nottingham--,mug #bdi #bgf4 ,jug in the form of a ,bear #bej #bgg4 ,,great ,,yarmouth--,plate #bej #bgh4 ,,lowesby--,garden ,pot #bea #bgi4 ,vase #bea #bhj4 ,,bristol--,tiles #beb #bha4 ,,cadborough--,vessel in the form of a ,pig #bec #bhb4 ,,swansea--,dish #bed ,,porcelain #bhc4 ,,worcester--,a ,cup and ,saucer #bef #bhd4 ,portion of a ,tea ,service 7,japan pattern7 #beh #bhe4 7with coloured transfer7 #beh #bhf4 ,,rockingham--,plate #bei #bhg4 ,vase #bei #bhh4 ,,derby--,group4 ,chelsea-,derby #bfj #bhi4 ,pair of ,vases #bfa #bij4 ,plate1 by ,billingsley #bfa #bia4 ,cup1 ,cover1 and ,saucer4 ,crown-,derby #bfb #bib4 ,scent ,vase #bfb #bic4 ,cup1 ,cover1 and ,saucer #bfc #bid4 ,,burton-,,on-,,trent--,comport #bfd #bie4 ,,wirksworth--,cup and ,cover #bfd #bif4 ,,pinxton--,jardinire #bfe #big4 ,sugar ,bowl and ,cover #bfe #bih4 ,,plymouth--,coffee-pot #bff #bii4 ,beaker and ,cover #bff #cjj4 ,centrepiece #bfg #cja4 ,a ,shepherdess #bfh #cjb4 ,a ,shepherd #bfh #cjc4 ,,bristol--,bowl and ,cover #bfi #cjd4 ,dish #bfi #cje4 ,,caughley--,mug #bgj #cjf4 ,plate #bgj #cjg4 ,,coalport--,dish #bga #cjh4 ,,stoke-,,on-,,trent--,spode ,cup1 ,cover1 and ,saucer #bgb #cji4 ,vase #bgc #caj4 ,minton ,bowl #bgd #caa4 ,,longton ,,hall--,vase #bge #cab4 ,,bow--,teapot #bgd #cac4 ,bowl #bgf #cad4 ,plate #bgf #cae4 ,statuette1 ,flora #bgg #caf4 ,bust of ,king ,george ,,ii4 #bgh #cag4 ,group1 ,a ,tea ,party #bgi #cah4 ,,chelsea--,statuette1 ,marshal ,conway #bhj #cai4 ,shepherd #bhj #cbj4 ,,chelsea--,vase #bha #cba4 ,,swansea--,plate #bhb #cbb4 ,plate #bhb #cbc4 ,,nantgarw--,plate #bhc #cbd4 ,cup and ,saucer #bhc #cbe4 ,vase #bhd ,,oriental #cbf4 ,,china--,stoneware ,vase #bhf #cbg4 #bhg #cbh4 ,porcelain ,vase #bhh #cbi4 ,ewer #bhi #ccj4 ,bottle #bij #cca4 ,jar #bia #ccb4 ,plate4 ,eggshell porcelain #bib #ccc4 #bic #ccd4 ,,japan--,vase4 ,hizen ware #bif #cce4 ,figure of ,fukurokuji #big #ccf4 ,sak ,cup and ,stand #bih #ccg4 ,jar4 to ware #bii #cch4 ,vase4 ,kishin ware #cjj #cci4 ,candlestick4 ,tozan porcelain #cjj #cdj4 ,flask4 ,satsuma ware #cja #cda4 ,incense ,burner4 ,imari porcelain #cjb #cdb4 ,,persia--,wall ,tile4 #acth century #cje #cdc4 ,water-bottle4 ,with metallic lustre #cjf #cdd4 ,dish for ,rice #cjg #cde4 ,rose water ,sprinkler #cjh #cdf4 #cji #cdg4 ,,damascus--,plate #caj #cdh4 ,dish #caa #cdi4 ,,rhodian--,plate #cab ,,handbook ,,to ,,keramics ,,maiolica ,,italy ,the painted pottery of ,italy1 ever since its introduction into that country in the #aeth century1 has been called by the ,italians themselves ,maiolica4 ,in ,england it was in the #ahth century called ,raphael ware1 on account of an impression which existed that ,raphael himself condescended to paint on some of the ware4 ,the idea probably originated from the fact that many designs were reproduced on maiolica by the keramic artists from engravings of ,raphael and other great masters4 ,the best period of this pottery was1 however1 subsequent to his death1 which took place in #aebj4 ,the term maiolica appears to be derived or rather corrupted from ,maiorca1 one of the ,balearic ,islands1 noted for its pottery from a very early period4 ,it was in the #afth century called ,maiorica1 and subsequently ,maiolica4 ,,urbino ,urbino was one of the most celebrated of all the ,italian fabriques1 and must have had by far the most trade1 although no doubt many of the specimens now attributed to this city were the works of other manufactories2 there are1 however1 a considerable number of signed and dated pieces1 and the style and touch of the principal artists engaged there may easily be detected4 ,the best known of all the keramic artists of ,urbino was ,francesco ,xanto ,avelli da ,rovigo1 whose works are now so highly appreciated2 he usually painted after the designs and engravings of ,raphael and other great masters1 but seldom adhered strictly to the grouping of the originals2 he also painted subjects from ,virgil1 ,ovid1 and other poets4 ,the marks which he placed upon his works consisted of one or more initial letters of his name1 ,f4,x4,a4,r41 but usually the ,x4 only1 or sometimes ,xanto1 with the date4 7,see ,fig4 #a47 ,illustration3 ,,fig4 #a4--,,plateau4 ,,marriage ,,of ,,alexander ,,and ,,roxana4 ,after ,raphael4 ,signed and dated ,,xanto1 #aecc4 ,illustration3 ,,fig4 #b4--,,plateau1 ,,with ,,leda ,,and ,,the ,,swan ,,in ,,centre4 #afth ,century4 ,another celebrated artist of ,urbino1 who flourished in the middle of the #afth century1 was ,orazio ,fontana1 whose family name was ,pellipario2 ,fontana being a name taken in consequence of several of the family being manufacturers of vases as well as artists4 ,illustration3 ,,fig4 #c4--,,plateau4 ,,by ,,alfonso ,,patanazzi1 #afjf4 ,the family of ,patanazzi worked in the early part of the #agth century4 ,alfonso ,patanazzi signed his pieces of the years #afjf and #afjg in full1 as well as ,alf4 ,p4 and ,a4 ,p4 7,see ,fig4 #c47 ,illustration3 ,,fig4 #d4--,,vase4 ,,apollo ,,and ,,daphne4 ,circa #aehj4 ,illustration3 ,,fig4 #e4--;,,cruet4 ,about #aegj4 ,,gubbio ,gubbio1 in the ,duchy of ,urbino1 is known principally by the works of ,maestro ,giorgio ,andreoli1 who seems to have monopolised the secret of the ruby and yellow metallic lustre1 with which he enriched not only his own productions but put the finishing touches in lustre on the plates of ,xanto and other artists from ,urbino1 as well as from ,castel ,durante4 ,there is no doubt that the painting of the piece and the application of the metallic lustre colours were two distinct operations1 and that it was painted and the colours fixed in the muffle kiln some months before it was touched with the lustre pigments1 and again subjected to another baking4 ,giorgio was a statuary as well as a painter of maiolica1 several of his sculptures in marble being yet extant4 ,illustration3 ,,fig4 #f4--,,plate4 ,,stream ,,of ,,life4 #afth ,century4 ,signed by ,m,o ,,giorgio4 ,diam4 #g-c_/d in4 ,illustration3 ,,fig4 #g4--,,vase4 ,,by ,m,o ,,giorgio4 ,h4 #aj-a_/b in4 #afth ,century4 ,another painter in lustre1 of the school of ,mo ,giorgio1 has signed his pieces with the letter ,n41 which is supposed by some to be a monogram of ,vincenzio1 the son of ,mo ,giorgio2 and a painter named ,perestino1 of ,gubbio1 produced some very beautiful pieces1 dated #aecc and #aecf4 ,,pesaro ,guido ,ubaldo ,,ii4 della ,rovere1 who became ,duke of ,urbino in #aech1 was a patron of the fabrique of ,pesaro4 ,the maiolica with yellow lustre1 blue outlines and imbricated borders1 which are assigned to ,pesaro1 belong to the first part of the #afth century2 many of these have portraits and scrolls inscribed with the name of the person to whom they were dedicated4 ,when ,passeri visited the town in #agah1 there was only one potter1 making ordinary vessels4 ,some years after1 in #ageg1 he sent potters from ,urbania and recommenced the manufacture4 ,according to ,m4 ,a4 ,jacquemart1 two artists of ,lodi--,filippo ,antonio ,callegari and ,antonio ,casali--were also established here about the middle of the #ahth century4 ,the bowl and cover and dish1 ,fig4 #i1 painted and gilt with flowers1 are signed by them with their initials4 ,there was another fabrique1 established by ,giuseppe ,bertolucci of ,urbania in #ageg2 ,pietro ,lei1 a painter of ,sassuolo1 was engaged there4 ,illustration3 ,,fig4 #h4--;,,drug ,,vase4 #agth ,century4 ,illustration3 ,,fig4 #i4--;,,bowl1 ,,cover1 ,,and ,,dish4 #ahth ,century4 ,,castel ,,durante ,castel ,durante1 a small town near ,urbino1 had a very extensive manufactory of maiolica2 most of its early productions of the beginning of the #aeth century are often confounded with those of ,urbino1 but there is evidence enough to show the beautiful character of the decorations employed there4 ,piccolpassi1 director of a bottega for maiolica1 at ,castel ,durante1 circa #aeej1 wrote a treatise on the art of making and decorating it1 whilst under the patronage of ,guidobaldo ,,ii4 ,the manuscript is in the ,art ,library of the ,victoria and ,albert ,museum4 ,this interesting work is illustrated with pen-and-ink sketches of all the details of manufacture and patterns of the ware1 and the prices at which they were to be obtained2 allusions are also made in it to other towns celebrated for the same industry2 and the principal forms of the vessels are described by name4 ,illustration3 ,,fig4 #aj4--,,vase4 ,about #aefj4 ,illustration3 ,,fig4 #aa4--,,plate4 ,about #aecj4 ,in the year #afce the name of the fabrique was changed to ,,urbania in compliment to ,pope ,urban ,,viii42 and in #agbb it was the only one which remained in the ,duchy of ,urbino1 where articles of utility alone were made4 ,a great trade was carried on in pharmacy vases or ,vasi da ,spezieria1 covered with grotesque heads1 cornucopi1 c41 designed and shaded with light blue1 touched with yellow1 orange1 brown and green1 the patterns being mostly in a bold style4 ,,faenza ,if not the most ancient1 ,faenza was one of the most celebrated of the manufactories of maiolica in ,italy4 ,it was this town that gave to the ,french the name by which they have to the present day distinguished their enamelled pottery1 as ,spain had previously supplied the name to ,italy4 ,thus in ,italy it was called maiolica from ,maiorca1 and in ,france1 faence from ,faenza4 ,the earliest dated piece now extant is probably a plate in the ,muse de ,cluny1 dated #adge1 made by ,nicolaus de ,ragnolis4 ,another specimen1 in the ,svres ,museum1 is inscribed ,nicolaus ,orsini1 #adgg2 and in the same collection is a plate1 signed ,don ,giorgio1 #adhe1 probably by ,maestro ,giorgio4 ,illustration3 ,,fig4 #ab4--,,plaque4 ,,andrea ,,di ,,bono1 #adia4 ,illustration3 ,,fig4 #ac4--,,plate4 ,,with ,,an ,,emblem ,,of ,,two ,,hearts ,,pierced ,,with ,,arrows ,,and ,,the ,,motto ,,en ,,piu4 #aeth ,century4 ,the products of this fabrique retained for a long time a special character by which they are easily identified2 at first the outlines of the figures were very simple and formal2 the yellow lustre does not appear to have been adopted4 ,illustration3 ,,fig4 #ad4--,,plaque4 ,,joseph ,,sold ,,by ,,his ,,brethren4 #afth ,century4 ,in the #afth century a favourite decoration was grotesques and arabesques in blue camaeu on yellow ground1 or alternately on the two colours 7see ,fig4 #ae74 ,the reverses of the ,faenza plates are frequently light blue1 with concentric circles or a spiral line in a darker colour2 when white1 with imbrications or zones alternately blue and yellow4 ,another peculiarity by which the ,faenza ware is known1 is the presence of red4 ,illustration3 ,,fig4 #ae4--,,plate4 ,,arms ,,and ,,arabesques4 #afth ,century4 ,,diruta ,many of the lustred pieces of maiolica1 with light yellow lustre edged with blue1 which were attributed formerly to ,pesaro1 have been now classed among the wares made at ,diruta1 from the circumstance of a plate in the ,pourtals ,collection--subject1 one of ,ovid's ,metamorphoses1 being similarly decorated with the yellow lustre1 and signed by ,el ,frate of ,diruta1 #aeda4 ,some specimens have ,in ,deruta inscribed at length2 others have simply the letter ,d with a bar through it2 and early pieces have the signature of the painter1 ,el ,frate1 but without the yellow lustre4 ,illustration3 ,,fig4 #af4--,,plate4 ,,blue ,,and ,,white4 #afth ,century4 ,illustration3 ,,fig4 #ag4--,,plate4 ,,inscribed ,,sura ,,fiore4 ,about #aebj4 ,,forl ,according to ,passeri there were fabriques of maiolica at ,forl in the #adth century4 ,its contiguity to ,faenza exercised a great influence on the decoration of the ware1 and the patterns on the obverses and reverses are similar4 ,fig4 #ah has on the back ,in la botega di ,mo4 ,jeronimo da ,forli4 ,illustration3 ,,fig4 #ah4--,,plate4 ,,christ ,,amongst ,,the ,,doctors4 ,diam4 #ad in4 #afth ,century4 ,,rimini is only known by a few specimens1 which are actually signed1 and by the mention made of its fabriques by ,piccolpassi4 ,the pieces are dated #aece1 and as late as #afce4 ,,viterbo1 ,,ravenna1 ,,and ,,treviso ,there were manufactories at these three places in the #afth century1 but few specimens of their productions now exist4 7,see ,chaffers' ,marks and ,monograms1 p4 #aab47 ,the first named is illustrated 7,fig4 #ai7 by a plateau2 a man at the bottom holds a scroll inscribed ,,viterbo ,,diomed1 #aedd4 ,illustration3 ,,fig4 #ai4--,,plateau4 ,,diana ,,and ,,act,,on4 ,dated #aedd4 ,,cafaggiolo ,this fabrique1 established towards the end of the #aeth century1 became very important1 lasting probably throughout the #afth century4 ,the name is spelt in different ways1 such as ,chaffagiuolo1 but ,cafaggiolo is the general form4 ,illustration3 ,,fig4 #bj4--,,plateau4 ,,st4 ,,george4 ,circa #aebj4 ,among the ornaments on this ware are frequently tablets with ,,spqr and ,,spqf 7,florentinus71 and on several the motto ,semper1 adopted by ,pietro de' ,medici in #adgj1 and continued by ,lorenzo il ,magnifico4 ,the device of a triangle and the word ,glovis1 meaning when read backwards si volge 7it turns71 was used by ,giuliano de' ,medici in #aeaf1 alluding to his change of fortune4 ,another characteristic of this fabrique is the dark blue background of many of the pieces1 and the method in which it was coarsely applied by the brush4 ,fig4 #bj represents the ,st4 ,george of ,donatello1 from the bronze statue in the church of ,or ,san ,michele1 at ,florence4 ,,siena ,the earliest specimens known of this important manufactory are some wall or floor tiles of the commencement of the #afth century4 ,they are of maiolica1 ornamented with polychrome designs of chimer1 dragons1 amorini1 masks1 birds1 c41 beautifully painted in brilliant colours1 especially orange and yellow on a black ground4 ,they vary in shape1 being triangular1 pentagonal1 or square1 to suit the geometrical designs of the wall or floor they covered2 the average diameter is #e inches4 ,the plate in blue camaeu on white ground1 in the accompanying illustration 7,fig4 #ba7 is signed on the reverse fata in ,siena da ,mo4 ,benedetto4 ,illustration3 ,,fig4 #ba4--,,plate4 ,,by ,m,o4 ,,benedetto4 ,about #aebj4 ,after a long interval1 the name of the town again appears on maiolica of a very characteristic description1 accompanied by the names of the artists3 ,bartolomeo ,terenze 7or ,terchi7 ,romano in #agbg1 and ,ferdinando ,maria ,campani1 #agcc to #agdg1 the subjects being taken from ,raphael1 ,annibale ,caracci1 and other masters 7see ,figs4 #bb-bd74 ,illustration3 ,,fig4 #bb4--,,plateau4 ,,woman ,,and ,,peacocks4 #ahth ,century4 ,illustration3 ,,fig4 #bc4--,,plate4 ,,vintage4 ,signed ,,ferdinando ,m,a ,,campani1 ,,siena1 #agdg4 ,illustration3 ,,fig4 #bd4--,,plate4 ,,galatea4 ,after ,,annibale ,,caracci4 ,early #ahth ,century4 ,,pisa ,this city was1 about the middle of the #afth century1 the centre of a considerable trade in the exportation of ,italian fayence into ,spain1 and especially to ,valencia1 in exchange for the golden metallic lustre ware of that country4 ,antonio ,beuter1 a traveller1 about #aeej1 praises the fayence of ,pisa as well as those of ,pesaro and ,castelli4 ,a specimen bearing the name ,,pisa1 a large vase of fine form1 covered with arabesques on white ground1 was in the collection of the late ,baron ,alphonse de ,rothschild4 ,,venice ,little is known respecting the ,venetian maiolica of the #afth and #agth centuries1 but numerous pieces exist bearing marks with ,venice recorded on them4 ,these are specimens of the #agth century with a mark of a fishhook1 and from the long intervals between its use1 it evidently belongs to a fabrique and not a painter4 ,as an example of ,venetian maiolica1 circa #agjj1 see ,fig4 #be1 a plate painted with an architectural subject4 ,illustration3 ,,fig4 #be4--,,plate4 ,circa #agjj4 ,in #agec1 the ,senate of ,venice conceded to the brothers ,bertolini the establishment at ,murano of a kiln for making fayence4 ,but it did not succeed so well as the promoters anticipated1 and it was probably discontinued about #agfj1 as the concession was annulled by a decree of ,april #agfc4 ,,nove ,in #agbh1 ,giovanni ,battista ,antonibon established in the village of ,nove1 near ,bassano1 a manufactory of earthenware1 and in #agcb he opened a shop in ,venice for the sale of his wares4 ,in #agda the factory was still in a prosperous state1 and carried on by his son1 ,pasqual ,antonibon4 ,in #agff ,pasqual took his son1 ,giovanni ,battista ,antonibon1 into partnership1 and in #agha ,sig4 ,parolini joined the concern1 continuing the fabrication with great success until #ahjb1 when they leased the premises to ,giovanni ,baroni1 and the business was carried on under the name of ,fabbrica ,baroni ,nove4 ,it was prosperous for a short time1 and some beautiful examples were produced4 ,illustration3 ,,fig4 #bf4--,,tureen ,,and ,,cover4 #ahth ,century4 ,maiolica fina or fayence only is still continued to be made1 the manufacture of porcelain1 for which at one time the works were so famed1 not having been revived4 ,,florence ,of the early maiolica made here little is known1 but fayence of the #ahth century is occasionally met with1 marked with the letter ,f or ,fl4 ,illustration3 ,,fig4 #bg4--;,,cup ,,and ,,saucer4 ,,padua ,in a street which still retains the name of ,boccaleri 7makers of vases7 were discovered traces of ancient potters' kilns1 and some triangular wall tiles1 of blue and white maiolica alternately1 of the end of the #aeth or beginning of the #afth century4 ,among these was a plaque1 #bj in4 in diameter1 of the ,virgin and ,child between two saints1 surrounded by angels4 ,the subject is taken from a cartoon by ,nicolo ,pizzolo1 a painter of ,padua and a pupil of ,squarcione2 on the summit of the throne is written ,,nicoleti1 the name he usually adopted4 ,the plaque is now preserved in the ,museum of that city4 ,illustration3 ,,fig4 #bh4--,,plate4 ,,myrrha ,,fleeing ,,from ,,her ,,father4 ,fig4 #bh1 a plate1 painted on grey ground1 is inscribed on the reverse with the name of the place and the date #aedh4 ,,castelli ,the manufactory of ,castelli1 a small town in the ,abruzzi1 north of the city of ,naples1 was still flourishing towards the end of the #agth century4 ,francesco ,saverio ,grue1 a man of letters and science1 became about this time director of this ,neapolitan maiolica fabrique4 ,the ware was boldly ornamented with subjects1 correctly designed and well painted2 sometimes the landscapes were delicately heightened with gold4 ,his sons and brothers continued to add lustre to his name for nearly a century4 ,francesco ,antonio ,grue's works1 which have dates1 range from #afgg to #agbb1 the subjects being principally scriptural and mythological4 ,luigi ,grue1 about #agbj-agdj1 painted landscapes and figures4 ,ioanes ,grue or ,grua painted scriptural subjects from about #agcj to #agej4 ,saverio ,grue was the re-inventor of gilding on fayence2 some of his pieces are dated #agdi and #agec4 ,his earliest paintings are without gold1 consisting of classical subjects and mottoes on plaques4 ,c4 ,a4 ,grue was a painter about the same time4 ,illustration3 ,,fig4 #bi4--;,,bowl ,,and ,,cover4 #ahth ,century4 ,illustration3 ,,fig4 #cj4--;,,ewer ,,and ,,basin4 #ahth ,century4 ,fig4 #bi1 a bowl and cover1 painted with nude figures after ,annibale ,caracci2 and filled in with fruit1 foliage1 and cartouches1 is signed ,liborius ,grue ,p4 ,,naples ,maiolica was made in the city of ,naples in the #agth century1 but little is known respecting it4 ,examples of the fayence of the #ahth century are frequently met with1 signed ,,fdv--,f4 del ,vecchio2 ,giustiniani2 the letter ,n crowned1 and sometimes the letters ,h4,f4 ,,monte ,,lupo ,the plates and dishes of coarse heavy earthenware1 rudely painted with large caricature figures of soldiers and men in curious ,italian costumes of the #agth and #ahth centuries1 in menacing and warlike attitudes1 striding across the plates1 holding swords1 spears1 and other weapons1 are usually attributed to ,monte ,lupo1 near ,florence4 ,the manufactory is still in existence4 ,fig4 #ca1 is signed on the back ,raffaello ,girolamo fecit ,monte ,lupo #afci4 ,illustration3 ,,fig4 #ca4--,,plate4 ,,three ,,cavaliers4 ,,milan ,no specimens can be identified of an earlier date than the #ahth century4 ,the fayence is usually painted with grotesque figures1 but sometimes with flowers and scrolls in relief1 also with ,watteau or ,chinese subjects4 7,see ,fig4 #cc47 ,some pieces1 apparently of a later date1 are from the manufactory of ,pasquale ,rubati1 and usually signed with his initials4 ,illustration3 ,,fig4 #cb4--;,,cuelle ,,and ,,dish4 #ahth ,century4 ,illustration3 ,,fig4 #cc4--;,,ewer ,,and ,,dish4 #ahth ,century4 ,illustration3 ,,fig4 #cd4--;,,cup ,,and ,,plate4 #ahth ,century4 ,,turin ,that there was a manufactory of maiolica at ,turin in the #afth century is proved by a dish with pierced border1 painted on the inside with a boy carrying two birds on a long pole2 it is marked underneath--,fatta in ,torino adi #ab di ,setebre #aegg 7see ,fig4 #ce74 ,the manufactory was in existence in the first half of the #ahth century and was under ,royal patronage1 as a large dish which was in the collection of the ,marquis ,d',azeglio is inscribed on the back of the rim3 ,fabrica ,reale di ,torino ,,gr #agcg4 ,in the centre of the reverse is a monogram composed of ,f4 ,r4 ,t4 7,fabbrica ,reale ,torino74 ,illustration3 ,,fig4 #ce4--;,,dish4 ,dated #aegg4 ,,ferrara ,alfonso ,i41 ,duke of ,ferrara1 himself occasionally worked in a room attached to his palace1 and is said to have discovered a fine white colour1 which was adopted by the fabriques of ,urbino4 ,he died in #aecd4 ,his successor1 ,duke ,alfonso ,,ii41 summoned ,camillo ,fontana 7son of the celebrated ,orazio ,fontana of ,urbino7 in #aefg to give new life to the manufactory4 ,all the well-known pieces bearing the impresa of the ,duke1 a flame of fire and the motto ,,ardet ,,eternum1 were produced at this fabrique1 about #aegi4 ,at a much later period1 probably late in the #agth century1 there was still a manufactory here4 ,illustration3 ,,fig4 #cf4--,,plateau4 ,,the ,,triumph ,,of ,,bacchus4 ,first ,half of the #ahth ,century4 ,,bassano1 ,,near ,,venice ,a fabrique 7according to ,v4 ,lazori7 was founded here about #aedj1 by ,simone ,marinoni1 but it is not known how long it lasted4 ,later pieces of the #agth century bear a certain resemblance to the ,castelli ware4 ,in #agbh1 a manufactory of maiolica was set on foot by the sisters ,manardi1 which was continued in #agce by ,giovanni ,antonio ,caffo2 and some time after1 but previous to #agec1 another was carried on by ,giovanni ,maria ,salmazzo4 ,,genoa ,piccolpassi speaks of ,genoa as a great mart for maiolica about the year #aedj4 ,he tells us the patterns painted--arabesques1 leaves1 landscapes1 c4--and the prices charged1 but no specimens of this early date have hitherto been identified4 ,the fayence of the #ahth century1 however1 is of frequent occurrence2 its decoration is much the same as that of ,savona1 viz4 rude and hasty sketches in blue camaeu1 sometimes with small caricature figures in the style of ,callot4 ,in consequence of ,genoa's maritime position1 the mark selected for this ware was a beacon1 by some erroneously called a lighthouse1 from which some object is suspended on a pole4 ,illustration3 ,,fig4 #cg4--;,,bottle4 #ahth ,century4 ,fig4 #cg1 a bottle1 painted in blue with birds and scroll ornaments1 has this mark4 ,,savona ,the manufactory of ,savona was founded in the #agth century at the village of ,albissola1 situated on the coast1 near ,savona4 ,the ware is generally ornamented in blue on white ground1 the designs are roughly executed1 and the mark1 consisting of a shield of arms of the town1 is often seen on the reverse4 ,there are some other marks attributed to ,savona3 a double triangle with the letter ,s1 called the knot of ,solomon 7,salomone71 the sun with ,g4,s41 the falcon mark1 the tower mark1 and the anchor mark1 so called from these emblems being depicted on the ware4 ,fig4 #ch1 a basket1 perforated and with two handles1 is rudely painted with scrolls in yellow1 blue1 and green2 in the centre is a cartouche with the letters ,s4,a4,g4,s4 ,illustration3 ,,fig4 #ch4--;,,basket4 #ahth ,century4 ,,loreto ,although ,santa ,casa at ,loreto is not strictly speaking a fabrique of maiolica1 yet maiolica is actually made within the precincts of the sanctuary4 ,bowls are made of clay1 mixed with the dust shaken from the dress of the ,virgin and walls of the sanctuary1 and in this form are preserved by the faithful as tokens of their visit to the shrine4 ,illustration3 ,,fig4 #ci4--,,two ,,bowls4 ,,sgraffiato ,,or ,,incised ,,ware ,the earthenware vessels with stanniferous enamel1 called in ,italy sgraffiato ware1 have been attributed to ,,citt ,,di ,,castello4 ,they are engraved in outline and decorated en engobe--that is1 the object before being glazed is covered with a second coating of coloured slip or engobe1 on which is graved the ornament or design after it has been merely dried by the air1 leaving a sort of champ lev1 and afterwards baked in the kiln4 ,these fayence vases are generally enamelled in yellow1 green1 and brown4 ,fig4 #dj1 a bowl1 is decorated with foliage1 on the stem are three lions seated1 in full relief2 round the bowl runs a wreath of yellow flowers2 and within is a man wrestling with a dragon1 surrounded by a wreath4 ,there was a manufactory of this sgraffiato ware at ,,la ,,fratta1 near ,perugia1 which was continued down to a late period4 ,fig4 #db1 a basket-shaped pot1 has ornaments in relief4 ,similar ware was also made at ,,pavia in the #agth century4 ,illustration3 ,,fig4 #dj4--;,,bowl ,,of ,,incised ,,ware4 ,about #adfj4 ,illustration3 ,,fig4 #da4--,,plate4 ,diam41 #aa-a_/b in4 ,about #aedj4 ,illustration3 ,,fig4 #db4--,,red ,,glazed ,,earthenware ,,basket4 #aith ,century4 ,illustration3 ,,hispano-,,moresque ,,fig4 #dc4--,,vase4 ,height #bj-c_/d in4 #aeth ,century4 ,,spain ,the exact date of the introduction of enamelled pottery with lustre-pigment into ,spain is unknown1 but the existence of manufactures of golden pottery at ,calatayud1 in ,aragon1 is testified to by the ,mohammedan geographer ,edrisi in the #abth century4 ,illustration3 ,,fig4 #dd4--;,,azulejo4 ,the ,hispano-,moresque period1 which is best known to us from the numerous specimens preserved to our time1 commences with the #adth century1 when the ,alhambra of ,granada was erected by the ,moors4 ,the earlier pieces of the #adth and #aeth centuries may be distinguished by a golden yellow metallic lustre1 and blue enamel on a white ground4 ,the designs are ,moorish1 consisting of diaper patterns1 foliage1 fantastic and other animals1 shields of arms of ,spanish princes1 c41 and sometimes ,arabic inscriptions1 transformed into ornamental designs4 ,fig4 #dc1 a vase1 is decorated with leaves and conventional flowers1 in reddish yellow lustre and blue4 ,the azulejos or enamelled tiles of the ,alhambra1 bearing passages from the ,koran1 shields and other devices1 are well known2 they date from the beginning of the #adth century 7see ,fig4 #dd74 ,,malaga4 ,the principal as well as the earliest centre for the manufacture of fayence was in this city1 and the finest known specimen of ,moorish fayence is the celebrated vase of the ,alhambra1 which is supposed to be as early as the palace itself1 viz4 the #adth century1 and was probably made here4 ,the colours of the decoration are a pure blue enamel1 surrounded or heightened with a yellow lustre on white ground4 ,figs4 #de and #df are other specimens of the ,spanish lustre ware1 with shields of arms1 of the #aeth or #afth century4 ,,majorca was the next in importance as regards its ancient manufacture1 but it must also have had a very extensive trade in fayence1 for it was exported to almost every part of the globe4 ,giovanni de' ,bernardi da ,uzzano1 writing in #addb about the productions of the ,balearic ,isles1 says the fayence of ,majorca has a very extensive sale in ,italy4 ,illustration3 ,,fig4 #de4--,,plateau4 ,as the keramic art in ,spain declined1 the ,arabic inscriptions1 which were perfect on the early vases like that of the ,alhambra1 were copied1 but the painter1 not knowing their signification1 employed them as ornaments1 until at last they became altogether confused and illegible4 ,the arabesques were no longer in such elegant taste1 and large coats of arms entirely filled the centres of vases and plates4 ,,valencia was also celebrated for its fayence1 which may be traced back to ,roman times1 for ,saguntum1 now ,murviedro1 is mentioned by ,pliny and others as noted for its jasper red pottery4 ,it is impossible to discover the origin of the lustred pottery of ,valencia1 but it probably dates from the beginning of the #aeth century1 when it became the most important in ,spain4 ,the pieces attributed to this place have ,christian devices2 many of them bear the inscription1 ,in principio erat ,verbum et ,verbum erat apud ,deum1 from the first chapter of ,st4 ,john1 and the eagle displayed 7not in an escutcheon as in the arms of ,aragon71 for ,st4 ,john was particularly venerated at ,valencia4 ,of its earlier productions of the ,moorish period nothing is known4 ,illustration3 ,,fig4 #df4--,,plateau4 ,illustration3 ,,fig4 #dg4--;,,dish4 ,valencia has from time immemorial been celebrated for its azulejos or enamelled tiles4 ,there are many houses of the #aeth and #afth centuries still existing in the ancient cities of ,spain1 the walls of whose rooms are covered with tiles ornamented with borders1 scrolls1 and geometrical designs4 ,the celebrity of this manufacture is maintained to the present day4 ,fayence of all descriptions was extensively made at ,valencia throughout the #agth and #ahth centuries4 ,fig4 #dg1 a dish1 is blue and white with a lion in the centre4 ,,manises1 near ,valencia1 was also celebrated from the #afth to the #ahth century4 ,the decorations appear to be of ,oriental design1 executed for the most part in a rich copper-coloured lustre4 ,some dishes with copper-colour lustre have upon them a mark of an open hand1 which may be the emblem of the place1 and are dated #afaj and #afaa4 ,fig4 #dh1 a vase1 is painted in lustre1 with foliage1 birds and animals1 and with a rudely executed shield of arms1 seemingly of ,sicily or ,portugal4 ,illustration3 ,,fig4 #dh4--,,vase4 ,,triana1 near ,seville4 ,there were several fabriques here1 one for the manufacture of spires or ornaments of earthenware1 with which the gables of the buildings were crowned2 others for the azulejos or tiles so much used in ,spain1 and for fayence vessels of all descriptions4 ,fig4 #di is a bottle in the form of a lady in the costume of the period of ,louis ,,xiv41 en grande tenue2 inside the fontange or top-knot of the headdress1 which forms the spout1 is written ,victor4 ,i4 ,viva4 ,mi4 ,arno4 ,don4 ,damian4 ,sant4 cross4 ,illustration3 ,,fig4 #di4--;,,bottle4 ,height #ad in4 ,illustration3 ,,fig4 #ej4--;,,dish4 ,dated #aggd4 ,,alcora4 ,there was a very important fabrique of fayence at this place1 carried on by the ,count ,d',aranda1 in the #ahth century4 ,the usual mark upon this fayence is the letter ,a in gold or colour4 ,illustration3 ,,fig4 #ea4--,,plaque4 ,,talavera1 near ,toledo1 was one of the most important manufactories in ,spain in the #agth and #ahth centuries1 and the word talavera was used to indicate all fayence in the same manner as fayence in ,france and delft in ,england4 ,illustration3 ,,fig4 #eb4--;,,bowl4 #ahth ,century4 ,fig4 #eb1 a bowl1 is glazed1 decorated within and without with a bull fight1 storks1 and trees1 in green1 orange and manganese4 ,,continental ,,fayence ,,france ,maiolica and ,fayence are essentially the same1 being composed of the same material and covered with a tin glaze or opaque white enamel1 which serves to hide the dingy colour of the clay1 and forms a fine ground for the reception of colours4 ,,saint ,,porchaire4 ,all the earliest writers on the subject appear to have thought that it was made in ,touraine1 and it was called ,,henri ,,deux ware4 ,the ware next became known as ,,fa,,ence ,d',,oiron1 but in #ahhh it was affirmed that the factory of this pottery was at ,saint ,porchaire4 ,the distinguishing characteristics of this curious ware are1 in the first place1 the body1 which is of a creamy white pipeclay1 very compact and of fine texture1 so that it does not1 like the ordinary fayence1 require an opaque white enamel1 but merely a transparent glaze2 and secondly1 that instead of being painted with enamel colours over the surface1 it is inlaid with coloured plates1 in the same manner as the champ lev enamels or niello work in metal4 ,fig4 #ec1 a candlestick of cream-coloured ware1 is inlaid with arabesques and other patterns1 in dark brown and reddish brown1 with reliefs of three boys1 tragic masks1 shields of arms of ,france1 and the cipher of ,henri ,,ii42 above are three terminal figures of satyrs2 date about #aedj4 ,illustration3 ,,fig4 #ec4--;,,candlestick4 ,fig4 #ed1 a biberon1 is inlaid with interlaced bands and scrolls1 rosettes1 guilloches1 masks1 c41 in a reddish colour2 a curved band on the neck has a row of ciphers1 these being the letters ,a4 ,m41 elegantly arranged as a decorative monogram1 probably that of the ,constable ,anne de ,montmorency4 ,illustration3 ,,fig4 #ed4--;,,biberon4 ,height #i-a_/d in4 ,,beauvais was celebrated for the manufacture of decorative pottery in the #adth century1 and descriptions of cups of the terre de ,beauvais frequently occur in early inventories4 ,several specimens of it are still in existence2 they are of red1 green1 or blue glaze1 with gothic inscriptions and arms of various provinces of ,france in relief4 ,,apt4 ,the fabrication of fayence is said to have commenced here about the middle of the #ahth century1 principally in imitation of jasper and brocatelle marble4 ,the manufactory of ,m4 ,bonnet was established about #aghj1 and marbled ware and vases of a yellow colour were produced4 ,illustration3 ,,fig4 #ee4--,,vase4 ,fig4 #ee is a yellow vase with masks and vine leaves4 ,,blois4 ,a manufactory of fayence was in existence here throughout the #agth and #ahth centuries4 ,it was similar to that of ,nevers and ,rouen4 ,some specimens are signed ,lebarquet4 ,illustration3 ,,fig4 #ef4--;,,candlestick4 ,,avignon4 ,a manufactory of pottery flourished here from about #afej to #aghj1 but there were also potteries early in the #afth century4 ,the pottery is of a chocolate brown1 with a fine metalloid glaze like bronze or tortoiseshell4 ,the ewers and bottles are of elegant forms1 resembling those of ,italy1 sometimes perforated and ornamented with masks and flowers in relief1 or painted yellow4 ,illustration3 ,,fig4 #eg4--;,,ewer4 ,about #afjj4 ,,bernard ,,palissy1 born #aeaj1 succeeded1 after many years of diligent research1 in discovering the enamel which decorates his ware4 ,his earthenware1 as well as his style of decoration and his beautiful modelling1 were quite original4 ,the natural objects represented upon his ware are true in form and colour1 being mostly modelled from nature2 the shells are copied from tertiary fossils found in the ,paris basin2 the fish are those of the ,seine1 and the reptiles and plants such as he found in the environs of ,paris4 ,illustration3 ,,fig4 #eh4--;,,dish4 #afth ,century4 ,,nevers4 ,the earliest evidence of the making of fayence at ,nevers is the foundation of a fabrique by ,dominique ,conrade1 in the latter half of the #afth century1 which was carried on by his son and grandson4 ,in #afeb1 ,pierre ,custode established another fabrique1 which was equally successful1 and seven generations of his family were employed in it4 ,other manufactories were started in the #ahth century4 ,the fayences of the first epoch1 #afjj to #affj1 have frequently been confounded with ,italian maiolica1 but a little attention will show the points of difference4 ,in the ,nevers ware the figures are always yellow on blue ground2 the ,italian figures are usually blue on yellow4 ,at ,nevers red or metallic lustre was never employed1 and the outlines are always traced in manganese violet1 never in purple or black4 ,during the second epoch1 the ground was a peculiar lapis-lazuli blue1 like the ,persian colour called bleu de ,perse2 it entirely covered the piece1 was spotted or painted with white1 or sometimes in yellow and orange1 and decorated with flowers and birds4 ,the ,chinese patterns are in light blue en camaeu1 sometimes intermixed with a sort of brown lilac4 ,illustration3 ,,fig4 #ei4--,,pilgrim',s ,,bottle4 ,bleu de ,perse4 #bnd half of #agth ,century4 ,height #aa-a_/b in4 ,illustration3 ,,fig4 #fj4--;,,ewer4 ,painted with ,japanese figures1 #bnd half of #agth ,century4 ,height #ae-c_/h in4 ,illustration3 ,,fig4 #fa4--,,pilgrim',s ,,bottle4 ,,apollo ,,and ,,daphne2 rev4 ,a ,,bacchanalian ,,scene4 ,in blue and yellow4 ,height #ab-a_/d in4 ,,rouen4 ,there was a manufactory of pottery at ,rouen early in the #afth century1 and towards the end of the next century there were many establishments4 ,at the commencement of the #ahth century1 the ,chinese style pervaded all the ,rouen fayence1 but it was transformed or travestied and possessed a special physiognomy2 the subjects were landscapes and buildings with figures1 fantastic birds1 dragons1 c41 in blue1 green1 yellow1 and red1 bordered with the square ,chinese ornaments4 ,at a later date the decoration consists principally of flowers issuing from cornucopi and rococo ornaments2 this sort of style is called in ,france la corne4 ,the paste of the ,rouen fayence is heavier and thicker than that of ,delft1 but the designs and ornaments are full of taste1 decorated in blue camaeu and in polychrome1 some in the style of ,nevers1 with white on bleu de ,perse1 but of paler colour4 ,the pieces were frequently of large size1 and included fountains1 consoles1 vases1 c4 ,illustration3 ,,fig4 #fb4--;,,ewer4 ,illustration3 ,,fig4 #fc4--;,,ewer4 ,illustration3 ,,fig4 #fd4--,,plate4 ,fig4 #fb is painted with polychrome decoration of landscapes1 c42 period of ,louis ,,xiv42 height #bf-c_/h in4 ,fig4 #fc is painted in blue with arabesques and flowers2 period of ,louis ,,xiv42 height #i-c_/d in4 ,fig4 #fd is painted in the centre with a rose ornament1 with medallions and scrolls round the rim1 in blue and orange2 period of ,louis ,,xiv42 diam4 #aj in4 ,illustration3 ,,fig4 #fe4--;,,compotier4 ,illustration3 ,,fig4 #ff4--;,,compotier4 ,fig4 #fe is painted in polychrome2 period of ,louis ,,xv42 diam4 #i-e_/h in4 ,fig4 #ff is painted with ,chinese figures1 c41 in polychrome2 period of ,louis ,,xv42 diam4 #aj in4 ,,strassburg#a and ,,hagenau were noted for the manufacture of fayence1 established by ,charles ,franois ,hannong about #agji4 ,it was called in ,france poterie du ,rhin1 and is of a peculiar character1 and easily known1 being generally decorated with flowers and scrolls in red1 rose colour1 and green4 ,charles ,f4 ,hannong was succeeded by his sons ,paul and ,balthasar4 ,the former took charge of the ,strassburg works1 and the latter the factory which had been started at ,hagenau4 ,the ,strassburg fayence works were closed in #aghj4 ,illustration3 ,,fig4 #fg4--;,,fountain4 ,illustration3 ,,fig4 #fh4--;,,clock ,,and ,,bracket4 ,fig4 #fg1 polychrome decoration1 bears the initials of ,paul ,hannong2 about #agej2 height #bb-a_/d in4 ,fig4 #fh1 in three pieces1 coloured in maroon1 yellow1 blue and green1 bears the mark of ,paul ,hannong2 about #agej2 height #c ft4 #i in4 ,,moustiers4 ,the products of the ,moustiers fabriques may be divided into three periods3-- #ast ,epoch4 ,towards the end of the #agth century4 ,the subjects are hunting scenes1 c41 painted in blue2 champtre scenes and figures in costumes of the period of ,louis ,,xiv42 and mythological and biblical subjects with arabesque borders4 ,the outlines are sometimes lightly indicated in violet of manganese4 ,illustration3 ,,fig4 #fi4--,,plateau4 #bnd ,epoch4 ,from the commencement of the #ahth century to about #agde4 ,the specimens of this period are in blue camaeu with highly finished and graceful interlaced patterns1 among which are cupids1 satyrs1 nymphs1 terminal figures1 flowers1 masks1 c42 canopies with draperies resting upon consoles1 vases1 fountains1 c4 #crd ,epoch4 ,from #agde to #aghi4 ,the fayence is mostly painted in polychrome2 the colours are blue1 brown1 yellow1 green1 and violet4 ,the decorations are flowers1 fruit1 and foliage1 and sometimes mythological subjects4 ,other patterns of this period consist of grotesque figures1 and caricatures4 ,the outlines of the designs were transferred to the surface of the ware by means of paper patterns1 pricked with a fine needle and powdered over with charcoal4 ,illustration3 ,,fig4 #gj4--;,,compotier4 ,fig4 #fi1 painted in green camaeu with a rustic subject in the style of ,boucher1 with polychrome floral border2 #agbj to #agfj2 diam4 #aa-a_/h in4 ,fig4 #gj4 ,compotier1 painted with a central hunting subject1 after ,tempesta1 surrounded by a floral border1 and outer border of garlands1 in polychrome2 #afhj to #agbj2 diam4 #aj-c_/h in4 ,illustration3 ,,fig4 #ga4--,,plate4 ,illustration3 ,,fig4 #gb4--;,,barber',s ,,basin4 ,fig4 #ga4 ,plate1 octagonal1 with curved outline1 painted with central medallion of ,juno standing in a landscape1 surrounded by a garland1 and round the border the busts of divinities within medallions1 and garlands1 in polychrome2 #afhj to #agbj2 diam4 #aj in4 ,fig4 #gb4 ,barber's basin1 painted in polychrome with the subject of ,diana and ,acton2 #afhj to #agbj2 length #ae in4 ,,varages also possessed manufactories in the #ahth century for fayence in the style of ,moustiers1 from which it is only a few miles in distance4 ,some of this ware bears the mark of a cross1 and was called ,faence la ,croix4 ,fig4 #gc is painted with rustic figures in landscape1 after ,wouverman2 crimson and green flower border1 and marked with a cross4 #ahth century4 ,diam4 #aa-a_/b in4 ,illustration3 ,,fig4 #gc4--,,plate4 ,,marseilles4 ,the manufacture of fayence at ,marseilles1 and elsewhere in the ,south of ,france1 was in activity early in the #agth century4 ,a little after #agej1 twelve fabriques of pottery were in existence4 ,in #agij there were eleven manufactories existing1 but most of them ceased about #agic1 on account of the ,treaty of ,commerce with ,england4 ,the ,revolution of #agic gave an additional blow to the keramic industry of ,marseilles4 ,in #ahje there were only three factories at work1 employing twenty hands4 ,in #ahji only one remained4 ,illustration3 ,,fig4 #gd4--,,tureen4 ,the fayence is much the same in character as that of ,moustiers1 and sometimes resembles that of ,strassburg4 ,the decorations are frequently in red or green1 sometimes with ,chinese designs4 ,there is one peculiarity about the ,marseillaise fayence which at once fixes its identity1 and this is1 three green leaves or marks painted on the backs of plates and dishes to hide the imperfections in the enamel caused by the pernettes or points of support on which they rested in the kiln4 ,there is also a great resemblance between the early ware made here and at ,genoa1 in consequence of the emigration of many workmen4 ,we learn from a complaint made on the subject by the potters of ,marseilles to the ,intendant of ,provence in #agfb1 from which it seems they took a great number of apprentices at very low wages1 and the wages were paid in fayence1 which mode of payment they said deteriorated the quality1 and caused the workmen to emigrate to ,genoa4 ,also they complained that great quantities of ,genoese fayence were imported into ,languedoc and ,provence1 and spread over ,france1 which was absolutely ruinous to the trade of the two provinces1 and especially to ,marseilles4 ,fig4 #gd4 ,soup tureen1 cover1 and stand1 with polychrome flower decoration and gilding1 was made by ,savy1 about #agej2 length of tureen1 #ae-a_/b in4 ,,sinceny in ,picardy4 ,a manufactory was established here in #agcc1 by ,jean ,baptiste de ,fayard1 ,gouverneur de ,chaunay et ,seigneur de ,sinceny4 ,dr4 ,warmont 7,recherches ,historiques sur les faences de ,sinceny1 c41 ,paris1 #ahfd7 divides the products of this manufactory into three periods3-- #a4 ,rouennaise1 #agcd to #agge4 #b4 ,faence au feu de rverbre1 #agge to #aghi4 #c4 ,dcadence de l',art1 #aghi to #ahfd4 ,the earliest pieces were painted in blue2 the next in blue touched with red or green and yellow1 decorated with lambrequins 7mantlings71 la corne 7cornucopi71 birds1 and butterflies4 ,chinese figures were doubtless stencilled by pricked papers and charcoal powder4 ,illustration3 ,,fig4 #ge4--;,,bowl ,,and ,,cover4 ,about #agge a great improvement was perceptible in the fayence of ,sinceny2 the paste became finer in quality1 the colours brighter and more varied1 in more exact imitation of the porcelain of ,japan4 ,this was accomplished by what is called le feu de rverbre1 in contradistinction to the old process au grand feu2 the latter included only one baking1 while in the other the ware was placed a second time in the kiln1 and the pigments were not exposed to so great a heat1 which allowed the employment of brighter colours4 ,table services decorated in polychrome1 with branches of roses1 sometimes in green camaeu2 delicate wicker baskets1 watch stands1 c41 were produced2 they were painted with ,chinese figures1 rococo scrolls1 and other ornaments4 ,from #agij the fayence au feu de rverbre was largely discontinued on account of its expensive character and the introduction of ,english ware at a lower price2 but still1 both descriptions were occasionally made4 ,fig4 #ge is a bowl and cover1 painted in colours inside with a coronet1 supported by two cupids on clouds with a flaming heart beneath1 #ahth century4 ,,lun,,ville4 ,founded in #agca by ,jacques ,chambrette1 it was called ,la ,manufacture ,stanislas2 ,jacques was succeeded by his son ,gabriel and his son-in-law ,charles ,loyal4 ,they made fayence of blue decoration like ,nevers1 and sometimes with rose and green colours like the old ,strassburg ware4 ,large figures of lions1 dogs1 and other animals1 of natural size1 are sometimes met with4 ,illustration3 ,,fig4 #gf4--;,a ,,pair ,,of ,,rustic ,,figures4 ,with polychrome decoration4 ,about #agge4 ,height #h-c_/d in4 ,illustration3 ,,fig4 #gg4--;,,dish4 ,in polychrome4 ,about #agfj4 ,length #ac-a_/d in4 ,,aprey1 near ,langres4 ,established1 about #agej1 by ,lallemand1 ,baron d',aprey4 ,about #aghj it was conducted by ,m4 ,vilhault1 who made a superior kind of fayence4 ,the early style is that of ,strassburg with rose colour1 green and yellow predominating4 ,illustration3 ,,fig4 #gh4--,,plate4 ,in polychrome4 ,diam4 #i-c_/h in4 ,at ,,manerbe1 near ,lisieux in ,normandy1 and at ,,malicorne1 ,,infreville1 ,,ch,,teau-,,la-,,lune and ,,armenti,,res1 those elegant glazed earthenware pinnacles or finials which adorn the gables of old mansions in various parts of ,normandy were constructed4 ,they are #e or #f feet in height1 being a series of small ornaments placed one above another on an iron rod2 they partake of the character of the figulines rustiques of ,palissy1 and have frequently been sold as such4 ,illustration3 ,,fig4 #gi4--;,,finial4 ,about #afjj4 ,,st4 ,,cl,,ment4 ,established about #agej4 ,little is known of this fabrique4 ,there are some specimens of the #ahth century in the ,svres ,museum2 also some others of later date1 #ahai and #ahbc4 ,illustration3 ,,fig4 #hj4--;,,cuelle4 ,with gilt scrolls on white ground4 ,,toulouse4 ,established in the #ahth century4 ,the ware is very similar in style to early ,rouen pottery4 ,a large hunting bottle1 with loops for suspension1 painted with blue flowers1 and bearing round the neck the inscription ,laurens ,basso a ,toulousa ,le #ad ,ma #agef1 was formerly in the possession of the late ,mr4 ,c4 ,w4 ,reynolds4 ,,niderviller4#b ,established in #agfj1 by ,jean ,louis1 ,baron ,beyerl4 ,the ware is in the ,german style1 potters from ,germany having been employed in its production1 and is remarkable for the richness and delicacy of its decoration1 which most frequently consists of flowers in bouquets and garlands4 ,his fayence figures and groups are well modelled4 ,about #aghj1 four years before ,beyerl's death1 the factory was purchased by ,general ,count ,custine1 and carried on by him under ,m4 ,lanfray1 principally for the manufacture of porcelain1 which will be subsequently referred to4 ,illustration3 ,,fig4 #ha4--,,vase4 ,fig4 #ha4 ,vase with cover1 one of a pair2 urn shape1 painted to resemble deal1 with medallions containing landscapes in rose camaeu1 and borders of bay leaves4 ,it bears the mark of ,count ,custine2 date about #aggd2 height #ag-c_/h inches4 ,,douai4 ,two brothers of the name of ,leech1 from ,england1 were engaged1 in #aghb1 by ,m4 ,george ,bris1 of ,douai1 to superintend the manufacture of ,english pottery on a large scale1 in a factory 7now a ,normal ,school7 in the ,rue des ,carmes4 ,it was one of the first of the kind established in ,france4 ,the chief workmen1 who came originally from ,england1 instructed pupils1 who carried the new process to ,chantilly1 ,forges1 and other places in ,france4 ,,vincennes4 ,in #agfh ,m4 ,maurin des ,abiez undertook a manufacture of fayence in the manner of ,strassburg1 it being well known that there did not exist in ,france any fayence comparable to it in beauty and solidity2 he had purchased the secret1 and brought to ,paris a staff of workmen who had been engaged at ,strassburg4 ,he acquired possession of the ,chteau de ,vincennes for twenty years4 ,pierre ,antoine ,hannong was engaged as director1 and the works were carried on for four years1 until #agga1 when the factory got into difficulties and was closed4 ,,sarreguemines4#c ,established about #aggj by ,paul ,utzschneider4 ,the beautiful fayence produced here is in imitation of porphyry1 jasper1 granite1 and other variegated hard marbles1 and was sometimes cut and polished by the lathe2 it was also made with white raised figures on blue in the style of ,wedgwood1 and a third kind was red ware like the ,japanese4 ,the name is impressed on the ware4 ,,st4 ,,amand-,,les-,,eaux1 near ,valenciennes4 ,founded about #agej by ,m4 ,fauquet1 and continued by his son4 ,the latter occupied himself especially with the gilding of his ware1 which gave his neighbours the opportunity of saying he melted all his louis-d'ors in making his experiments and ruined himself4 ,in the revolution of #aghi he emigrated1 and all his goods were confiscated4 ,in #ahjg he attempted to revive the fabrique1 and advertised that the ,st4 ,amand works were in full activity1 making white fayence in the style of ,rouen4 ,illustration3 ,,fig4 #hb4--;,,inkstand4 ,fig4 #hb1 an inkstand1 with ink and pounce pots and drawer1 painted on a grey ground with blue and white flowers under the glaze2 about #agfj-hj4 ,,sceaux ,,penthi,,vre4 ,in #agec1 ,jacques de ,chapelle established a manufactory of a particular sort of fayence1 of which he alone possessed the secret4 ,the ware is in the style of ,strassburg1 its prevailing colours being pink and green2 it is painted with flowers1 but more carefully finished1 and with landscapes and other forms of decoration4 ,illustration3 ,,fig4 #hc4--,,plate4 ,,bourg-,,la-,,reine4 ,established in #aggc by ,messrs4 ,jacques and ,jullien1 who removed hither from ,mennecy4 ,the early ware is very similar to that of ,sceaux4 ,besides the white fayence for domestic use1 more artistic pieces were produced1 painted on the enamel after it had received a slight baking2 this ware is principally in imitation of the ,italian4 ,,creil4 ,a manufactory of fine fayence1 worked in the #ahth century by ,m4 ,st ,criq1 made opaque porcelain and stoneware in the ,english style1 and transferred prints on to the ware4 ,illustration3 ,,fig4 #hd4--,,plate4 ,with a yellow border and transfer-printed landscape4 ,,montereau4 ,in #agge1 ,messrs4 ,clark1 ,shaw1 ,co41 obtained letters patent to carry on a manufactory of ,english fayence1 called ,queen's ware1 from clay found in the vicinity4 ,this ware had a very extensive sale1 and dealt a severe blow to the manufacture of ,french fayence4 ,it soon spread over ,france1 and was extensively made at ,toulouse1 ,creil1 ,sarreguemines1 and other places4 ,,lille4 ,a manufactory of fayence1 was founded in #afif1 by ,jacques ,feburier1 of ,tournai1 and ,jean ,bossu1 of ,ghent1 who made a ware la faon de ,hollande4 ,illustration3 ,,fig4 #he4--;,,dish4 ,another important manufactory of fayence was established in #agaa1 by ,barthlemy ,dorez and ,pierre ,palissier2 it continued in active work for nearly a century4 ,a third fayence manufactory was founded in #agdj by ,j4 ,masquelier1 and was continued in the same family until #ahbg4 ,a fourth was established in #agdd1 by ,m4 ,chanou1 who made a brown earthenware called terre du ,st4 ,esprit1 in the ,english fashion4 ,there were also two other factories here in the #ahth century4 ,,germany ,the pottery of ,germany consists of two distinct classes3 the fayence with opaque white stanniferous glaze1 and that which to a great extent is called in ,england stoneware1 in ,germany ,steingut1 and in ,france grs or sandstone4 ,these epithets exactly describe the quality of the latter ware4 ,it is very serviceable for domestic utensils1 such as drinking bottles and vessels of everyday use1 and is covered with a thin transparent glaze1 effected by throwing common salt into the kiln when the ware is nearly baked--the salt vaporised by the heat surrounds the vessels1 and acting upon the silica of their surfaces produces a thin gloss of silicate of soda over the ware1 rendering it perfectly impervious4 ,,nuremberg 7,nrnberg74 ,the celebrated ,veit ,hirschvogel1 of ,schlettstadt1 was born in #adda1 and died in #aebe2 he was a great potter1 contemporary with ,luca della ,robbia1 of ,florence4 ,the early pieces of pottery are somewhat like maiolica1 but the colours are brighter1 green predominating in many specimens2 figures in relief in niches are frequently seen on vases4 ,several chimney-pieces of this ware of the #aeth century are still in existence1 one is in the castle of ,salzburg1 and many pieces treasured up in museums are supposed to have been made by ,hirschvogel himself4 ,the ,nuremberg pottery of the #afth and #agth centuries is not uncommon4 ,hirschvogel was succeeded by his sons and a host of continuators4 ,fayence of the #ahth century is also met with1 painted with scriptural subjects1 sometimes in blue camaeu1 sometimes in other colours4 ,illustration3 ,,fig4 #hf4--;,,jug4 #aeth ,century4 ,fig4 #hf4 ,jug1 of enamelled earthenware1 in various colours1 with figures in low relief2 attributed to ,veit ,hirschvogel2 height #ac in4 ,illustration3 ,,fig4 #hg4--;,,dish4 ,fig4 #hg4 ,dish1 painted in the centre with ,christ rising from the tomb2 signed with the painter's name ,gler1 #agbc4 ,,leipzig4 ,in the convent of ,st4 ,paul1 which was built in #abjg1 there was a frieze of bricks1 covered with tin enamel glaze1 representing in relief the heads of ,saints and ,apostles1 #bj in4 by #ae in41 #b-a_/b in4 thick4 ,on the demolition of the convent a selection of these was deposited in the ,dresden ,museum2 they are of ,byzantine character1 in green enamel shaded with black2 the hair1 beard1 and eyes of the figures are coloured4 ,,strehla4 ,a manufactory for earthenware was in existence here for many centuries4 ,a pulpit of enamelled earthenware still exists1 supported by a life-size figure of ,moses1 ornamented with eight plaques of religious subjects and figures of the four ,evangelists1 bearing the name of the potter and the date #aefe4 ,,oberdorf4 ,a factory was carried on by a potter named ,hans ,seltzman2 a very fine stove made by him1 with an inscription and dated #aead1 is in the ,palace at ,fssen1 in ,bavaria4 ,many other places throughout ,germany were equally famous in the #afth and #agth centuries1 for the manufacture of stoves1 as ,,augsburg1 ,,memmingen1 c4 ,,bayreuth4 ,the manufacture of a brown stoneware with ,renaissance medallions1 arabesques1 c41 in relief flourished here in the #afth century4 ,at a later period1 fine fayence was produced1 painted in blue camaeu4 ,the designs are delicately traced with a brush on a fine paste2 the forms are canettes1 jardinires1 c4 ,at the end of the #ahth century a fabrique of fayence was carried on by a ,herr ,schmidt1 who assiduously copied the ,english ware2 there are specimens in the ,svres ,museum bearing the counterfeit mark of ,wedgwood4 ,illustration3 ,,fig4 #hh4--;,,coffee-,,pot4 ,fig4 #hh4 ,coffee-pot and cover1 chocolate coloured ground1 decorated with gilt scrolls2 ,f1 the cypher of ,frederick the ,great1 under a crown in front2 about the middle of the #ahth century2 height #i in4 ,,cologne 7,kln74 ,the stoneware made here in the #afth century is better known throughout ,europe than any other description of pottery2 its durability for domestic uses and the elegant character of its ornamentation in relief1 caused it to be sought for everywhere4 ,the grs de ,cologne has been confounded with the grs de ,flandres1 which latter name is given erroneously and indiscriminately to all stoneware of ,german manufacture1 notwithstanding the ,german inscriptions the pieces bear and the arms of ,german cities and families4 ,the best and most highly finished decorative grs or stoneware cruches were undoubtedly made in ,germany1 if not at ,cologne4 ,the clay for making the ,cologne ware came from ,langerwehe between ,dren and ,aix-la-,chapelle4 ,the manufactory was not actually in ,cologne1 but in the vicinity1 possibly at ,,frechen1 and at ,,lauenstein1 where a factory was established in the #ahth century4 ,there were also factories at ,,siegburg and ,,limburg4 ,all the ware was made in moulds1 and it must be borne in mind that the vessels were not always made at the date indicated upon them1 for the moulds were used successively through a series of years1 and it is no uncommon occurrence to find two different dates upon the same piece4 ,some of the finest specimens known bear the name of ,baldem ,mennicken1 a potter dwelling at ,,raeren in the ancient ,duchy of ,limburg1 which town until the treaty of #ahad was part of ,holland1 and it is probable that the stoneware produced here indicates the origin of grs de ,flandres4 ,illustration3 ,,fig4 #hi4--,,limburg ,,cruche4 ,grey and blue4 ,height #h-c_/d in4 ,illustration3 ,,fig4 #ij4--,,raeren ,,cruche4 ,grey and blue4 ,height #g-a_/d in4 ,illustration3 ,,fig4 #ia4--,,siegburg ,,canette4 ,cream colour4 ,dated #aegd4 ,height #ag-a_/d in4 ,,grenzhausen1 in ,nassau4 ,there was a factory here about #aghj1 where grs or stoneware was made2 it is of a fine quality and easily mistaken for the more ancient grs4 ,the forms are usually plates1 dishes1 and jugs1 in which the decoration consists of a fine blue enamel on grey ground1 with incuse ornaments executed by hand4 ,illustration3 ,,fig4 #ib4--;,,jug4 ,fig4 #ib1 a jug of reticulated pattern1 is engine-turned1 and enriched with brilliant enamel colours1 #ahth century4 ,illustration3 ,,fig4 #ic4--;,,fountain4 ,fig4 #ic1 a large fountain1 is purple blue and white1 #afth century2 height #cj in4 ,,kreussen1 a town of ,bavaria1 has long been noted for its pottery4 ,the grs of the #agth century1 called ,kreussener ,steingut1 is of a dark brown colour1 in the forms of cylindrical mugs1 tankards1 c41 with figures in relief round them1 painted in bright coloured enamel4 ,illustration3 ,,fig4 #id4--,,tankard4 ,fig4 #id1 a tankard1 has a chocolate-coloured ground1 with coloured enamel ornaments and figures of the ,emperor and the ,electors of ,germany on horseback1 dated #afif4 ,,bunzlau1 in ,silesia4 ,grs was made here in the #afth and #agth centuries4 ,the products of the #ahth century are distinguished by ornaments in relief1 flowers1 coats of arms1 c41 sometimes gilt4 ,at the present time an extensive trade is still carried on in the manufacture of chocolate and coffee pots1 usually covered with a brown glaze1 and lined with white4 ,there is preserved a monster coffee-pot1 #ae feet high1 made at this place in the #ahth century4 ,,harburg1 on the ,elbe1 opposite ,hamburg1 is noted as the residence of ,johann ,schaper1 who was born towards the end of the #afth century4 ,his exquisite paintings of landscapes and figures are usually in ,indian ink or sepia en grisaille1 the colours being fixed by heat4 ,illustration3 ,,fig4 #ie4--;,,cruche4 ,fig4 #ie1 a cruche of fine fayence1 painted with a landscape in grey camaeu1 is signed ,joh4 ,schaper2 it has a white ground with flowers and fruit in natural colours2 date about #afdj2 height #h-a_/b in4 ,,scherzheim1 in ,wrtemberg4 ,the ,wintergursts1 father and son1 were celebrated potters here1 and made fayence from the beginning of the #agth century2 it is from their manufactory that the table services1 of which each piece represents an animal or a vegetable1 were made4 ,,lauenstein1 near ,coblenz4 ,a manufactory was established in #agfj2 the grs or stoneware made here was of grey and blue1 ornamented with incuse patterns2 it was made in large quantities1 and carried by the ,rhine boats to the markets in ,holland1 where it met with a ready sale4 ,h,,chst1 near ,mainz4 ,enamelled fayence was made here in the beginning of the #ahth century1 at a factory founded by ,gelz of ,frankfort4 ,the manufactory ceased in #agid1 but a potter named ,dahl established one in the vicinity4 ,he made statuettes and other ornaments4 ,,dresden4 ,a manufactory was established at ,meissen1 on the ,elbe1 about #ab miles from ,dresden1 by ,augustus ,,ii41 ,king of ,poland and ,elector of ,saxony1 for the manufacture of hard paste1 or true porcelain4 ,the experiments of ,tschirnhaus and ,bttcher commenced about #agjf2 to the latter is attributed the invention of hard paste4 ,his first attempt produced a red ware1 like jasper1 which was cut and polished by the lapidary and gilt by the goldsmith4 ,it was made from a kind of brown clay found at ,meissen4 ,this red ware1 made by ,bttcher1 was a fine stoneware1 having opacity1 grain1 and toughness4 ,illustration3 ,,fig4 #if4--;,b,,ttcher ,,coffee-,,pot4 ,another kind of pottery was made at the beginning of the #ahth century1 in imitation of the ,japanese2 it was called the red pottery of ,dresden4 ,,teinitz 7,bohemia74 ,a manufactory was carried on in this small town in the #ahth century by a potter named ,welby4 ,illustration3 ,,fig #ig4--,,plate4 ,fig4 #ig4 ,a plate painted in bistre camaeu with the ,discovery of ,calisto by ,diana4 ,it has an elegant border in grey1 with richly gilt designs1 resembling the gilding of ,vienna4 ,date about #ahjj4 ,,frankenthal4 ,paul ,hannong1 driven from ,strassburg in #agec1 in consequence of the ,vincennes monopoly1 founded a manufactory here in the following year for hard paste porcelain2 he also made great quantities of fayence1 usually decorated with flowers1 as at ,strassburg4 ,it was called ,poterie du ,rhin4 ,,arnstadt 7,gotha74 ,a factory was established here about the middle of the #ahth century4 ,a fayence jug1 painted in blue camaeu1 with ,st4 ,george and the ,dragon1 coloured flowers on the sides1 and a purple and green check border1 is in the ,british ,museum4 ,,kiel was noted for its fayence about #aggj2 the factory was under the direction of ,j4 ,buchwald1 who had been master potter at ,marieberg1 #agfa to #agfe2 a few years after1 probably in #agfg or #agfh1 he became director of the ,kiel manufactory4 ,the paintings of landscapes and flowers in colours are well finished4 ,illustration3 ,,fig4 #ih4--;,,bishop',s ,,mitre ,,bowl4 ,,holland ,,and ,,luxemburg ,,holland ,delft1 a town between the ,hague and ,rotterdam1 was celebrated for its earthenware at a very early period4 ,the exact date of its commencement is not known1 but there is a record of a certain ,herman ,pietersz1 a fayence maker1 being married in #aehd1 consequently pottery was being made in the town towards the end of the #afth century4 ,at this period the decorated ,dutch pottery showed ,italian influence in its design1 and it is recorded that a painter on pottery named ,vroom studied his art in ,italy4 ,after the middle of the #agth century the industry increased rapidly1 and reached its greatest prosperity about #afhj1 when there were about thirty different factories1 and the ware was decorated by highly skilled artists4 ,no one was allowed to establish a factory unless he had obtained a licence from the ,guild of ,st4 ,luc4 ,to this period belong famous potters1 such as ,p4 ,j4 ,van ,kessel of ,the ,metal ,pot2 ,abram de ,kooge of ,the ,old ,moor's ,head1 who decorated landscapes in blue camaeu2 and ,albrecht de ,keizer1 with his two sons-in-law1 ,jacob and ,adrian ,pynaker1 of ,the ,three ,porcelain ,bottles1 who were the first to imitate oriental porcelain4 ,other potters of note at this time were the ,eenhorns1 father and two sons1 the ,kleftyns1 and the five ,kams4 ,illustration3 ,,fig4 #ii4--;,,cruche4 ,by the middle of the #ahth century1 owing to the competition of ,english pottery1 the ,delft industry was already on the wane4 ,in #aghj the factories were reduced to one half their former number1 and by #ahjh only seven existed4 ,all these gradually succumbed1 and now only one factory1 ,the ,old ,porcelain ,bottle1 remains4 ,illustration3 ,,fig4 #ajj4--,,teapot4 ,the forms of the ,delft ware are very varied2 among other curious efforts the potters produced musical instruments4 ,there are four fayence violins extant1 all painted in blue camaeu1 with figures in ,dutch costume of the #agth century1 dancing and singing1 musicians and kermess scenes1 in the manner of ,gerard ,lairesse1 with cupids and ,renaissance ornaments as borders4 ,the decorated pieces of ,ter ,himpelen1 although rarely signed1 are much prized2 he painted fairs and marine subjects on square plaques1 about the year #afej4 ,so also are those of ,piet ,viseer1 a celebrated colourist1 who flourished about #agej2 and of ,van ,domelaar1 who painted ,chinese landscapes1 c41 about #aehj4 ,illustration3 ,,fig4 #aja4--,,vase4 ,fig4 #ii1 a cruche1 is painted in blue camaeu1 with a musical party1 in the costume of about #afgj4 ,illustration3 ,,fig4 #ajb4--,,plate4 ,fig4 #ajj1 a teapot1 is painted in polychrome with ,chinese landscapes and flowers on a black ground4 ,it has the mark of ,louwys ,fictoor4 ,late #agth or early #ahth century4 ,fig4 #aja1 a vase1 is painted in blue with flowers1 in imitation of a ,chinese type4 ,the mark of ,ghisbrecht ,lambrechtse ,kruyk4 ,later half of #agth century4 ,fig4 #ajb1 a plate painted with figures in blue1 is one of a set of twelve representing the tobacco industry4 ,,utrecht4 ,there was a manufactory of tiles here1 founded in #agfj2 they were decorated in blue or violet1 en camaeu1 in imitation of ,delft2 the manufactory was closed in #ahee4 ,,amsterdam4 ,a ,german ,jew of ,breslau1 named ,hartog1 known as ,hartog ,van ,laun1 and another1 named ,brandeis1 established a manufactory of fayence near the gate of ,weesp1 at ,amsterdam4 ,the ware is heavy1 not very artistic1 and usually in blue camaeu4 ,fig4 #ajc1 a fruit dish1 is painted in blue1 with a man and woman seated4 ,illustration3 ,,fig4 #ajc4--;,,dish4 ,,overtoom4 ,a manufactory of fine fayence was established in #aged1 in the parish of ,amstelveen1 near ,amsterdam2 it lasted ten years4 ,the ,barons ,van ,haeren and ,van ,palland were the proprietors1 and ,ariel ,blankers was the director4 ,the fayence1 though heavy1 was of a fine white enamel and of good forms2 besides table and tea services1 groups of birds1 modelled from nature1 statuettes1 c41 were made4 ,,luxemburg ,an important fabrique was established at ,luxemburg by the brothers ,boch1 in #agfg1 who had removed from ,audun le ,riche in ,france4 ,they made various descriptions of earthenware1 as well as fine fayence1 and largely imitated the ,english ,queen's ware4 ,,russia ,,and ,,sweden ,,russia ,,st4 ,,petersburg4 ,about the year #agjj1 ,peter the ,great1 during his stay at ,saardam1 induced some potters of ,delft to emigrate to ,st4 ,petersburg1 where he established a manufactory4 ,we have no information on the subject1 except a notice of it in the ,connaissances ,politiques1 of ,beausobre1 published at ,riga in #aggc3 ,there is also among the porcelain manufactories at ,st4 ,petersburg a fabrique of fayence1 on the other side of the ,neva1 where they make every description of vessels of correct design and in good taste4 ,a private gentleman of ,revel has also established at his own cost1 near this city1 a fabrique of fayence1 and has obtained painters and potters from ,germany4 ,,sweden ,r,,rstrand1 a suburb of ,stockholm1 where a factory for earthenware was established in #agbf4 ,the works were at first under the direction of ,jean ,wolf4 ,he was succeeded by ,c4 ,c4 ,hnger4 ,in #aggb they were managed by ,nordenstople1 and later by ,geyer4 ,illustration3 ,,fig4 #ajd4--;,,butterboat4 ,illustration3 ,,marieberg ,,fig4 #aje4--,,vase ,,and ,,cover4 ,fig4 #ajd1 a butterboat1 leaf-shaped1 is painted with flowers2 dated #agga4 ,,stockholm is the same manufactory as ,rrstrand1 but the mark was altered when the latter town was united to the capital4 ,,marieberg1 near ,stockholm4 ,the second ,swedish pottery was established in #agej1 on the expiration of the monopoly of ,rrstrand1 by ,m4 ,ehrenreich1 under the patronage of ,count ,scheffer1 ,councillor of ,state4 ,the fayence was something like ,delft ware1 and it was also ornamented with transfer printing4 ,illustration3 ,,fig4 #ajf4--,,plate4 ,fig4 #aje1 a vase and cover1 is coloured in relief2 date about #aggj4 ,fig4 #ajf1 a plate with pierced border1 has a shield of arms and flowers2 dated #agfh4 ,,continental ,,porcelain ,porcelain has this distinguishing characteristic1 that when held up to a strong light it appears translucent1 unlike fayence1 which is perfectly opaque4 ,its fracture is hard and white internally1 like a broken piece of alabaster4 ,porcelain of soft paste has the appearance of an unctuous white enamel like cream2 it is also to the touch of a soft1 warm1 and soapy nature1 something like the surface of fine fayence4 ,the pte tendre is also soft in another sense1 being unable to bear so great a degree of heat in the furnace as hard porcelain4 ,the soft paste may1 therefore1 be easily cut or scratched with a steel point or a file1 which would have no effect upon the hard paste2 it is consequently liable to become much scratched by frequent use4 ,the hard paste or true porcelain is of the whiteness of milk2 it feels to the touch of a hard and cold nature1 and is somewhat heavier than the soft2 underneath the plates and other pieces the rim or edge is left unpolished1 or without glaze4 ,the painting upon porcelain is executed after the ware has been baked4 ,whilst in a biscuit state1 the piece to be painted is dipped into a diluted glaze2 it readily absorbs the water1 leaving on the surface a thin coating of components which quickly dries into a solid shell1 uniformly thick over all its parts1 and sufficiently firm to bear handling without being rubbed off during removal into the seggar or case which protects it in the kiln4 ,the amateur must be upon his guard in collecting porcelain1 and not place too much reliance on the marks which he may find upon the ware4 ,when the mark is not indented on the paste1 or baked with the porcelain when at its greatest heat 7au grand feu71 it gives no guarantee of its genuineness4 ,the mark was nearly always affixed before glazing4 ,it is necessary in forming a correct judgment of the authenticity of a piece of valuable china1 such as ,svres1 that many things be taken into consideration3 ,first1 above all it is most important to be satisfied whether the porcelain be of hard or soft paste1 and whether such description of paste was made at the particular epoch represented by the mark2 then1 if the decoration be in keeping with the style adopted at the time indicated1 the colours1 the finish1 and various other indicia must also be taken into consideration4 ,,italy ,,florence4 ,the first successful attempt in ,europe to imitate porcelain was made at ,florence as early as #aehj1 under the auspices of ,francesco ,i4 de' ,medici1 but it was not so hard as that of ,china2 that is to say1 it was not composed of kaolin and petuntse1 but was a soft paste and translucent1 which is one of the principal tests of porcelain4 ,for some reason1 the manufacture of this porcelain was abandoned after the death of the inventor4 ,illustration3 ,,fig4 #ajg4--;,,cruet4 ,fig4 #ajg1 a cruet for oil and vinegar1 has scroll ornament in blue2 on either spout ,a and ,o 7,aceto and ,olio74 ,about #afjj4 ,fig4 #ajh1 a bowl1 is painted inside and out with blue flowers4 ,about #afjj4 ,illustration3 ,,fig4 #ajh4--;,,bowl4 ,,doccia4 ,the manufactory was founded in #agce by the ,marquis ,carlo ,ginori1 contemporaneously with the manufactory at ,svres4 ,about #agfj it rose to great importance1 and large groups were executed from the models of the most celebrated sculptors4 ,in #ahba the moulds of the ,capo di ,monte porcelain were transferred to ,doccia4 ,illustration3 ,,fig4 #aji4--,,teapot4 ,about #ahfj the fabrication of the imitative ,capo di ,monte ware of the #ahth century1 in coloured mezzo-rilievo1 was brought to great perfection1 as well as the successful imitation of the maiolica of ,xanto and ,maestro ,giorgio of the #afth century1 by the invention and introduction of metallic lustres in the colouring4 ,illustration3 ,,fig4 #aaj4--;,,basin4 ,fig4 #aji1 a teapot1 is painted with flowers and purple border4 ,fig4 #aaj1 a basin1 has a band of flowers in relief4 ,diameter #e-a_/b in4 ,,naples--,,capo ,,di ,,monte4 ,this manufactory was founded by ,charles ,,iii4 in #agcf4 ,it is considered of native origin1 as the art1 which was kept so profound a secret in ,dresden1 could1 at that early period1 have scarcely had time to be introduced here1 and the character of its productions are also essentially different4 ,the king himself took great interest in it1 and is said to have worked occasionally in the manufactory4 ,the beautiful ,capo di ,monte services and groups in coloured relief are of the second period1 circa #agfj4 ,illustration3 ,,fig4 #aaa4--,,vase4 ,illustration3 ,,fig4 #aab4--,,saucer4 ,illustration3 ,,fig4 #aac4--;,,cup ,,and ,,saucer4 ,illustration3 ,,fig4 #aad4--;,,coffee-,,pot4 ,fig4 #aaa1 a vase1 has green ornaments1 on gold ground1 and medallions of figures4 ,fig4 #aab1 a saucer1 bears a portrait of ,ferdinand ,,iv4 and legend4 ,fig4 #aac1 a cup and saucer1 is painted with landscape and figures4 ,fig4 #aad1 a coffee-pot1 has classical subjects4 ,,treviso4 ,there was a manufactory of soft porcelain probably established towards the end of the #ahth century1 carried on by the brothers ,giuseppe and ,andrea ,fontebasso4 ,illustration3 ,,fig4 #aae4--;,,cuelle4 ,fig4 #aae1 an cuelle1 with blue ground1 has gold fret borders and oval medallions of ,italian buildings1 landscapes1 and figures4 ,illustration3 ,,fig4 #aaf4--;,,cup ,,and ,,saucer4 ,fig4 #aaf1 the cup is painted with a garden scene1 with a man and woman holding flowers1 the former also holding a bird1 the latter a cage4 ,,turin--,,vinovo4 ,vittorio ,amedeo ,gioanetti established a manufactory of porcelain at ,vinovo or ,vineuf in #aggj4 ,attempts in this direction had been previously made1 but they were unsuccessful1 and it was not until ,gioanetti applied himself to the manufacture that it succeeded4 ,the ware was noted for its fine grain and the whiteness of its glaze1 as well as for the colours employed in its decoration4 ,illustration3 ,,fig4 #aag4--;,,cuelle4 ,fig4 #aag1 an cuelle1 is ornamented in gold1 with initials and the ,royal ,arms4 ,,venice4 ,porcelain of soft paste was made here probably about #agbj4 ,the ,casa eccellentissima ,vezzi was founded by ,francesco ,vezzi1 a goldsmith of ,venice4 ,he invested the sum of #cj1jjj ducats in a porcelain company1 amongst whose shareholders were ,luca ,mantovani and others4 ,the site of the ,vezzi manufactory of porcelain was at ,s4 ,nicolo in ,venice4 ,how long after ,vezzi's death it was carried on does not appear1 but judging from the statements made to the ,senate in #agfe1 it did not long survive him1 and the secret of his process for making porcelain had evidently not been disclosed4 ,materials for making porcelain were to be obtained in the ,venetian dominions1 but not such as to produce the hard or ,oriental porcelain2 they were therefore procured from ,saxony1 as were probably also some of the workmen1 which will account for the fact that the ,casa eccellentissima ,vezzi produced both hard and soft paste4 ,the pieces made at the ,vezzi manufactory are painted with masquerades1 grotesque ,chinese figures and decorations in relief1 flowers1 birds1 arabesques1 and geometrical patterns and colours1 statuettes1 c41 especially in the ,venetian red which pervades all the decorations1 the handles1 borders1 and mouldings being sometimes covered with silver or platinum1 producing the effect of oxidised metal mountings4 ,another striking peculiarity in the decoration of porcelain of this period is a border of black or coloured diaper work formed by crossed lines1 having in the interstices small gilt points or crosses bordered by scrolls4 ,these specimens are mostly of hard paste in the form of bowls1 plates1 tureens1 c4 ,illustration3 ,,fig4 #aah4--,,vase ,,and ,,cover4 ,illustration3 ,,fig4 #aai4--,,vase4 ,cozzi period4 ,height #ag in4 ,a beautiful example of this porcelain is represented in ,fig4 #aah1 a vase and cover of hard paste painted in lake camaeu1 heightened by gold1 with a continuous landscape2 the peculiar border1 noticed above1 with marks and interlaced bands1 is shown on the cover2 the edges1 knob1 and flutings are raised and plated with silver or platinum4 ,after the ,vezzi manufactory had ceased to exist we have no documents to prove that any efforts were made to introduce the manufacture of porcelain into ,venice until ,december #ageg1 when a petition was presented to the ,venetian ,college by ,frederick ,hewelcke ,co41 who stated that the sale introduced and directed by them in ,dresden of ,saxon porcelain had been carried on in a very flourishing manner1 but that in consequence of the then existing war 7the ,seven ,years' ,war1 which commenced in #agef71 they had been obliged to abandon ,saxony and to seek refuge in a foreign country4 ,on the #ahth of ,march #ageh1 a decree granted to the ,hewelckes the privileges they had requested4 ,it seems that the undertaking proved eventually to be unfortunate1 and at the termination of that war1 which had brought them to ,venice1 they returned to their native country4 ,in #agfe1 the ,senate granted to ,giminiano ,cozzi1 in the ,contrada di ,san ,giobbe1 ,venice1 protection and pecuniary assistance in carrying out a manufacture of porcelain4 ,cozzi's first efforts were directed towards the imitation of the ,oriental ware2 and a very large trade was carried on by him for nearly fifty years4 ,he produced statuettes in biscuit1 in glazed white porcelain1 and coloured groups1 vases1 c4 ,the gilding on ,cozzi's porcelain is especially fine1 the pure gold of the sequin having been used in its decoration4 ,the manufactory ceased to exist in #ahab4 ,,nove4 ,the manufacture of porcelain at ,nove may be traced back as far as the #abth ,january #ageb1 when ,pasqual ,antonibon brought from ,dresden a certain ,sigismund ,fischer to construct a furnace for making porcelain in the ,saxon style4 ,from this time forward he continued his experiments1 and must have made great progress in the art1 for in ,february #agfa he had three furnaces1 of which one was for ,saxon 7ad uso di ,sassonia71 the other two for ,french porcelain 7ad uso di ,francia74 ,in #agfb1 ,antonibon submitted specimens of his porcelain to the ,board of ,trade1 and petitioned that the patent rights which had been conceded to ,hewelcke should be extended to him4 ,at that time1 the report states1 ,antonibon had at ,nove a manufactory1 rich in buildings1 machinery1 and tools4 ,the capital embarked in it was estimated at #hj1jjj ducats1 and so great was the sale of his products that he gave employment to #aej men and their families1 in addition to #ajj people employed in his retail business1 carried on at his three shops in ,venice4 ,this extensive manufactory was1 however1 principally for maiolica4 ,illustration3 ,,fig4 #abj4--;,,jardini,,re4 ,by ,,antonibon4 ,on the #gth ,april #agfc1 a decree was made in his favour2 and he appears to have set earnestly to work in his manufacture of porcelain4 ,his competitor1 ,hewelcke1 shortly after deserted ,venice2 but he had a more formidable rival in ,giminiano ,cozzi1 who obtained a decree for making porcelain in #agfe1 in which ,pasqual ,antonibon's manufacture is noticed1 the ,senate declaring it to be the duty of the magistrate to make such arrangements as would lead to an amicable understanding between the rival manufacturers and their workmen4 ,illustration3 ,,fig4 #aba4--,,vase4 ,pasqual ,antonibon and his son ,giovanni ,battista continued the fabrication of porcelain until the #fth ,february #agha1 when they entered into partnership with ,signor ,parolini4 ,the same manufacture1 con sommo onore dell'arte1 was continued by them until the #fth ,february #ahjb1 when it was leased to ,giovanni ,baroni1 who produced some very charming pieces both in form and decoration2 but in a few years1 from being badly conducted1 it began to fall off1 and by degrees it went to decay and was abandoned4 ,the ,fabbrica ,baroni1 however1 lingered on for more than twenty years4 ,illustration3 ,,fig4 #abb4--,,vase4 ,illustration3 ,,fig4 #abc4--,,milk-,,pot4 ,an example of the ,baroni fabrique1 in porcelain1 with female figure handles1 and painted with classical subjects1 is given4 7,see ,fig4 #aba47 ,on #bast ,may #ahbe1 the old firm of ,pasqual ,antonibon and ,sons resumed the works1 the actual proprietors being ,gio4 ,batt4 ,antonibon and his son ,francesco2 they continued the manufacture of porcelain until #ahce1 but all their efforts to sustain it were ineffectual2 they could not compete with the porcelain manufactories of ,france and ,germany1 so they were compelled to abandon the factory4 ,,spain ,,madrid--,,buen ,,retiro4 ,this manufactory 7,soft ,paste71 called ,la ,china1 was founded by ,charles ,,iii4 in #agei1 in the gardens attached to his palace1 ,,el ,,buen ,,retiro1 at ,madrid4 ,it was organised by workmen whom he brought with him from ,naples4 ,the early ware produced here consequently resembles that of ,capo di ,monte4 ,illustration3 ,,fig4 #abd4--;,,group4 ,the royal manufactory was taken possession of by the ,french1 and the place converted into a fortification1 which surrendered in #ahab to the ,duke of ,wellington4 ,it was subsequently blown up by ,lord ,hill when the misconduct or perfidy of ,ballasteros compelled him to evacuate ,madrid4 ,illustration3 ,,fig4 #abe4--,,vase4 ,height #bb in4 ,illustration3 ,,fig4 #abf4--,,vase4 ,with scenes from ,don ,quixote4 ,height #ag in4 ,ferdinand ,,vii41 on his restoration1 recreated ,la ,china1 at ,la ,mancha1 once a villa of the ,alva family on the ,manzanares2 but this factory also has ceased to exist1 at least as regards artistic merit4 ,,alcora4 ,the ,comte de ,laborde1 in his ,view of ,spain1 in #ahjh1 says1 ,on ne fait de ,porcelaine 7en ,espagne7 qu' ,alcora et ,madrid3 celle d',alcora est trs commune1 on en fait trs peu4 ,in confirmation of this assertion ,m4 ,chas4 ,davillier1 on a visit to ,spain1 saw an engraving of a furnace for baking porcelain with this inscription3 ,modele de four pour la porselene naturele1 fait par ,haly pour ,m4 le ,comte d',aranda ,alcora1 #bi ,juin #agef4 ,the works are also noticed by ,don ,antonio ,ponz1 ,viaje de ,espaa1 in #agic4 ,illustration3 ,,fig4 #abg4--,,plaque4 ,,germany ,,dresden4 ,the celebrated porcelain manufactory at ,dresden1 or rather at ,meissen 7in its vicinity71 was established by ,augustus ,,ii41 ,elector of ,saxony1 for the manufacture of true porcelain1 that is1 hard paste4 ,the experiments of ,tschirnhaus and ,bttcher commenced about #agjf1 and to the latter is attributed the invention of hard paste4 ,his first attempt was a red ware1 like jasper1 which was cut and polished by the lapidary1 and ornamented by gilding2 it was a fine stoneware1 having the opacity1 grain1 and toughness of pottery4 ,later1 ,bttcher succeeded in discovering the mode of making true porcelain by the accidental detection of the kaolin necessary for the purpose4 ,in consequence of this important discovery1 ,augustus ,,ii4 established the great manufactory at ,meissen1 of which ,bttcher was appointed ,director in #agaj1 and about #agae he succeeded in making a fine white porcelain4 ,the first decorations upon this ware were very imperfect1 consisting of a blue colour under the glaze1 in imitation of ,nankin blue porcelain4 ,it was under ,horoldt's direction1 in #agbj1 that paintings of a superior character1 accompanied by gilding1 and medallions of ,chinese figures were introduced1 and magnificent services completed4 ,in #agca1 ,kndler1 a sculptor1 superintended the modelling of animals1 groups1 vases1 c41 while other artists painted birds1 insects1 and copies of paintings principally of the ,flemish school4 ,the best productions emanated from the ,dresden manufactory from #agca to #agef4 ,illustration3 ,,fig4 #abh4--,,vase4 ,illustration3 ,,fig4 #abi4--,,sucrier1 ,,cup ,,and ,,saucer4 ,etched by ,,busch4 ,illustration3 ,,fig4 #acj4--;,,cup ,,and ,,saucer4 ,of the ,marcolini period1 with gros bleu ground4 ,kndler modelled men and animals of the natural size1 as well as peacocks1 herons1 pelicans1 and other birds4 ,among the pieces produced about this time by1 or under the direction of1 ,kndler1 at ,meissen was ,count ,bruhl's tailor mounted upon a goat1 with all the implements of his trade about him4 ,this vain man had a great desire that his likeness should be executed in porcelain at the royal manufactory1 and his request was complied with1 but probably not in such a way as to gratify his vanity1 for not only the tailor but his wife were thus immortalised1 aere perennius1 in porcelain4 ,in #aged ,dietrich became ,director1 and he was succeeded in #agif by ,marcolini1 whose beautiful productions are well known4 ,porcelain of his period is always distinguished by a star underneath crossed swords4 ,in spite of the precautions taken at ,meissen to prevent the secret becoming known--the penalty being death1 or perpetual imprisonment in the ,castle of ,knigstein--some workmen escaped to reveal it elsewhere4 ,illustration3 ,,fig4 #aca4--,,vase ,,and ,,cover4 ,painted with views of public buildings in ,dresden4 ,the white ,meissen porcelain was sometimes ornamented by private persons1 especially by a ,baron ,busch1 ,canon of ,hildesheim1 who was the only person possessed of the secret of engraving with a diamond on china4 ,illustration3 ,,fig4 #acb4--;,,bust ,,of ,a ,,girl4 ,white porcelain4 ,illustration3 ,,fig4 #acc4--,,teapot ,,and ,,saucer4 ,pink ground1 painted with landscapes and figures4 ,,berlin4 ,this manufactory for ,hard ,paste was established by ,wilhelm ,caspar ,wegeli in #agea1 in the ,neue ,friedrichsstrasse4 ,it was carried on for about ten years1 but it never remunerated the originator1 and he abandoned it in #agfa1 when ,gottskowski1 a celebrated banker1 became the purchaser1 and removed the works to ,leipziger ,strasse2 assisted by his capital1 they were brought to great perfection4 ,illustration3 ,,fig4 #acd4--;,,group4 ,in plain white4 ,wegeli period4 ,height #i in4 ,johann ,ernst ,gottskowski obtained the secret of porcelain from ,ernst ,heinrich ,richard1 who had been employed by ,wegeli4 ,gottskowski did not personally manage the manufactory1 but placed it under the management of the ,commissioner ,grunenger1 which led to his employment from the year #agfc to #aghf as the head of the royal porcelain manufactory at ,berlin4 ,in #agfc1 ,gottskowski gave up to the king the whole of his factory of porcelain1 receiving #bbe1jjj dollars1 and entering into a contract for the sale of his secrets4 ,illustration3 ,,fig4 #ace4--;,,group4 ,wegeli period4 ,height #f-c_/d in4 ,with a view to encouraging the manufacture in his kingdom1 the king made presents of superb services of ,berlin china to several ,german princes in the year #agff4 ,when ,frederick the ,great occupied ,dresden1 in the seven years' war1 he expatriated many of the best modellers and painters to form his royal manufactory2 among these were ,meyer1 ,klipsel1 and ,bhme4 ,the king also transported great quantities of the clay and a portion of the collection4 ,independently of this1 and the better to insure employment for the five hundred persons engaged in the processes1 he restricted the ,jews resident in any part of his dominions from entering into the marriage state1 until each man had obtained a certificate from himself1 which was only granted on the production of a voucher from the ,director of the manufactory that porcelain to a given amount had been purchased1 and that there was reasonable cause for granting the indulgence4 ,of course the ,jews more readily disposed of their purchases than the general dealers1 and the device was attended with favourable results4 ,to insure the success of the establishment and extend its operations1 ,frederick embraced every opportunity that was presented2 and it was so well supported that in #aggf seven hundred men were constantly employed1 and it is said that three thousand pieces of porcelain were made daily4 ,illustration3 ,,fig4 #acf4--,,milk-,,pot1 ,,cup ,,and ,,saucer4 ,in #agfi an order was published permitting a lottery company to purchase annually to the amount of #ij1jjj dollars4 ,about #ahgb1 the ,berlin ,royal ,porcelain ,manufactory was working seven kilns1 and employing three hundred workmen2 the annual produce amounted on an average to half a million finished articles1 value #aej1jjj ,prussian dollars4 ,the superintendence was entrusted to ,herr ,kolbe 7who succeeded ,herr ,frick in the direction71 under whom were ,dr4 ,eisner as chemist1 ,herr ,mantel as master modeller1 and ,herr ,looschen as head painter4 ,h,,chst1 a town situated on the ,main1 and now in ,nassau1 belonged to the ,electors of ,mainz4 ,a manufactory was founded in #agdf by ,j4 ,c4 ,gltz and ,j4 ,f4 ,clarus1 two merchants of ,frankfort1 assisted by ,a4 von ,lwenfinck1 but they were unsuccessful1 and called in ,ringler1 of ,vienna1 who had escaped from the manufactory4 ,during the ,electorate of ,johann ,friedrich ,karl1 ,archbishop of ,mainz1 their porcelain ranked among the first in ,europe4 ,about #agfj the celebrated modeller ,melchior was engaged1 and some very elegant statuettes and designs for vases1 c41 were produced4 ,melchior left the manufactory about #aghe1 and his successor1 ,ries1 was not so skilful1 and all his figures having disproportionate heads1 the so-called thick-head period commenced4 ,christian ,gottlieb ,kuntze was another celebrated worker in this fabrique4 ,on the invasion of the ,french under ,general ,custine in #agid1 all the materials were sold by auction4 ,illustration3 ,,fig4 #acg4--,,lamp-,,stand4 ,illustration3 ,,fig4 #ach4--,,tray ,,and ,,sucrier4 ,,frankenthal1 in ,bavaria4 ,established in #aged1 by ,paul ,hannong1 who1 having discovered the secret of hard porcelain1 offered it to the royal manufactory at ,svres1 but the authorities not agreeing as to the price1 the offer was declined1 and they commenced persecuting him--for in that year a decree forbade the making of translucent ware in ,france except at ,svres--and ,hannong was compelled to go to ,frankenthal1 leaving his fayence manufactory at ,strassburg in charge of his sons4 ,in #agfa the factory was purchased by the ,elector ,carl ,theodore1 and it attained great celebrity1 which it maintained until he became ,elector of ,bavaria1 in #aggg4 ,it then declined1 and all the stock and utensils were sold in #ahjj and removed to ,greinstadt4 ,the following chronogram denotes the year #agge3-- ,,variantibvs ,,floscvlis ,,diversi ,,colores ,,fabric ,,svb ,,reviviscentis ,,solis ,,hvivs ,,radiis ,,exvltantis ,,in,,frankenthal star ,it occurs on a porcelain plate1 ,fig4 #aci1 having in the centre the initials of ,carl ,theodore1 interlaced and crowned1 within a gold star of flaming rays2 radiating from this are thirty divisions1 and on the border thirty more1 all numbered and painted with small bouquets1 en camaeu1 of all the various shades of colour employed in the manufactory4 ,illustration3 ,,fig4 #aci4--,,plate4 ,illustration3 ,,fig4 #adj4--;,a ,d,,jeuner ,,service4 ,,neudeck1 on the ,au1 and ,,nymphenburg4 ,this factory was established in #agdg1 by a potter named ,niedermayer4 ,graf von ,hainshausen became its patron in #aged1 and in #agef he sent for ,ringler1 who organised the establishment1 and it was then placed under the protection of the ,elector ,maximilian ,joseph4 ,on the death of his successor1 ,carl ,theodore1 in #agii1 the ,frankenthal manufactory was abandoned1 and transferred to ,nymphenburg1 which is still a royal establishment1 and well supported4 ,the pieces are manufactured in white at ,nymphenburg1 but chiefly decorated at ,munich and elsewhere2 that is the reason why on the same piece the ,nymphenburg mark is frequently found impressed1 with the mark of some other factory painted in colour4 ,illustration3 ,,fig4 #ada4--,,tankard4 ,fig4 #ada1 moulded in relief and painted with flowers2 marks1 the coat of ,bavaria1 #agfe in gold1 two leaves and ,i4 ,a4 ,h4 in green2 height #g-a_/d in4 ,fig4 #adb1 painted in colours2 marks1 the coat of arms of ,bavaria1 and ,a incised2 diameter #c-a_/d in4 and #e-a_/d in4 ,illustration3 ,,fig4 #adb4--;,,cup ,,and ,,saucer4 ,illustration3 ,,fig4 #adc4--;,,cup ,,and ,,saucer4 ,,anspach1 a town which belonged to the ,margraves of ,anspach and is now in ,bavaria4 ,there was a factory here about #agfj4 ,fig4 #adc is painted with figures in colour2 signed ,schelk1 pinx42 mark ,a in blue2 diameter #c ins4 and #e-a_/d in4 ,,bayreuth was under the same rulers as ,anspach1 and is now also in ,bavaria4 ,there was a manufactory here in the #ahth century1 but little appears to be known respecting it4 ,illustration3 ,,fig4 #add4--;,,cup4 ,fig4 #add is painted in colours1 and gilt inside2 mark1 ,metzsch #agdh ,bayr2 diameter #b-c_/d in4 ,,kelsterbach1 in ,hesse4 ,a manufactory for pottery was founded here about #ageh1 where later porcelain was also made4 ,the works only lasted about sixteen years4 ,illustration3 ,,fig4 #ade4--;,,harlequin4 ,fig4 #ade is painted in colours2 mark1 ,h4 ,d4 under a crown1 in blue2 height #f-c_/d in4 ,,thuringia4 ,in the middle of the #ahth century a number of small porcelain factories sprang up in this district4 ,it is said that they owe their origin to a chemist named ,macheleid1 who discovered by accident a deposit of kaolin1 and obtained permission from the ,prince of ,schwarzburg to establish a factory at ,,sitzenroda1 which in #agfb was removed to ,volkstedt4 ,illustration3 ,,fig4 #adf4--;,,cup ,,and ,,saucer4 ,diam4 #b-c_/d in4 and #e-c_/d in4 ,,closter1 or ,,kloster1 ,,veilsdorf1 or ,,volkstedt4 ,the porcelain manufactory of ,sitzenroda was transferred to ,volkstedt1 in ,thuringia1 in #agfb1 where it was farmed by a merchant named ,nonne1 of ,erfurt1 who greatly enlarged and improved the works4 ,about the year #aggj it was carried on by ,greiner4 ,in #agie more than #abj workmen were employed4 ,illustration3 ,,fig4 #adg4--,,teapot4 ,illustration3 ,,fig4 #adh4--,,tray4 ,fig4 #adh is moulded in rococo style1 and painted with flowers2 mark1 shield of ,saxe-,meiningen between ,c4 ,v42 length #ab-a_/b in4 ,,rudolstadt4 ,the factory at ,volkstedt was afterwards removed to ,rudolstadt1 near ,jena4 ,gotthelf ,greiner had the direction of several of the other ,thuringian manufactories2 he died in #agig4 ,illustration3 ,,fig4 #adi4--,,milk-,,pot ,,and ,,cup ,,and ,,saucer4 ,,fulda1 in ,hesse4 ,a factory was established here about #agfc by ,arnandus1 ,prince-,bishop of ,fulda1 for the manufacture of porcelain4 ,the best artists were employed1 and many grand vases1 figures1 and services of a fine white paste and handsomely decorated were produced4 ,illustration3 ,,fig4 #aej4--;,a ,,peasant4 ,illustration3 ,,fig4 #aea4--;,a ,,peasant4 ,illustration3 ,,fig4 #aeb4--;,,cup ,,and ,,saucer4 ,illustration3 ,,fig4 #aec4--;,,coffee-,,pot4 ,f,,rstenberg4 ,in ,brunswick1 established in #agej1 by the help of ,bengraf1 who came from ,hchst2 he died the same year1 and ,baron von ,lang1 a distinguished chemist1 undertook the direction of the works1 under the patronage of ,carl1 ,duke of ,brunswick4 ,the manufactory was carried on by the ,government up to the middle of last century4 ,fig4 #aed1 a bust of ,augusta1 ,duchess of ,brunswick1 grand-daughter of ,king ,george ,,ii41 is in white biscuit2 mark1 ,f in blue1 a running horse1 and ,w2 height #bj-a_/b in4 ,illustration3 ,,fig4 #aed4--;,,bust4 ,illustration3 ,,fig4 #aee--,,medallions4 ,in white biscuit4 ,fig4 #aee4 ,portraits of ,o4 ,d4 ,beckmann and ,a4 ,l4 ,schltzer2 marked with a running horse and ,f2 length #b-g_/h in4 ,,ludwigsburg1 in ,wrtemberg4 ,established by ,j4 ,j4 ,ringler in #ageh1 under the patronage of ,carl ,eugene1 the reigning duke4 ,it was celebrated for the excellence of its productions and the fine paintings on its vases and services1 as well as for its excellent groups4 ,this factory ceased in #ahbd4 ,illustration3 ,,fig4 #aef4--;,,chocolate-,,pot4 ,fig4 #aef is painted with figures of ,hope and ,music in panels2 mark1 double ,c under a crown1 in blue2 height #e-a_/d in4 ,illustration3 ,,fig4 #aeg4--;,,coffee-,,pot4 ,fig4 #aeg is painted in lake camaeu1 with a landscape and buildings after ,claude1 and has a gilt1 arabesque and scroll border4 ,,regensburg1 or ,,ratisbon4 ,this factory was established about #agfj4 ,illustration3 ,,fig4 #aeh4--;,,cup ,,and ,,saucer4 ,,grossbreitenbach4 ,a factory was established here about #aggj by ,greiner4 ,the demand for his porcelain was so great1 that not being able to enlarge his works at ,limbach1 he started this as well as ,veilsdorf and ,volkstedt4 ,illustration3 ,,fig4 #aei4--,,milk-,,pot4 ,fig4 #aei is grey blue ware in imitation of ,wedgwood1 with classical group in white relief1 bearing a wreath with the cypher ,f4 ,g4 ,c4 under a crown2 marks1 ,breitenbach et ,limbach1 and ,gruber2 height #d in4 ,illustration3 ,,limbach ,,fig4 #afj4--,,sucrier1 ,,cover1 ,,and ,,stand4 ,,limbach1 ,saxe-,meiningen4 ,this manufactory was also under the direction of ,gotthelf ,greiner4 ,it was established about #agfb4 ,fig4 #afj is painted with flowers2 mark1 two letters ,l crossed2 diameters #d-g_/h and #h-a_/d in4 ,,gera4 ,a manufactory was founded here about #aghj4 ,illustration3 ,,fig4 #afa4--,,sugar ,,basin4 ,fig4 #afa is painted with festoons of pink flowers2 mark1 ,g in blue2 height #f-a_/d in4 ,illustration3 ,,fig4 #afb4--;,,cup1 ,,cover1 ,,and ,,saucer4 ,fig4 #afb is grained in imitation of oak1 with medallions painted with views1 ,schloss aus dem ,kohlenhofe on cup1 and ,lauchstaedt vor dem ,brunnen on saucer2 signed1 ,rhlig ,fec2 mark1 ,g in blue2 diameters #c and #e-a_/d in4 ,,baden-,,baden4 ,a porcelain manufactory was established in #agec by the widow ,sperl and workmen from ,hchst1 with the patronage of the reigning ,margrave1 under ,pflzer4 ,it ceased in #aggh4 ,illustration3 ,,gotha ,,fig4 #afc4--;,,figure ,,of ,,bacchus4 ,in white biscuit4 ,height #aa in4 ,,gotha4 ,founded in #aghj by ,rothenberg1 and afterwards 7#ahjb7 conducted by ,henneberg4 ,,rauenstein1 in ,saxe-,meiningen4 ,a factory for hard paste was established here in #agfj4 ,illustration3 ,,fig4 #afd4--;,,cup ,,and ,,saucer4 ,fig4 #afd is painted with flowers2 mark1 ,r--n2 diameters #c and #e in4 ,,wallendorf1 in ,saxe-,coburg4 ,there was also a factory for hard paste established by ,greiner and ,haman here in #agfb4 ,fig4 #afe is painted in dark blue1 and with leaves in relief2 mark1 ,w1 in blue2 height #aj in4 ,illustration3 ,,fig4 #afe4--,,vase4 ,,austria ,,vienna ,this manufactory for hard paste was founded about #agag4 ,there are several traditions as to its origin3 one is that a musician named ,la ,france1 and a billiard-marker1 named ,dupuis1 brought with them to ,vienna1 in ,october #agag1 a certain ,cristofle ,conrad ,hnger1 who had been employed at ,meissen as an enamel painter and gilder1 and that in the following year they were joined by a man named ,stlzel of ,meissen1 who was possessed of the secret1 and became director4 ,another that it was a private enterprise set on foot by ,claude du ,pasquier1 who obtained from the ,emperor ,charles ,,vii4 a privilege for twenty-five years4 ,major ,byng ,hall 7,adventures of a ,bric--,brac ,hunter71 however1 says that it was established in #agah by ,claude ,innocenz de ,blaquier1 who engaged one ,stenzel or ,stlzel to co-operate with him4 ,with this object in view ,de ,blaquier proceeded secretly to ,meissen1 where he contrived to scrape acquaintance with the arcanist in a coffee-house4 ,he engaged with ,stenzel in a game of billiards1 taking care to lose1 and thus he secured his object4 ,stenzel after some slight hesitation1 accepted an offer of a thousand dollars to be paid yearly4 ,illustration3 ,,fig4 #aff4--;,,cabaret4 ,de ,blaquier had to contend with many difficulties owing to his not being possessed of the secret1 and at the end of the second year ,stenzel not having been paid regularly according to his contract1 returned to ,meissen1 after having maliciously destroyed many of the models4 ,the works had consequently to be suspended4 ,but ,de ,blaquier1 being a man of energy and determination1 endeavoured by numerous experiments to discover the porcelain mixture1 and his efforts were finally crowned with success4 ,illustration3 ,,fig4 #afg4--,,milk-,,pot4 ,after twenty-five years' labour ,de ,blaquier decided in #agdd to offer the works to the ,government4 ,the young ,empress ,maria ,theresa resolved to support the factory1 which promised to give occupation and profit to her subjects1 honour and gain to the ,state4 ,she therefore commanded that it should be taken by ,state contract from its owner1 and that ,de ,blaquier should receive the direction with a salary of #aejj florins a year4 ,illustration3 ,,fig4 #afh4--,,plate4 ,from #agdg to #agij was the best period for figures and groups1 while from #aghj to #ahbj painting on china became celebrated1 the subjects being taken from paintings by ,watteau1 ,lancret1 ,boucher1 ,angelica ,kauffmann1 and others4 ,in #aghe the most important improvements were made under the ,baron de ,lorgenthal or ,sorgenthal2 artists of the highest talents were employed1 a first-rate chemist named ,leithner was engaged to prepare the colours and gilding1 the chefs d'oeuvre of the early masters were copied1 while the gilding was brought to a perfection which has never been surpassed4 ,illustration3 ,,fig4 #afi4--;,,cup ,,and ,,trembleuse ,,saucer4 #ahth ,century4 ,after the death of the ,baron in #ahje1 ,neidermayer became ,director4 ,the manufacture continued in its flourishing condition until about #ahae4 ,from the year #aghd to the date of its extinction1 it was the custom to mark every piece with the number of the year1 which circumstance may be of great service to the connoisseur who seeks early specimens of ,vienna porcelain4 ,it is stamped without colour underneath the piece--or rather indented1 the first numeral being omitted2 thus the number #gib stands for #agib2 #hjb for #ahjb2 and so on4 ,from #ahbg1 under the direction of ,scholtz1 who followed ,niedermayer1 the manufactory began to decline1 and what with economy1 indifferent workmen1 and bad artists copying from ,french models its doom was sealed4 ,it gradually dwindled down to a second-rate factory1 and in consequence of the great annual expense it was discontinued in #ahfd4 ,the books on art belonging to the factory1 and all the drawings of its most successful period1 together with many of the models1 the library1 and the keramic collection1 were given to the ,imperial ,museum in ,vienna1 to be retained as a lasting memorial of its celebrity4 ,fig4 #aff is painted in camaeu on purple ground1 and gilt2 mark1 shield crowned2 length of tray #ab in4 ,fig4 #afg is painted in colours and gilt1 with busts of ladies1 entitled ,l',hrisson and ,fantaisie ,moderne2 mark1 the shield in blue2 height #f in4 ,fig4 #afh is painted in colours1 with two nymphs in a landscape playing with the infant ,bacchus2 mark1 the ,austrian shield of arms1 in blue2 the painting attributed to ,frstler4 ,,schlaggenwald1 in ,bohemia4 ,this manufactory was established in the year #ahaj4 ,george ,lippert was the owner in #ahdb1 and much improved the industry4 ,some pieces are marked ,lippert ,haas4 ,illustration3 ,,fig4 #agj4--;,,cup ,,and ,,saucer4 ,fig4 #agj is painted in colours1 with medallions containing figures of ,justice2 mark1 ,s2 diam4 #b-a_/b and #e in4 ,,herend1 in ,hungary4 ,there was a manufactory of porcelain here towards the end of the #ahth century1 but particulars concerning its origin are not known4 ,fig4 #aga is painted in oriental style1 with flowers1 c42 late #ahth century4 ,illustration3 ,,fig4 #aga4--,,portion ,,of ,a ,,cabaret ,,or ,,breakfast ,,service4 ,,switzerland ,,nyon1 on the lake of ,geneva4 ,a manufactory was in full work here towards the end of the #ahth century4 ,it is said to have been established by a ,french flower painter named ,maubre1 and several ,genevese artists painted on the porcelain1 occasionally marking it with a ,g or ,geneva in full2 but there never was a manufactory of china at ,geneva itself4 ,illustration3 ,,fig4 #agb4--;,,cup ,,and ,,saucer4 ,z,,rich4 ,established here in #agfc by a few ,zrich gentlemen1 with the aid of a workman1 named ,spengler1 from ,hchst4 ,another ,german1 ,sonnenschein1 a sculptor1 was employed to model figures and groups4 ,the factory was not a financial success4 ,in #agic the works were sold to a potter named ,nehracher1 and on his death in #ahjj the works ceased4 ,illustration3 ,,nyon ,,fig4 #agc4--;,,cup ,,and ,,saucer4 ,with mark1 fish in blue4 ,fig4 #agd represents a soldier trampling on a ,turk and unveiling a lady1 martial and love trophies on the ground4 ,illustration3 ,,fig4 #agd4--;,a ,,group4 ,,holland ,,weesp4 ,the first manufactory for porcelain in ,holland was at ,weesp1 near ,amsterdam4 ,it was established in #agfd by the ,count ,cronsfeldt-,diepenbroick1 who had by some means obtained the secret of the composition of hard paste4 ,after existing seven years1 the factory was closed in #agga4 ,notwithstanding the unsuccessful result from a commercial point of view1 it was reopened by a ,protestant minister1 the ,rev4 ,de ,moll1 of ,oude ,loosdrecht1 associated with some capitalists of ,amsterdam1 but the next year it was removed to ,loosdrecht4 ,the decorations are very much of the ,saxon character4 ,illustration3 ,,fig4 #age4--;,,ewer4 ,with mark1 ,w4 ,illustration3 ,,fig4 #agf4--;,,coffee-,,pot4 ,mark1 a cross and dots4 ,,oude ,,loosdrecht1 situated between ,utrecht and ,amsterdam1 was the next town where porcelain was successfully made4 ,it sprang from the ashes of ,weesp1 and in #aggb became a company1 with the ,rev4 ,de ,moll at its head2 after his death1 in #aghb1 the concern passed into the hands of his partners1 ,j4 ,rendorp1 ,a4 ,dedel1 ,c4 ,van der ,hoop1 ,gysbz1 and ,j4 ,hope1 and was by them removed1 in #aghd1 to ,oude ,amstel4 ,the ware is of fine quality1 decorated in the ,saxon style2 specimens are frequently met with1 having gilt borders and a light blue flower between green leaves4 ,illustration3 ,,fig4 #agg4--,,vase4 ,illustration3 ,,fig4 #agh4--,,panel4 ,mark1 ,m 3 o ,l4 in blue4 ,width #ab-c_/d in4 ,,amsterdam4 ,fig4 #agi4 ,painted in lake camaeu with birds and trees2 the mark1 lion1 in blue4 ,illustration3 ,,fig4 #agi4--;,a ,,pair ,,of ,,bottles4 ,,oude ,,amstel4 ,on the death of the ,rev4 ,de ,moll in the year #aghb1 the manufactory of ,loosdrecht was removed to ,oude ,amstel 7,old ,amstel71 near ,amsterdam1 and carried on with redoubled zeal by the same company1 directed by a ,german named ,duber1 about #aghd4 ,it flourished under his direction for a few years1 and produced a fine description of porcelain1 but it gradually declined1 in consequence of the large importations from ,england which inundated the country4 ,in #aghi it came into the hands of ,j4 ,rendorp1 ,c4 ,van der ,hoop1 and ,gysbz1 still remaining under ,duber's direction1 but it was entirely demolished at the close of the #ahth century4 ,illustration3 ,,fig4 #ahj4--,,teapot ,,and ,,sucrier4 ,illustration3 ,,fig4 #aha4--,,sucrier4 ,,the ,,hague4 ,about the year #agge1 a porcelain manufactory for both hard and soft paste was opened at ,the ,hague1 under the direction of a ,german named ,leichner or ,lynker4 ,the works ceased in #aghe or #aghf4 ,illustration3 ,,fig4 #ahb4--,,plate4 ,of soft paste4 ,fig4 #ahb bears the mark of a stork in blue2 diam4 #i-a_/b in4 ,,belgium ,,and ,,luxemburg ,,belgium ,,tournai4 ,established in #agej by ,peterinck4 ,for some time previous to #ahae the works were carried on by ,m4 ,maximilien de ,bettignies1 who1 in consequence of the annexation of ,tournai to ,belgium1 ceded it in that year to his brother ,henri1 and established another factory at ,st4 ,amand-les-,eaux4 ,soft paste1 which has been discontinued for many years in every other fabrique in ,france1 is still made at both places1 and they consequently produce the closest imitations of old ,svres pte tendre4 ,illustration3 ,,fig4 #ahc4--;,,cup ,,and ,,saucer4 ,with the early mark in gold4 ,fig4 #ahd is painted in blue2 mark1 crossed swords and three crosses2 diam4 #i-a_/b in4 ,illustration3 ,,fig4 #ahd4--,,plate4 ,illustration3 ,,fig4 #ahe4--,,salt-,,cellar4 ,fig4 #ahe is painted with birds2 mark1 crossed swords and four crosses1 in gold2 height #d-c_/h in4 ,,brussels4 ,there was a manufactory of hard paste porcelain here towards the end of the #ahth century4 ,illustration3 ,,fig4 #ahf4--,,milk ,,jug4 ,signed ,l4 ,crett4 ,illustration3 ,,fig4 #ahg4--,,teapot4 ,,luxemburg ,a factory for hard paste porcelain was established at ,sept ,fontaines about #ahjf1 by the brothers ,boch4 ,both pottery and porcelain were made here1 including plates1 vases1 figures1 c4 ,illustration3 ,,luxemburg ,,fig4 #ahh4--,,two ,,figures ,,of ,,the ,,seasons4 ,with mark1 ,b4 ,l4 ,,russia ,at ,st4 ,petersburg1 an ,imperial china manufactory was established in #agdd1 by the ,empress ,elizabeth ,petrowna1 with workmen from ,meissen4 ,catherine ,,ii4 patronised the works1 and in #agfe enlarged them considerably1 under the direction of the minister1 ,j4 ,a4 ,olsoufieff1 since which this fabrique has held a distinguished place among ,european manufactories4 ,the paste is hard and of a blueish cast1 finely glazed1 and it betrays its ,dresden origin4 ,illustration3 ,,fig4 #ahi4--;,,cup ,,and ,,saucer4 ,with the mark of the ,emperor ,paul4 ,illustration3 ,,fig4 #aij4--,,verri,,re4 ,,moscow1 #agbj4 ,the potter ,eggebrecht1 who had undertaken a manufactory of delft at ,dresden1 by direction of ,bttcher1 had1 after that was discontinued1 left to go to ,moscow1 and1 being acquainted with some of the processes for making porcelain1 commenced manufacturing it at ,moscow4 ,illustration3 ,,fig4 #aia4--,,statuette4 ,mark1 ,g in blue4 ,height #h in4 ,illustration3 ,,fig4 #aib4--;,,cup ,,and ,,saucer4 ,with view of ,moscow4 ,mark1 ,a4 ,popoffe's initials4 ,a porcelain manufactory was established at ,,twer1 by an ,englishman named ,gardner1 in #aghg1 and another by ,a4 ,popoff4 ,,korzec1 in ,volhynia4 ,about #ahjc1 ,mrault1 a chemist of the ,svres manufactory1 went to direct the fabrique at ,korzec1 taking with him a laboratory assistant named ,ption4 ,after carrying it on for a few years1 ,mrault abandoned the direction1 and returned to ,france4 ,illustration3 ,,fig4 #aic4--,pte dure ,,cup ,,and ,,saucer4 ,painted with a portrait of a lady1 en grisaille1 with gilt borders4 ,mark1 ,eye within a triangle4 ,,baranowka1 in ,volhynia4 ,a small factory existed here at which the porcelain clay found in the neighbourhood was used4 ,illustration3 ,,fig4 #aid4--,,milk ,,jug4 ,mark1 the name of the town4 ,,sweden ,,marieberg4 ,this manufactory produced porcelain 7soft paste71 as well as fayence4 ,in quality as well as in decoration the porcelain is like that of ,mennecy-,villeroy in ,france4 ,the industry was established by ,ehrenreich1 under the patronage of ,count ,scheffer1 ,councillor of ,state1 in #agej1 and altogether ceased about #aghj4 ,illustration3 ,,fig4 #aie4--;,,custard ,,cup ,,and ,,cover4 ,mark1 ,m4,b4 combined4 ,height #c-a_/d in4 ,,denmark ,,copenhagen4 ,this manufactory was commenced by an apothecary of the name of ,mller1 in #aggb1 and ,baron von ,lang1 from the ,frstenberg manufactory1 is said to have been instrumental in forming it4 ,the capital was raised in shares1 but the factory not being successful1 the ,government interfered1 and it became a royal establishment in #agge1 and has remained so ever since4 ,illustration3 ,,fig4 #aif4--;,,cabaret4 ,with portraits of ,raphael1 and other celebrated painters4 ,illustration3 ,,fig4 #aig4--;,,cabaret4 ,,france ,,st4 ,,cloud4 ,a factory was established here about #afie for the production of porcelain1 at which time ,m4 ,morin was proprietor1 and ,m4 ,chicanneau director of the works4 ,illustration3 ,,fig4 #aih4--;,,jug4 ,according to letters patent of #agjb1 granted to the heirs of ,chicanneau1 his widow1 ,barbe ,courdray1 and her children1 were interested in the works2 their father had made many experiments and attempts to discover the secret of true porcelain1 and from the year #afif had produced some nearly equal to the porcelain of ,china4 ,his children1 to whom he imparted the secret1 successfully continued the fabrication1 and were permitted to manufacture porcelain at ,st4 ,cloud1 or in any other part or parts of the kingdom1 except ,rouen and its faubourgs4 ,in #agab a renewal of the patent took place for ten years1 and in the meantime the widow ,barbe ,courdray married a ,m4 ,trou4 ,illustration3 ,,fig4 #aii4--,,statuette4 ,astronomy seated1 holding the sun4 ,in #agbb letters patent were granted for twenty years more to ,jean and ,jean ,baptiste ,chicanneau1 ,marie ,moreau1 the widow of ,pierre ,chicanneau 7third son7 and ,henri and ,gabriel ,trou1 children of ,barbe ,courdray by her second marriage4 ,about this time serious disagreements occurred between the two families1 and they separated1 ,gabriel and ,henri ,trou remaining at ,st4 ,cloud1 patronised by the ,duke of ,orleans2 while ,marie ,moreau opened another establishment in the ,rue de la ,ville l'vque1 ,faubourg ,st4 ,honor1 directed by ,dominique ,franois ,chicanneau4 ,in #agdb another arrt granted privileges for twenty years to both these establishments1 and ,marie ,moreau dying in #agdc left ,dominique her business4 ,the manufactory at ,st4 ,cloud was destroyed by fire 7the act of an incendiary7 in #aggc1 and the manufacture ceased1 the proprietors not being able to raise sufficient funds to rebuild it4 ,,chantilly4 ,this manufactory was founded in #agbe by ,ciquaire ,cirou1 under the patronage of the ,prince de ,cond1 as appears by letters patent dated #agce1 who was succeeded by ,antheaume and others4 ,the porcelain was highly esteemed1 and there was hardly any object which they did not produce1 from the lofty vase to the simplest knife handle4 ,the ,chantilly pattern was a great favourite for ordinary services2 it was called ,barbeau1 and consisted of a small blue flower running over the white paste4 ,illustration3 ,,fig4 #bjj4--;,,dish4 ,mark1 hunting horn and ,p1 in gold4 ,diameter #ab in4 ,illustration3 ,,fig4 #bja4--,,pair ,,of ,,figures4 ,,rouen4 ,louis ,poterat1 ,sieur de ,st4 tienne1 of ,st4 ,sever1 at ,rouen1 obtained letters patent in #afgc1 stating that he had discovered processes for fabricating porcelain similar to that of ,china1 and wares resembling those of ,delft2 but the former was of a very rude character and never arrived at any perfection4 ,after the establishment at ,st4 ,cloud had commenced selling porcelain1 the proprietors of the ,rouen manufactory appear to have revived their porcelain in the hopes of competing with them1 but with no good result4 ,,mennecy-,,villeroy4 ,this important manufactory was established in #agce by ,franois ,barbin1 under the patronage of the ,duc de ,villeroy4 ,the early specimens are similar to the porcelaine tendre of ,st4 ,cloud1 of a milky translucent appearance4 ,illustration3 ,,fig4 #bjb4--,,sugar ,,basin ,,and ,,stand4 ,barbin was succeeded about #agdh by ,messieurs ,jacques and ,jullien1 and the manufactory continued in a flourishing state until #aggc1 when on the expiration of the lease it was removed to ,bourg-la-,reine4 ,illustration3 ,,fig4 #bjc4--;,,group ,,of ,,children4 ,,sceaux ,,penthi,,vre1 near ,paris4 ,established in #agej by ,jacques ,chapelle2 it was situated opposite the ,petit ,chtelet1 and was under the patronage of the ,duc de ,penthivre4 ,it was carried on by ,glot in #aggc4 ,the ,prince-,protector died in #agid1 but the production of pte tendre ceased before that time4 ,illustration3 ,,fig4 #bjd4--;,,cup ,,and ,,saucer4 ,illustration3 ,,fig4 #bje4--,,milk-,,pot4 ,mark1 ,s4 ,x4 ,,arras4 ,established in #aghb by the ,demoiselles ,deleneur1 under the patronage of ,m4 de ,calonne1 ,intendant de ,flandre et de l',artois2 it only lasted a few years4 ,illustration3 ,,fig4 #bjf4--,,seau4 ,mark1 ,a4 ,r4 ,,boulogne-,,sur-,,mer4 ,established by ,m4 ,haffringue1 in the #aith century1 with the kaolin of ,limoges4 ,illustration3 ,,fig4 #bjg4--,,plaque4 ,white biscuit4 ,illustration3 ,,fig4 #bjh4--,,sucrier4 ,white biscuit4 ,,tiolles 7,seine-et-,oise71 near ,corbeil4 ,established in #agfh1 by ,monnier1 for soft paste porcelain4 ,the works lasted only a short time4 ,illustration3 ,,fig4 #bji4--;,,cup ,,and ,,saucer4 ,mark1 ,e4 ,pellev1 #aggj4 ,diameter #b-a_/b and #e in4 ,,lille4 ,established in #agaa by ,barthlemy ,dorez and ,pierre ,pelissier1 his nephew1 natives of ,lille4 ,the porcelain 7pte tendre7 of this time was like that of ,st4 ,cloud1 but in the ,delft style1 the favourite ornamentation being ,chinese designs4 ,at a later period 7in #aghd7 a manufactory of hard porcelain was established by ,leperre ,durot1 under the patronage of the ,dauphin2 it was styled ,manufacture ,royale de ,monseigneur le ,dauphin4 ,the porcelain of ,leperre ,durot is richly adorned with gold and with carefully painted bouquets of flowers4 ,illustration3 ,,fig4 #baj4--;,,cup ,,and ,,saucer4 ,with mark1 crowned ,dolphin4 ,m4 ,roger succeeded ,leperre ,durot1 and in #agib he sold his interest in the works to ,messieurs ,regnault and ,graindorge2 they were1 however1 soon ruined1 and the establishment was closed4 ,,bourg-,,la-,,reine4 ,started in #aggc by ,messieurs ,jacques and ,jullien1 who removed thither on the expiration of their lease at ,mennecy4 ,it was in active existence1 making china purely of an industrial character1 in #aghh4 ,illustration3 ,,fig4 #baa4--;,,custard ,,cup4 ,mark1 ,b4 ,r4 ,height #c-a_/d in4 ,,clignancourt4 ,established in #agge by ,pierre ,deruelle1 under the patronage of ,monsieur le ,comte de ,provence1 brother of the king 7afterwards ,louis ,,xviii474 ,illustration3 ,,fig4 #bab4--,,milk-,,pot ,,and ,,cover4 ,,fig4 #bac4--;,,cup ,,and ,,dish4 ,,fig4 #bad4--,,milk ,,jug4 ,,lun,,ville4 ,a factory called ,manufacture ,stanislas was established in #agca4 ,it lasted only a short time1 but a later manufactory1 founded about #agfi1 was celebrated for its productions4 ,paul ,louis ,cyffl1 sculptor1 obtained1 in #agfh1 letters patent for fifteen years1 by virtue of which he established another manufactory for superior vessels of the material called terre de ,lorraine1 and in the following year a new privilege was granted for making groups and statuettes with his improved paste1 under the name of pte de marbre4 ,,orleans4 ,established by ,m4 ,gerrault in #agec1 under the protection of the ,duc de ,penthivre2 the porcelain first made here was of the soft paste1 but hard paste was subsequently produced4 ,gerrault was succeeded by ,bourdon fils about #aghh1 ,pidor1 ,dubois1 and lastly1 ,le ,brun1 from #ahjh to #ahaa4 ,,niderviller4 ,established about #agfj by ,baron de ,beyerl4 ,after successfully carrying on this branch for several years1 he attempted hard porcelain in #agfh1 and procured potters and artists from ,saxony4 ,three or four years before his death1 which happened in #aghd1 the estate was bought by ,general de ,custine4 ,this new proprietor continued the fabrique1 under the direction of ,m4 ,lanfray1 who paid especial attention to the production of fine porcelain2 the fabrication of statuettes was greatly increased4 ,illustration3 ,,orleans ,,fig4 #bae4--;,,bowl1 ,,cover1 ,,and ,,stand4 ,mark1 heraldic label in blue4 ,illustration3 ,,fig4 #baf4--,,milk-,,pot ,,and ,,cover4 ,mark1 double ,c under coronet1 in blue4 ,height #f-a_/b in4 ,after the decapitation of the unfortunate de ,custine1 his estates1 being forfeited to the ,republic1 were sold on the #be ,germinal1 ,an ,x 7#ahjb71 to ,m4 ,lanfray1 and carried on by him until his death in #ahbg1 when the manufactory was sold to ,l4 ,g4 ,dryander1 of ,saarbrcken4 ,for many years he continued to make porcelain1 as well as fayence groups and statuettes1 but the distance of his fabrique from the kaolin of ,st4 ,yrieix prevented him from competing successfully with those of ,limoges1 and this branch was abandoned4 ,,boissette1 near ,melun4 ,a factory was established in #aggg by ,jacques ,vermonet pre et fils1 but it lasted only a short time4 ,illustration3 ,,fig4 #bag4--,,teapot4 ,,caen1 ,normandy4 ,established and supported by some of the principal inhabitants1 at the time of the ,french ,revolution 7about #agic71 when several workmen from ,svres came to join it4 ,it was carried on for a few years1 but no market being found for the ware1 the factory was discontinued at the commencement of the last century4 ,it is hard paste1 and equal to that of ,svres1 and of the same forms4 ,illustration3 ,,fig4 #bah4--;,,cup ,,and ,,saucer4 ,with ,caen stencilled in red4 ,,valenciennes 7,nord74 ,by an ,order of ,council1 dated #bdth ,may #aghe1 ,m4 ,fauquet was permitted to carry on a manufacture of porcelain at ,valenciennes4 ,he was originally established at ,st4 ,amand in the manufacture of fayence as early as #agge1 and probably carried on both works simultaneously4 ,illustration3 ,,fig4 #bai4--;,,cup ,,and ,,saucer4 ,mark1 ,f4 ,l4 ,v41 in cipher1 in blue4 ,diam4 #c-c_/d and #f-a_/d in4 ,,st4 ,,amand-,,les-,,eaux4 ,founded by ,m4 ,maximilien de ,bettignies in #ahae1 for the manufacture of pte tendre porcelain like the old ,svres4 ,he was formerly proprietor of the ,tournai manufactory1 which he ceded to his brother ,henri when that city became re-annexed to ,belgium4 ,,strassburg4 ,about the year #ageb1 ,paul ,hannong obtained the secret of true porcelain from ,ringler1 and started a factory here1 but in consequence of the monopoly of ,svres he was compelled to relinquish it1 and in #agec removed to ,frankenthal1 where he greatly flourished under the protection of the ,elector ,palatine ,carl ,theodore4 ,illustration3 ,fig4 #bbj4--;,,cup ,,and ,,saucer4 ,mark1 ,j4 ,h4 ,diam4 #b-e_/h and #e-e_/h in4 ,,marseilles4 ,an important manufactory of porcelain was established here by ,jacques ,gaspard ,robert about #agff4 ,porcelain was made also by ,honor ,savy and ,veuve ,perrin1 but was only of secondary importance4 ,the works were closed about the period of the ,french ,revolution in #agic4 ,,paris4 ,rue ,thiroux4 ,established in #aggh by ,andr ,marie ,lebeuf1 and the ware was called ,porcelaine de la ,reine4 ,illustration3 ,,fig4 #bba4--,,sucrier4 ,mark1 crowned ,a4 ,,paris4 ,rue de ,bondy4 ,opened in #aghj by ,dihl and ,guerhard1 under the patronage of the ,duc d',angoulme1 and the ware was called ,porcelaine d',angoulme4 ,illustration3 ,,fig4 #bbb4--;,,ewer ,,and ,,basin4 ,,paris4 ,rue ,fontaine au ,roi4 ,this factory1 called ,de la ,courtille1 was established in #aggc by ,jean ,baptiste ,locr1 who was afterwards joined by ,russinger in #aghd4 ,the latter during the ,revolution became sole director4 ,illustration3 ,,fig4 #bbc4--,,part ,,of ,a ,,tea ,,service4 ,,paris4 ,faubourg ,st4 ,honor4 ,a factory was established here by ,veuve ,chicanneau1 ne ,marie ,moreau4 ,the teapot1 ,fig4 #bbd1 was probably made at these works4 ,illustration3 ,,fig4 #bbd4--,,teapot4 ,mark1 ,ve ,m4 ,c4 ,,paris4 ,pont-aux-,choux4 ,in #aghd1 ,louis ,honor de la ,marre de ,villars opened an establishment for the manufacture of porcelain in the ,rue des ,boulets1 ,faubourg ,st4 ,antoine4 ,it was afterwards disposed of to ,jean ,baptiste ,outrequin de ,montarcy and ,edm ,toulouse1 who in #aghf obtained a brvet from the ,duke of ,orleans1 ,louis ,philippe ,joseph1 and authority to sign the productions with the letters ,l4 ,p41 and to take the title of ,manufacture de ,m4 le ,duc d',orlans4 ,they were afterwards established in ,rue ,amelot1 au ,pont-aux-,choux1 by which name the porcelain is generally known4 ,illustration3 ,,fig4 #bbe4--,,teapot4 ,the former name ceased in #agic1 with the condemnation of the ,duke of ,orleans1 and the objects subsequently produced were inscribed merely ,fabrique du ,pont-aux-,choux4 ,,paris4 ,rue de ,crussol4 ,established in #aghi by ,charles ,potter1 an ,englishman1 and the ware was called the ,prince of ,wales's ,china4 ,illustration3 ,,fig4 #bbf4--;,,cup4 ,,paris4 ,belleville4 ,originally established in #agij by ,jacob ,petit2 but later removed to ,fontainebleau4 ,the products of the first period were much esteemed1 being well painted and well modelled1 bearing ,petit's mark2 but the proprietor unwisely altered his original plan and imitated ,dresden1 counterfeiting also the mark of the crossed swords4 ,jacob ,petit also made biscuit figures1 birds' nests1 flowers1 c4 ,illustration3 ,,fig4 #bbg4--,,watch-,,stand4 ,plain white of rococo form4 ,mark1 ,j4 ,p4 in blue4 ,height #e in4 ,,paris4 ,rue du ,faubourg ,st4 ,denis4 ,fabrique de ,charles ,philippe ,comte d',artois1 afterwards ,charles ,x4 ,this manufacture was the most ancient of all those established in ,paris4 ,hannong of ,strassburg1 who brought into ,france the secret of hard porcelain1 formed the first establishment in #agfi4 ,having obtained the protection of ,charles ,philippe1 ,comte d',artois1 it was called by his name4 ,the factory belonged actually to ,bourdon des ,planches1 who continued the manufacture of hard porcelain1 c41 but the works were closed in #ahaj4 ,,vincennes4 ,there was a porcelain manufactory here in #aghf1 quite apart from the royal factory4 ,it was directed by ,m4 ,le ,maire1 probably the same who founded that in ,rue ,popincourt1 which was ceded to ,m4 ,nast in #aghc4 ,there were four establishments at ,vincennes2 the first by the brothers ,dubois1 subsequently transferred to ,svres2 the second by ,maurin des ,aubiez1 in #agfg2 the third by ,pierre ,antoine ,hannong2 and the fourth that described above4 ,illustration3 ,,fig4 #bbh4--;,,cup ,,and ,,saucer4 ,mark1 ,h4 ,l4 ,l41 in gold4 ,diam4 #b-a_/b and #e in4 ,,vincennes ,,and ,s,,vres ,the history of the celebrated manufactory at ,svres must be traced back to that of ,st4 ,cloud1 which was founded as early as #afie4 ,here ,louis ,,xiv4 accorded his patronage and favour by granting exclusive privileges4 ,in #agce the secret of the manufacture was carried1 by some of the workmen1 to ,chantilly1 and for a time continued there by the brothers ,dubois4 ,they left in a few years1 taking with them their secret1 and settled at ,vincennes1 where a laboratory was granted them1 but after three years they were dismissed4 ,in #agde1 a sculptor1 named ,charles ,adam1 formed a company1 and the scheme was approved of by the king1 privileges being accorded them for thirty years1 and a place granted for their works in the ,chteau de ,vincennes4 ,in #agec the privileges of ,charles ,adam were purchased by ,eloy ,brichard1 and ,louis ,,xv4 took a third share2 hence the factory became a royal establishment4 ,madame de ,pompadour considerably encouraged the ceramic art1 and it arrived at the height of perfection4 ,the buildings were found too small to meet the increasing demands for the beautiful productions1 and in #agef the works were removed to a large edifice at ,s,,vres built expressly for the company4 ,a favourite decoration of ,vincennes porcelain was flowers and birds1 on a beautiful bleu de roi ground1 and cupids painted in camaeu of a single colour4 ,illustration3 ,,fig4 #bbi4--,,vase4 ,bleu de roi ground1 with panels with birds in gold4 ,mark1 double ,l enclosing a dot1 in gold4 ,height #i-a_/d in4 ,in #agfj the king became sole proprietor1 and ,m4 ,boileau was appointed director4 ,in #agfi1 after ,macquer had brought the making of hard paste to perfection1 the manufacture was successfully established at ,svres1 and both descriptions of china continued to be made until #ahjd1 when1 ,brongniart being director1 soft paste was altogether discontinued1 and declared to be useless in art1 of expensive manipulation1 dangerous to the workmen1 subject to great risk in the furnace1 c4 ,illustration3 ,,fig4 #bcj4--;,,cup ,,and ,,saucer4 ,bleu de roi ground1 with white medallions enclosing birds in gold4 ,mark1 double ,l1 in blue4 ,diam4 #b-e_/h and #e-c_/h in4 ,the principal colours used in decorating the ground of the ,svres vases were3-- #a4 ,the bleu cleste1 or turquoise1 invented in #ageb by ,hellot4 #b4 ,the rich cobalt blue1 called bleu de roi1 of which there were two varieties1 the darker being designated gros bleu4 #c4 ,the violet pense1 a beautiful violet from a mixture of manganese1 one of the rarest decorations of the pte tendre4 ,illustration3 ,,fig4 #bca4--,,vase4 #d4 ,the rose ,pompadour 7called in ,england rose ,du-,barry71 a charming pink or rose colour invented in #ageg by ,xhrouet of ,svres4 #e4 ,the clear yellow or jonquille1 a sort of canary colour4 #f4 ,the vert pr1 or bright grass green4 ,illustration3 ,,fig4 #bcb4--;,,cuelle4 ,dated #agga4 #g4 ,the vert pomme1 or apple green4 #h4 ,the rouge de fer1 a brilliant red4 #i4 ,the oeil de perdrix was at a later period a favourite ornament for the grounds of vases4 ,illustration3 ,,fig4 #bcc4--;,,biscuit ,,group4 ,,cupid ,,and ,,psyche4 ,the forms are exceedingly varied1 but names are assigned to each1 either from the designers of the models or their special shapes or ornamentation2 these may be found at length in ,marks and ,monograms on ,pottery and ,porcelain1 #ajth edition4 ,the beautiful pte tendre ware of ,svres was always much esteemed1 and never could have been produced at a reasonable price even at the time it was made1 the expense of decoration as well as the risk in firing being so great4 ,it was manufactured for royal presents or occasionally sold by express permission at exorbitant prices1 which bore a more approximate value to the present exorbitant prices than is generally supposed4 ,,great ,,britain ,,pottery ,the earthenware vessels made in ,england previous to the #afth century were of a very coarse description1 rudely fashioned and usually devoid of ornament1 sometimes cast in a mould in grotesque forms1 and occasionally covered with a yellow or green glaze4 ,numerous specimens of early ,english cups are found in excavations in ,london and other parts of ,england1 and may be identified by comparison with the vessels in ,norman and medival manuscripts4 ,although inexpensive1 they were badly burned1 and not very durable2 and the ,german stoneware with a salt glaze was eagerly sought after throughout the #afth century1 and imported in large quantities4 ,these stone pots were usually impressed with the arms of ,german towns2 a rose or other device in front1 and a ferocious bearded visage under the spout4 ,they were derisively called bellarmines1 after the celebrated ,cardinal ,bellarmin1 who in the #afth century made himself so conspicuous by his zealous opposition to the ,reformed religion4 ,these bellarmines were in general use throughout ,england in the #afth and beginning of the #agth century at inns and public-houses for serving ale to the customers4 ,the importation of these stone pots was always monopolised by the potters of ,cologne1 near which city they were made4 ,in the reign of ,queen ,elizabeth we find one ,william ,simpson presenting a memorial that he may be allowed to bring the drinking stone pottes made at ,culloin into this country1 and requesting permission to make similar stone pots in ,england2 but he was not successful in his suit4 ,in #afbf1 however1 two other potters1 named ,rous and ,cullyn1 merchants of the city of ,london1 obtained the exclusive privilege of making stone pots and jugs in this country1 and a patent was granted them for fourteen years2 the preamble states that heretofore1 and at this present1 our kingdom of ,england has been served with stone pottes1 stone jugges1 and stone bottells1 out of foreign parts1 from beyond the seas4 ,,staffordshire ,when ,dr4 ,plot wrote his natural history of this county in #afhf there were very few manufactories of pottery2 he only speaks of one at ,amblecott and another at ,wednesbury2 but he says3 ,the greatest pottery they have in this country is carried on at ,burslem1 near ,newcastle-under-,lyme4 ,the earthenware made here towards the end of the #agth century was of a very coarse character1 and the decoration extremely rude1 consisting merely of patterns trailed over the surface in coloured clay1 technically termed slip1 diluted to the consistence of syrup1 so that it could run out through a quill4 ,the usual colours of these slips were orange1 white1 and red1 the orange forming the ground and the white and red the paint4 ,after the dishes had been thus ornamented they were glazed with lead ore beaten into dust1 finely sifted1 and strewed over the surface1 which gave it the gloss but not the colour4 ,the vessels remained twenty-four hours in the kiln1 and were then drawn for sale1 principally to poor cratemen1 who hawked them at their backs all over the country4 ,illustration3 ,,fig4 #bcd4--,,tyg4 ,with four handles4 ,dated #afba4 ,illustration3 ,,fig4 #bce4--,,mug4 ,with two handles4 ,dated #afhb4 ,illustration3 ,,fig4 #bcf4--,,plateau4 ,with ,charles ,,ii4 and his ,queen1 in relief4 ,by ,,ralph ,,toft4 #afgg4 ,the forms of these vessels were tygs or mugs1 with two or more handles for passing round a table1 candlesticks1 dishes1 c4 ,the earliest names found upon them are ,thomas and ,ralph ,toft1 ,william ,talor1 ,joseph ,glass2 all names still known in ,staffordshire4 ,,burslem4 ,the family of ,,wedgwood was of long standing at ,burslem1 and many members of it were employed in making pottery long before the birth of the great potter1 ,josiah ,wedgwood4 ,his father1 grandfather1 and great-grandfather1 as well as many of his other relations1 were all engaged in the trade4 ,josiah ,wedgwood was born in #agcj1 at ,burslem2 he was the youngest of thirteen children2 his father1 ,thomas ,wedgwood1 died when ,josiah was only nine years old4 ,his eldest brother1 ,thomas1 succeeded his father as a potter1 and ,josiah was bound apprentice to him in #agdd1 after the expiration of which he left his brother's house to make knife handles1 imitation agate1 and tortoiseshell small wares1 at ,stoke4 ,here1 in #ageb1 he entered into partnership with ,john ,harrison1 which only lasted two years4 ,illustration3 ,,fig4 #bcg4--,,vase4 ,pale blue jasper1 with subjects in relief4 ,next ,josiah ,wedgwood went into partnership with ,thomas ,whieldon of ,fenton ,low1 one of the most eminent potters of his day1 and they remained together five years2 while here ,wedgwood also produced that fine green glaze which covered his dessert services1 in imitation of leaves4 ,at the expiration of the partnership in #agei ,wedgwood returned to ,burslem1 and commenced business on his own account at the ,churchyard works4 ,he soon became so successful that he was compelled to enlarge his establishment1 and to take over the ,ivy ,house works4 ,he engaged the services of his cousin1 ,thomas ,wedgwood1 who had gained his experience at the ,worcester works1 and in #agfe he took him into partnership1 and three years later ,thomas ,bentley joined the firm4 ,the first ware which gained him reputation was his fine cream-coloured ware1 which remained a staple article from #agfb down to the time of his decease1 and after royalty had approved of it the name was changed to ,queen's ware4 ,wedgwood also produced1 about this date1 a sort of red ware1 formed of the same ochreous clay as was used by the ,elers nearly a century before2 it required no glaze except what it derived from friction on the wheel and lathe1 and was covered with engine-turned ornament2 and in #agff he began to make a black ware1 which he called basaltes or black ,egyptian4 ,the business increased so much that he was obliged to open a new manufactory at ,,etruria in #agfi4 ,in #aggc he made a fine white terra-cotta of great beauty and delicacy1 suitable for cameos1 portraits1 and bas-reliefs2 this was the forerunner of the jasper ware1 which became by constant attention and successive improvements the most beautiful of all his wares4 ,in #aggf the solid jasper ware was invented1 which1 however1 attained its greatest perfection ten years later4 ,in the manufacture of this elegant ware ,wedgwood largely employed sulphate of barytes1 and for many years derived great profits1 none of the workmen having any idea of the nature of the material upon which they were operating1 until a letter containing a bill of parcels referring to a quantity of the article fell into the hands of a dishonest servant1 who told the secret1 and deprived the inventor of that particular source of emolument3 for when the same article was made by those who employed inferior workmen1 to whom they only paid one-fourth of the salary given by ,wedgwood1 the price of jasper ware became so reduced that he was unable to employ those exquisite modellers whom he had formerly engaged to superintend that branch of the manufacture4 ,illustration3 ,,fig4 #bch4--,,vase4 ,of basaltes ware4 ,illustration3 ,,fig4 #bci4--,,the ,,portland ,,vase4 ,of black and white jasper4 ,in #aghe a jasper dip was introduced1 in which the white clay vessels were dipped1 and received a coating of jasper1 instead of being jasper throughout4 ,this was considered a great improvement1 and caused an increase of #bj per cent4 in the price4 ,illustration3 ,,fig4 #bdj4--,,teapot1 ,,caddy1 ,,and ,,plate4 ,with printed transfer4 ,flaxman was engaged by ,wedgwood and ,bentley as early as #agge1 and he furnished them with drawings and models4 ,after ,bentley's death in #aghj ,flaxman's fame as a sculptor obtained him more important work1 but still1 as time permitted1 he worked for ,wedgwood up to the time of his departure for ,rome in #aghg4 ,josiah ,wedgwood died on the #crd of ,january #agie1 in his #feth year4 ,illustration3 ,,fig4 #bda4--,,six ,,jasper ,,cameos4 ,illustration3 ,,fig4 #bdb4--,,vase4 ,granite ground1 with gilt festoons and handles4 ,illustration3 ,,fig4 #bdc4--;,,ewer4 ,of agate ware4 ,illustration3 ,,fig4 #bdd4--;,,an ,,obelisk1 by ,,ralph ,,wood1 and ,a ,,tea ,,set1 by ,,aaron ,,wood4 ,in #aggc ,,ralph ,,shawe of ,burslem took out a patent for chocolate-coloured ware1 striped with white and lined with white1 glazed with salt4 ,he afterwards transferred his factory to ,france4 ,,ralph ,,wood was established at ,burslem about #agcj1 and was succeeded about #agej by his son ,,aaron ,,wood1 who served his apprenticeship to ,thos4 ,wedgwood2 he was a very clever cutter of moulds for stoneware plates and dishes1 with raised pattern borders1 c41 which have been erroneously termed ,elizabethan4 ,cream ware is said to have been invented by him4 ,he was succeeded1 about #aggj1 by his son ,,enoch ,,wood1 who was also a sculptor1 and made many busts of eminent men4 ,his successors were ,wood and ,caldwell1 who continued the manufacture of busts and groups4 ,illustration3 ,,fig4 #bde4--,,statuette4 ,chaucer1 by ,,ralph ,,wood4 ,,moses ,,steel was a manufacturer at ,burslem in #agae4 ,the name of a descendant is found on a vase1 with blue ground and white figures in relief1 in the style of ,wedgwood1 in the ,victoria and ,albert ,museum4 ,illustration3 ,,fig4 #bdf4--,,vase4 ,,shelton4 ,,astbury of ,shelton1 early in the #ahth century1 made red crouch1 and white stoneware4 ,it is said he derived his knowledge of mixing the clays by pretending to be an idiot and obtaining employment at the ,elers' manufactory at ,bradwell2 after gaining their secret1 he set up in business against them4 ,the first use of calcined flints as an ingredient in the composition of pottery is attributed to the younger ,astbury2 it led to the manufacture of fine fayence1 and paved the way for the great improvements afterwards achieved by ,wedgwood4 ,,samuel ,,hollins of ,shelton established about #agfj a manufactory of fine red ware teapots2 he procured the clay from ,bradwell4 ,he was succeeded about #aggg by ,t4 and ,j4 ,,hollins4 ,illustration3 ,,fig4 #bdg4--;,,green ,,bowl4 ,with ornaments in relief4 ,signed ,s4 ,hollins4 ,illustration3 ,,fig4 #bdh4--;,,basin4 ,with white ground and blue figures in relief4 ,stamped ,t4 and ,j4 ,hollins4 ,the ,,new ,,hall ,,china ,,works at ,shelton owed their origin to the purchase of ,champion's 7,cookworthy's7 patent by a company of potters in #aggg1 and were the first porcelain manufactory in ,staffordshire4 ,the ware made here was not of a fine character2 inferior artists were employed in its production1 and it was never held in any great esteem4 ,the manufacture consequently soon fell to decay1 after many changes4 ,the mark is the name of the works in a double ring4 ,illustration3 ,,fig4 #bdi4--;,,cup ,,and ,,saucer4 ,painted with flowers4 ,,bradwell4 ,a potter to whom ,staffordshire was indebted for great improvements in the ware was ,,john ,,philip ,,elers1 who about #afij came over from ,holland and settled at ,bradwell4 ,he was descended from a noble family of ,saxony4 ,elers was a clever chemist1 and discovered the art of mixing the clays of ,staffordshire to greater perfection than had ever before been attained4 ,he manufactured to a considerable extent an improved kind of red pottery1 in imitation of that of ,japan1 while by the addition of manganese to the clays1 he made a fine black ware1 which a century afterwards was adopted and improved by ,wedgwood4 ,illustration3 ,,fig4 #bej4--,,teapot4 ,of red ware1 with flowers in relief4 ,,hanley4 ,shaw mentions a ,mr4 ,,miles of ,miles's ,bank1 ,hanley1 who produced the brown stoneware about #agjj4 ,there is in the ,victoria and ,albert ,museum a fayence barrel of brown glaze with gilt hoops1 dating apparently from the first half of the #ahth century1 and it is impressed with the name of ,miles 7see ,fig4 #bea74 ,illustration3 ,,fig4 #bea4--;,,barrel4 ,,elijah ,,mayer of ,hanley was a contemporary of ,wedgwood4 ,he was noted for his cream-coloured ware and brown-line ware1 but he produced many other varieties4 ,a vase of unglazed drab terra-cotta1 with festoons1 c41 in relief1 coloured 7see ,fig4 #beb74 ,illustration3 ,,fig4 #beb4--,,vase4 ,he also produced basaltes ware tea services1 with animals1 c41 in relief4 ,,palmer of ,hanley was a great pirate of ,wedgwood's inventions1 and ,mrs4 ,palmer1 who seems to have been the active manager of her husband's business1 engaged persons surreptitiously to obtain ,wedgwood and ,bentley's new patterns as soon as they arrived at the ,london warehouse1 for the purpose of copying them4 ,palmer had a ,london partner of the name of ,,neale4 ,they imitated ,wedgwood's black ,egyptian vases and other inventions1 and eventually his ,etruscan painted vases4 ,in #aggf ,palmer failed1 and the business was carried on by ,neale ,co41 who by some means discovered the secret of the jasper body4 ,they became formidable rivals of ,wedgwood4 ,illustration3 ,,fig4 #bec4--;,,jardini,,re4 ,of blue and white jasper4 ,illustration3 ,,fig4 #bed4--,,vase4 ,j4 ,,voyez of ,hanley was a clever artist2 he was employed by ,wedgwood and afterwards by ,neale and ,palmer4 ,,fenton4 ,,thomas ,,whieldon of ,fenton established a pottery in #agdj2 besides the common household articles1 he made fancy marbled ware4 ,aaron ,wood and ,josiah ,spode were his apprentices1 and ,josiah ,wedgwood was in partnership with him until #agei4 ,,tunstall4 ,,enoch ,,booth of ,tunstall1 and ,,john ,,warburton of ,,cobridge in the same county1 were extensive potters1 and first made cream-coloured pottery by the use of fluid glaze introduced by ,booth4 ,,william ,,adams of ,tunstall was a favourite pupil of ,wedgwood1 and while with him executed some of his finest specimens of jasper ware4 ,he afterwards went into business on his own account1 and carried on an extensive trade4 ,illustration3 ,,fig4 #bee4--;,,jug4 ,of blue jasper4 ,,lane ,,end4 ,,john ,,turner of ,lane ,end made a fine description of ware1 and his productions were the most successful imitation of ,wedgwood's jasper1 with ornaments in relief1 and only second to the latter's in excellence2 he also made a fine white stoneware4 ,illustration3 ,,fig4 #bef4--,,sugar ,,basin4 ,of yellow clay1 with figures in relief4 ,illustration3 ,,fig4 #beg4--,,teapot4 ,with medallion1 figures in relief4 ,,longport4 ,the ,messrs4 ,,davenport of ,longport made great improvements in the manufacture of earthenware2 they were celebrated especially for their stone china4 ,the manufactory was established in #agic1 and has been successfully carried on up to the present day in the same family4 ,illustration3 ,,fig4 #beh4--;,,cup1 ,,cover1 ,,and ,,saucer4 ,illustration3 ,,fig4 #bei4--;,,dish4 ,,lane ,,delph 7now ,middle ,fenton74 ,,miles ,,mason of ,lane ,delph early in the last century produced some fine ware4 ,the ironstone china was brought to great perfection by ,charles ,james ,mason1 and the forms were of a high quality1 very much resembling porcelain4 ,illustration3 ,,fig4 #bfj4--;,,cup1 ,,cover1 ,,and ,,saucer4 ,,stoke-,,on-,,trent4 ,,thomas ,,minton established a manufactory at ,stoke-upon-,trent in #agia2 he was apprenticed to ,turner of ,caughley as an engraver4 ,his productions were of the useful kind1 viz41 services for the table1 in imitation of common nankin4 ,he died in #ahcf1 and was succeeded by his second son1 the celebrated ,herbert ,minton1 who brought the potter's art to great perfection4 ,he largely increased the business1 and manufactured articles in earthenware1 hard and soft porcelain1 and parian4 ,reproductions of ,italian maiolica1 ,delia ,robbia1 ,palissy1 and ,henri ,,ii4 ware were also extensively made by him4 ,he died in #aheh1 and was succeeded by ,michael ,daintry ,hollins and ,colin ,minton ,campbell1 his nephew and heir4 ,the founder's grandsons afterwards succeeded to the business2 the firm of ,messrs4 ,minton ,co4 still exists1 but there are no members of the family now connected with it4 ,,liverpool4 ,early in the #ahth century1 and probably much before that1 ,liverpool was noted for the manufacture of pottery4 ,little is known of its early history1 and it was not until ,mr4 ,jos4 ,mayer rescued from oblivion many interesting particulars that anything like a succinct account was published4 ,in his interesting notice of the ,art of ,pottery in ,liverpool1 we learn that the most celebrated of the early potters was ,alderman ,thomas ,shaw1 who had works for making pottery in the beginning of the #ahth century2 several large plaques and monumental slabs of his make are in existence1 dated from #agaf to #agef4 ,about this time1 there seems to have been a large demand for punch bowls2 as these formed the principal ornaments on the sideboards of the middle classes1 and especially on board the ships1 which were constantly going and coming in the port1 considerable pains were taken in decorating them1 and many are still in existence painted with ships1 convivial mottoes1 and inscriptions4 ,illustration3 ,,fig4 #bfa4--,,mug4 ,another important establishment was founded by ,mr4 ,john ,sadler1 the son of a painter1 who had learnt the art of engraving4 ,he was the inventor1 about #ageb1 of the method of transferring prints from engraved copper plates upon pottery1 and in conjunction with ,guy ,green1 proposed to take out a patent in #agef1 the draft of which is still preserved1 but they preferred keeping the invention secret to the doubtful security of patent rights4 ,illustration3 ,,fig4 #bfb4--,,punch ,,bowl4 ,wedgwood availed himself of this new mode of decoration1 and sent his ,queen's ware weekly to ,messrs4 ,sadler and ,green to be printed4 ,illustration3 ,,fig4 #bfc4--,,tiles4 ,by ,j4 ,,sadler4 ,illustration3 ,,fig4 #bfd4--,,teapot4 ,with portrait of ,wesley4 ,,richard ,,chaffers was the principal manufacturer of ,liverpool2 he served his apprenticeship with ,alderman ,shaw1 and in #ageb established a bank for the manufacture of blue and white earthenware and fine porcelain1 which gained him great reputation2 they were largely exported to our ,american ,colonies 7now the ,united ,states74 ,his porcelain works were established about the same time as those of ,worcester and ,derby1 and his productions had a great sale in ,england4 ,the ,liverpool establishments of ,,pennington1 ,,philip ,,christian and ,,richard ,,abbey were on an extensive scale1 but towards the end of the eighteenth century only one of any importance survived1 and that belonged to ,messrs4 ,,worthington1 ,,humble and ,,holland1 who in #agif established a large manufactory on the south bank of the ,mersey4 ,as ,wedgwood had christened his settlement ,etruria they called theirs ,herculaneum4 ,a larger capital being required1 in #ahjf an increase of proprietors took place4 ,the first wares made here were ,queen's and blue printed ware4 ,about #ahjj the production of porcelain was commenced1 the mark used being ,herculaneum1 or ,herculaneum ,pottery4 ,about #ahcf1 when the factory came into possession of ,messrs4 ,case1 ,mort ,co41 the mark used was a bird called the liver1 which forms the crest of the ,borough of ,liverpool4 ,,jackfield1 near ,thursfield1 in ,shropshire4 ,there was an old pottery here about #agfj4 ,the ware was of a red clay1 with a brilliant black glaze1 sometimes with scrolls and flowers in relief4 ,tea services are frequently seen4 ,the jugs were known in the locality as black decanters4 ,about #aghj the works were taken by ,mr4 ,john ,rose1 and subsequently removed to ,,coalport1 on the opposite side of the ,severn1 where the well-known ,salopian porcelain was made4 ,illustration3 ,,fig4 #bfe4--,,teapot4 ,fig4 #bfe4 ,a black glazed teapot inscribed ,richard and ,ruth ,goodin1 #agfi4 ,,fulham4 ,the first successful imitation of the grs de ,cologne was made by ,,john ,,dwight1 an ,oxfordshire gentleman1 and in course of time it almost entirely superseded the importation from abroad4 ,this great potter took out his first patent in #afga1 and probably established a manufactory at ,fulham in that year1 which was successfully carried on through two patents of fourteen years each4 ,the ,fulham stoneware is of exceedingly hard and close texture1 very compact and sonorous1 covered with a salt glaze1 of grey colour1 ornamented with a brilliant blue enamel in bands1 leaves1 and flowers1 having medallions of kings and queens of ,england in front1 with ,latin names and titles1 or their initials only4 ,dwight produced a great variety of objects1 and brought the potter's art to a great perfection4 ,the figures1 busts1 and groups are exquisitely modelled1 and will bear comparison with any contemporary manufactures of ,europe4 ,a careful inspection will convince any unprejudiced mind of the erroneous impression which exists1 that until the time of ,wedgwood the potter's art in ,england was at a very low ebb1 and that none but the rudest description of pottery was made1 without any attempt to display artistic excellence4 ,for here1 a century before ,josiah ,wedgwood's time1 we have examples of ,english pottery which would do credit to the atelier of that distinguished potter himself4 ,john ,dwight died in the year #agcg1 and with him also departed the glory of his manufactory at ,fulham4 ,illustration3 ,,fig4 #bff4--,,lydia ,,dwight4 ,dyed ,march #c1 #afgc4 ,,lambeth4 ,the next important pottery in ,england in the #agth century was that of ,lambeth4 ,in the ,history of ,lambeth it is related that about #afej some ,dutch potters established themselves here1 and by degrees the industry became important1 for the village contained no less than twenty manufactories1 in which were made the glazed pottery and tiles used in ,london and various parts of ,england4 ,the ware was very much of the character of ,delft1 with a fine white creamy glaze1 painted with landscapes and figures in blue4 ,illustration3 ,,fig4 #bfg4--;,,dish4 ,the white bottles or jugs1 upon which are written the names of wines accompanied by dates1 were made here4 ,the trade flourished here for more than a century1 until about #aghj or #agij1 at which time the ,staffordshire potters1 by the great improvements they had made in the quality of their ware1 and having coal and clay ready to their hand1 were enabled to produce it at a cheaper rate1 and eventually beat the ,lambeth potters out of the field4 ,the ,lambeth potters1 about the end of the #agth century1 appear also to have copied the forms of the ,palissy ware1 especially in large oval dishes with initials and dates4 ,fig4 #bfg is an example of one of these dishes4 ,,yearsley1 in ,yorkshire4 ,a pottery of coarse character was made here in the #agth century4 ,a factory was established by an ancestor of ,josiah ,wedgwood about the year #agjj2 and on the estate of ,sir ,george ,wombwell fragments of pottery1 of a coarse brown ware1 with lead glaze1 have been frequently found on the site of the old manufactory4 ,there was also a manufactory established at the ,manor-house1 ,,york1 about #affe1 of which little is known except the mention of its existence by ,ralph ,thoresby and ,horace ,walpole2 although it is by the former erroneously called porcelain1 the ware was actually a fine stoneware1 with a salt glaze4 ,,don ,,pottery4 ,there was a pottery on the river ,don1 near ,doncaster1 established by ,mr4 ,john ,green of ,new-hill1 who came from the ,leeds pottery about #agij4 ,in #ahjg some other members of his family joined the firm1 and it was for a short time ,greens1 ,clark1 ,co4 ,illustration3 ,,fig4 #bfh4--,,tea ,,caddy4 ,of yellow clay1 ornamented with chocolate brown appliqu medallions of female figures in relief4 ,the ,don ,pottery was very similar to that of ,leeds1 frequently producing pierced work-baskets1 vases1 dinner1 dessert and tea services1 c4 ,,leeds4 ,this ware was made by ,messrs4 ,hartley1 ,greens1 ,co4 in #aggj4 ,it is of a sort of cream colour1 and has much perforated or basket-work1 sharply cut out of the borders in various patterns4 ,important centre-pieces with figures were also made here4 ,illustration3 ,,fig4 #bfi4--;,,chestnut ,,bowl ,,and ,,cover4 ,,castleford1 about twelve miles from ,leeds4 ,here ,david ,dunderdale established works in #agij for the finer kinds of pottery1 especially ,queen's ware and the black ,egyptian4 ,illustration3 ,,fig4 #bgj4--,,teapot4 ,with ornaments in relief1 of white ware edged with blue4 ,,swinton1 near ,rotherham4 ,initiated by ,edward ,butler in #ageg1 on the estate of the ,marquis of ,rockingham4 ,in #agfe it was carried on by ,william ,malpas1 and in #aggh by ,messrs4 ,bingley1 ,brameld1 ,co41 who enlarged the works1 and made earthenware of a very superior quality4 ,rockingham teapots1 of a mottled chocolate colour1 glazed inside with white1 were in great repute4 ,but the aims of the ,messrs4 ,brameld were of a higher character1 and some works of artistic merit were produced4 ,when the ,rockingham works were closed in #ahdb many of the moulds were purchased by ,mr4 ,john ,reed1 and transferred to the ,mexborough pottery4 ,illustration3 ,,fig4 #bga4--,,teapot4 ,,newcastle-,,on-,,tyne4 ,there were some extensive manufactories here at the end of the #ahth century for making ,queen's ware1 some of which is perforated like that of ,leeds1 and has wicker pattern borders4 ,some of the earthenware mugs have a pink metallic lustre1 and are ornamented with transfer engravings4 ,on the inside was usually a toad in relief4 ,illustration3 ,,fig4 #bgb4--;,,dish4 ,of ,queen's ware1 marked fell4 ,illustration3 ,,fig4 #bgc4--,,mug4 ,with printed monument of ,lord ,nelson2 inside is a toad2 marked ,fell ,co41 ,newcastle ,pottery4 ,,st4 ,,anthony',s1 about #b-a_/b miles from ,newcastle-upon-,tyne4 ,established by ,sewell ,donkin in #aghj4 ,queen's ware and pink metallic lustre1 also printed subjects1 were produced2 pierced wicker baskets1 like that of ,leeds1 were also made4 ,illustration3 ,,fig4 #bgd4--;,,jug4 ,with cupids in relief1 coloured with pink metallic lustred clouds4 ,,nottingham4 ,stoneware was made here in the first half of the #ahth century2 it usually has a dark brown glaze1 with a slightly metallic lustre1 is very hard and durable1 and is frequently ornamented with outlines of stalks and flowers1 especially the pink4 ,illustration3 ,,fig4 #bge4--,,mug4 ,inscribed1 ,made at ,nottingham1 the #agth ,august #agga4 ,illustration3 ,,fig4 #bgf4--;,,jug4 ,in the form of a ,bear4 ,,great ,,yarmouth4 ,a potter named ,absolon about #agij decorated pottery of the cream colour4 ,the favourite subjects are single flowers and plants1 with their names on the back of the piece4 ,illustration3 ,,fig4 #bgg4--,,plate4 ,,lowesby1 in ,leicestershire4 ,a pottery was established by ,sir ,francis ,fowkes1 about the year #ahce4 ,red terra-cotta with black enamelled ornaments1 in imitation of ,wedgwood1 was made4 ,illustration3 ,,fig4 #bgh4--;,,garden ,,pot4 ,illustration3 ,,fig4 #bgi4--,,vase4 ,,bristol4 ,at ,,redcliffe ,,backs a manufactory of ,delft ware was carried on in the #ahth century by ,richard ,frank4 ,at ,,temple ,,backs1 ,bristol1 ,joseph ,ring1 son-in-law of ,cookworthy 7after the porcelain works had been relinquished in #aggg71 opened a manufactory called the ,bristol ,pottery4 ,it was continued for many years1 and about #ahbj it was occupied by ,messrs4 ,pountney ,allies4 ,the articles produced were similar to those of the superior potteries in ,staffordshire4 ,illustration3 ,,bristol 7,redcliffe ,backs7 ,,fig4 #bhj4--,,tiles4 ,st4 ,mary ,redcliffe ,church4 ,,cadborough1 near ,rye in ,sussex4 ,a pottery was established here early in the #aith century for the manufacture of common sorts of pottery1 but some vases of glazed ware of elegant forms were also produced4 ,the works are now carried on at ,bellevue ,pottery1 ,rye4 ,illustration3 ,,fig4 #bha4--,,vessel4 ,in form of a pig4 ,,swansea4 ,established about #agej2 it was greatly enlarged by ,george ,haynes in #aghj1 who styled it the ,cambrian ,pottery4 ,in #ahjb the works were purchased by ,lewis ,weston ,dillwyn1 and about #ahaj an improved ware was made which was termed opaque porcelain2 with the assistance of ,young1 a draughtsman employed in delineating natural history1 the ware became remarkable for its beautiful and truthful paintings4 ,the early ,swansea ware was elegant in form1 and frequently covered with a deep blue glaze4 ,illustration3 ,,fig4 #bhb4--;,,dish4 ,mark1 ,swansea and letter ,c4 ,,great ,,britain ,,porcelain ,the manufacture of porcelain in ,england began much earlier than has been generally supposed1 and the invention was patented in ,england by ,john ,dwight of ,fulham in #afga1 while that at ,st4 ,cloud was not patented until #agjb1 thirty years afterwards4 ,,worcester4 ,although this manufactory originated more than a century and a half ago1 and has always been carried on by private enterprise1 it is still in a flourishing state4 ,it was established in #agea1 chiefly through the exertions of ,dr4 ,wall1 a physician and a good practical chemist1 who in conjunction with others formed the ,worcester ,porcelain ,company4 ,the early productions were principally of the useful description1 and were sold at a cheaper rate than the wares of ,bow and ,chelsea4 ,about the year #ageg1 the important method of multiplying designs upon the biscuit ware by means of transferring impressions of engraved copper plates to the surface1 was adopted at ,worcester almost at the same time as at ,liverpool1 the invention being in fact claimed by both2 but specimens are found bearing the names of ,sadler and ,green of ,liverpool1 and ,richard ,holdship and ,robert ,hancock of ,worcester1 dated in the same year4 ,bat printing succeeded the printing from engraved or etched plates4 ,this new style was accomplished thus3 instead of the design being first printed upon paper and then transferred1 the plate was stippled with a fine point by ,london artists after designs of landscapes1 shells1 fruit1 and flowers by ,cipriani1 ,bartolozzi1 ,cosway1 and ,angelica ,kauffmann1 who were so fashionable about the end of the #ahth century4 ,the copper plate being carefully cleaned1 a thin coating of linseed oil was laid upon it1 and removed by the palm of the hand from the surface1 leaving the oil in the engraved spots2 instead of paper1 bats of glue were used1 cut into squares of the size of the engraving2 one of these bats was pressed on to the plate1 so as to receive the oil out of the engraved holes1 and laid on to the china1 transferring the oil to the surface2 it was then dusted with the colour required1 the superfluous colour being removed carefully with cotton wool1 and the china was then placed in the kiln4 ,illustration3 ,,fig4 #bhc4--;,,cup ,,and ,,saucer4 ,in #aghc the ,worcester porcelain works were purchased by ,mr4 ,thomas ,flight1 from whom they afterwards passed to ,messrs4 ,flight and ,barr2 the principal painters at this time were3 ,j4 ,pennington1 who painted figures2 ,s4 ,astles1 flowers2 ,g4 ,davis1 exotic birds in the ,chelsea style2 ,webster1 landscapes and flowers2 ,j4 ,barker1 shells2 ,brewer of ,derby1 landscapes2 while ,thomas ,baxter1 an accomplished artist1 painted figure subjects4 ,the ,worcester works remained with ,messrs4 ,flight ,barr until #ahdj1 when the two principal manufactories of ,worcester--that of ,flight ,barr1 and that of the ,messrs4 ,chamberlain1 were amalgamated2 the plant and stock were removed to the premises of the latter1 and the new firm was styled ,chamberlain ,co4 ,the last-named works were established by ,robert ,chamberlain in #aghf2 he was the first apprentice at the ,old ,worcester ,porcelain ,company1 and he and his brother ,humphrey took premises in ,high ,street4 ,at first they only decorated porcelain1 which they bought of ,turner of ,caughley2 but they afterwards manufactured largely on their own account1 and their business increased to a great extent1 being patronised by the royal family4 ,illustration3 ,,fig4 #bhd4--,,portion ,,of ,a ,,tea ,,service4 ,japanese pattern1 blue1 red1 and gold4 ,illustration3 ,,fig4 #bhe4--,,portion ,,of ,a ,,tea ,,service4 ,transfer coloured1 and partly gilt4 ,these two works which were united in #ahdj1 remained so until #aheb1 when ,messrs4 ,kerr ,binns became the ostensible proprietors4 ,in #ahfb another ,joint ,stock ,company was formed1 ,mr4 ,r4 ,w4 ,binns having the direction of the artistic department and ,mr4 ,edward ,phillips being general superintendent4 ,,swinton1 near ,rotherham4 ,the manufacture of porcelain at the ,,rockingham ,,works was introduced1 under the patronage of the ,earl ,fitzwilliam1 about the year #ahbc by ,thomas ,brameld1 who spared no expense in endeavouring to bring it to perfection4 ,the china was of a superior description1 and the painting and decoration were of a high character4 ,in #ahcb royal patronage was obtained and a magnificent service was ordered by ,king ,william ,,iv42 instead1 however1 of placing the firm in a flourishing condition1 it was actually the cause of its ruin1 for the expense incurred by the engagement of first-class artists1 and the super-abundance of gold employed in decorating the service1 resulted in so great a loss that the manufacture was totally discontinued a few years after4 ,illustration3 ,,fig4 #bhf4--,,plate4 ,illustration3 ,,fig4 #bhg4--,,vase4 ,centre-piece of the service made for ,king ,william ,,iv4 ,height #ad in4 ,,derby4 ,the earliest manufactory was called ,the ,derby ,pot ,works1 and was carried on at ,cock ,pit ,hill by ,messrs4 ,john and ,christopher ,heath for pottery and porcelain4 ,it is said to have been on an extensive scale1 but little is known of its operations4 ,the proprietors1 who were bankers in ,full ,street1 became bankrupt in #aghj1 when the stock was sold and the works discontinued4 ,illustration3 ,,fig4 #bhh4--;,,group4 ,chelsea ,derby4 ,illustration3 ,,fig4 #bhi4--,,pair ,,of ,,vases4 ,chelsea ,derby4 ,illustration3 ,,fig4 #bij4--,,plate4 ,with flowers by ,billingsley4 ,the ,derby ,porcelain ,manufactory was founded in #agea by ,william ,duesbury2 the first productions were chimney ornaments1 lambs1 sheep1 and services for the table1 but it was probably not until he purchased the ,chelsea works in #agfi that any great reputation was acquired1 and few if any of the early specimens can be identified4 ,some beautiful examples of porcelain painted in the ,chinese style were produced about this time1 but as the rage for oriental ware seemed so prevalent1 the proprietor1 to insure the sale of his china1 copied the ,chinese marks as well as the style of decoration4 ,crown ,derby was produced from #aghj1 and was continued by ,bloor1 the successor of ,duesbury1 as late as #ahcj4 ,after the purchase of the ,chelsea and ,bow works1 the ,derby porcelain manufactory rose to great importance1 the proprietors having of course retained the best workmen who had been engaged there4 ,in fact1 with all the models and moulds1 the mixers1 throwers1 and painters of those two great establishments1 the manufactory may be considered as the ,chelsea and ,bow works continued in another locality4 ,upon the death of ,william ,duesbury1 in #aghe1 his son ,william continued the business1 and a third ,william ,duesbury succeeded in the beginning of the last century4 ,about #ahae1 ,robert ,bloor took over the works1 which were altogether closed in #ahdh4 ,an offshoot1 however1 is still carried on4 ,illustration3 ,,fig4 #bia4--;,,cup1 ,,cover1 ,,and ,,saucer4 ,crown ,derby4 ,illustration3 ,,fig4 #bib4--,,scent ,,vase4 ,crown ,derby4 ,illustration3 ,,fig4 #bic4--;,,cup1 ,,cover1 ,,and ,,saucer4 ,crown ,derby4 ,,burton-,,on-,,trent4 ,a manufactory of earthenware was established here early in the last century1 and from about #ahci porcelain was made for seven years4 ,illustration3 ,,fig4 #bid4--;,,comport4 ,,wirksworth4 ,a manufactory of china as well as pottery1 established by a ,mr4 ,gill1 existed here about #aggj1 and continued for about twenty years4 ,illustration3 ,,fig4 #bie4--;,,cup4 ,,pinxton in ,derbyshire4 ,established about #agie1 by ,billingsley in partnership with ,john ,coke2 the former was a practical potter1 having been engaged at the ,derby works as a flower painter1 in which capacity he excelled2 he brought with him a staff of workmen and their families1 and the factory went on successfully for about five or six years1 when ,billingsley left2 it was continued by ,coke1 and afterwards by ,cutts the foreman1 but was altogether discontinued about #ahab4 ,the ware made here by ,billingsley was of a peculiar transparent character2 and a favourite pattern was the ,french sprig or ,chantilly1 being an imitation of the ,angoulme china4 ,illustration3 ,,fig4 #bif4--;,,jardini,,re4 ,illustration3 ,,fig4 #big4--,,sugar ,,bowl ,,and ,,cover4 ,,lowestoft4 ,according to ,gillingham's ,history of ,lowestoft1 written in #agij1 an attempt was made to manufacture porcelain there in #agef by ,mr4 ,hewlin ,luson of ,gunton ,hall1 he having found some fine clay on his estate suitable for the purpose1 and in the following year ,messrs4 ,gillingwater1 ,walker1 ,browne1 ,aldred1 and ,richman1 established the ,lowestoft porcelain works1 which existed until #ahjb4 ,the porcelain was of soft paste1 and in #aijb fragments of it and moulds were found on the site of the factory4 ,the theory that hard paste was made at ,lowestoft or that ,chinese porcelain was painted there has now been abandoned4 ,,plymouth4 ,about the year #agee ,william ,cookworthy commenced his experiments to ascertain the nature of true porcelain of hard paste1 and searched with great perseverance throughout ,england for the materials which were the constituent parts of ,chinese porcelain4 ,at length a friend of his discovered on the estate of ,lord ,camelford1 in the parish of ,st4 ,stephen's1 ,cornwall1 a certain white saponaceous clay1 and close by it a species of granite or moorstone1 white with greenish spots1 which he immediately perceived to be the two long sought-for ingredients1 the one giving whiteness and body to the paste1 the other vitrification and transparency4 ,illustration3 ,,fig4 #bih4--;,,coffee-,,pot4 ,illustration3 ,,fig4 #bii4--;,,beaker ,,and ,,cover4 ,illustration3 ,,fig4 #cjj4--;,,centrepiece4 ,the patent was obtained in #agfh1 and the materials were described as growan stone and growan clay4 ,the works were carried on for nearly six years1 and consequently a considerable quantity of ware was made4 ,cookworthy engaged the services of a ,french artist1 ,m4 ,soqui1 whose ornamental delineations on the articles produced here were very beautiful4 ,some elegant salt-cellars and table ornaments in the form of open conch shells resting on a bed of coral1 c41 all well modelled in hard paste1 were favourites for the table4 ,illustration3 ,,fig4 #cja4--;,a ,,shepherdess4 ,illustration3 ,,fig4 #cjb4--;,a ,,shepherd4 ,cookworthy and ,lord ,camelford continued to work this manufactory until #aggd1 when the patent right was sold and transferred to ,richard ,champion4 ,,bristol4 ,a manufactory of soft paste porcelain was founded at ,bristol about #agej4 ,later ,richard ,champion1 having in #aggd purchased ,cookworthy's patent1 opened a manufactory for hard paste4 ,the ware was brought to great perfection1 but the large outlay prevented its being remunerative1 and in three or four years he sold his interest in the patent to a company of ,staffordshire potters4 ,illustration3 ,,fig4 #cjc4--;,,bowl ,,and ,,cover4 ,illustration3 ,,fig4 #cjd4--;,,dish4 ,,caughley1 near ,broseley1 ,salop4 ,established in #agea by a ,mr4 ,brown1 and afterwards carried on by a ,mr4 ,gallimore4 ,it was not until #aggb that it rose to any importance1 when ,thomas ,turner commenced operations4 ,he came from the ,worcester porcelain manufactory2 he was an engraver1 and probably learnt his art from ,robert ,hancock4 ,illustration3 ,,fig4 #cje4--,,mug4 ,painted in blue4 ,illustration3 ,,fig4 #cjf4--,,plate4 ,blue willow pattern4 ,the excellence of ,turner's porcelain gained him great patronage4 ,in #aghj he produced the celebrated willow pattern1 and completed the first blue printed table service made in ,england4 ,thomas ,minton of ,stoke assisted in the completion of it1 being articled as an engraver at ,caughley4 ,in #agii ,turner retired and ,john ,rose became proprietor2 the latter removed the works to ,coalport about #ahad or #ahae4 ,,coalport1 in ,shropshire4 ,the porcelain works here were established about #aghj by ,john ,rose1 who had removed his manufactory from ,jackfield4 ,he carried on this and the ,caughley works simultaneously4 ,in #ahbj1 both the ,swansea and the ,nantgarw manufactories having been purchased1 they were incorporated with ,coalport1 and ,billingsley of ,nantgarw was engaged as mixer of the clays2 he remained at ,coalport until his death in #ahbh4 ,the worm sprig and the ,tournay sprig were much made at ,coalport4 ,illustration3 ,,fig4 #cjg4--;,,dish4 ,marked ,coalport improved ,feltspar 7sic7 ,porcelain4 ,,colebrook ,,dale is another name for the ,coalport works4 ,,stoke-,,on-,,trent4 ,the first ,josiah ,spode had a factory here in #aghd for the production of earthenware4 ,he died in #agig and was succeeded by his son ,josiah1 who commenced the manufacture of porcelain about #ahjj4 ,he was a most successful man of business and was appointed potter to the ,prince of ,wales4 ,josiah ,spode took ,william ,copeland into partnership1 and the works are still carried on by ,messrs4 ,copeland ,sons4 ,illustration3 ,,fig4 #cjh4--;,,cup1 ,,cover1 ,,and ,,saucer4 ,illustration3 ,,fig4 #cji4--,,vase4 ,,herbert ,,minton when he succeeded to the business at ,stoke-on-,trent 7see page #bcf71 greatly developed the manufacture of hard and soft porcelain1 and copies were made of ,svres porcelain vases4 ,illustration3 ,,fig4 #caj4--;,,bowl4 ,blue and gold1 painted with flowers4 ,,longton ,,hall4 ,a porcelain factory was established here about #ageb by ,william ,littler4 ,the ware appears to have been rather vitreous in character1 and somewhat resembles ,chelsea and ,bow porcelain4 ,the works closed about #agei1 and the moulds1 c41 are believed to have been purchased by ,duesbury of ,derby4 ,illustration3 ,,longton ,,hall ,,fig4 #caa4--,,vase4 ,,bow4 ,the manufactory of porcelain at ,stratford-le-,bow was established about the middle of the #ahth century4 ,thomas ,frye1 an eminent painter1 appears to have been instrumental in bringing the china to that perfection for which the manufactory was celebrated4 ,he took out two patents for the improvement of porcelain2 the first in #agdd was in conjunction with ,edward ,heylyn1 the second in #agdi4 ,in #agej the works were disposed of to ,messrs4 ,weatherby ,crowther4 ,illustration3 ,,fig4 #cab4--,,teapot4 ,printed with ,king of ,prussia4 ,illustration3 ,,fig4 #cac4--;,,bowl4 ,illustration3 ,,fig4 #cad4--,,plate4 ,printed with neas and ,anchises4 ,illustration3 ,,fig4 #cae4--,,statuette1 ,,flora4 ,illustration3 ,,fig4 #caf4--;,,bust ,,of ,,george ,,ii4 ,the interesting bowl 7now in the ,british ,museum71 made at the ,bow works in the year #agfj1 and painted by ,thomas ,craft1 is accompanied by a short history of the works1 which informs us that the names of the proprietors were known all over the world1 that they employed #cjj persons1 about #ij painters1 and #bjj turners1 throwers1 c41 all under one roof4 7,see ,fig4 #cac47 ,in #agge or #aggf the works were sold to ,duesbury1 and all the moulds and implements were transferred to ,derby4 ,illustration3 ,,fig4 #cag4--;,,group3 ,a ,,tea ,,party4 ,for a more detailed account of the ,bow porcelain manufactory1 the reader is referred to ,marks and ,monograms on ,pottery and ,porcelain1 by ,w4 ,chaffers4 ,,chelsea4 ,this celebrated porcelain manufactory was established about #agdj1 shortly after that of ,bow1 and the early productions of the two are frequently mistaken one for the other2 but1 fortunately1 the ,chelsea wares1 especially the finest pieces1 were subsequently marked with an anchor in gold or red4 ,the period of its greatest excellence was from #agej to #agfe4 ,the early pieces were copied principally from the ,oriental1 being decorated with ,chinese patterns1 and these were marked with an embossed anchor4 ,illustration3 ,,fig4 #cah4--,,marshal ,,conway4 ,illustration3 ,,fig4 #cai4--,,shepherd4 ,the beautiful vases in the ,french style1 in imitation of ,svres1 with gros bleu1 crimson1 turquoise1 and apple-green grounds were made from #agfj to #agfe4 ,in #agfi1 by order of ,m4 ,sprimont1 the proprietor1 the ,chelsea porcelain manufactory was sold by auction4 ,illustration3 ,,fig4 #cbj4--,,vase4 ,,death ,,of ,,cleopatra4 ,the works were purchased by ,w4 ,duesbury of ,derby1 and carried on by him at ,chelsea until #aghd4 ,the later pieces made here under his direction are easily distinguished2 these vessels are of simple elegant forms1 with the frequent recurrence of gold stripes1 and the same forms and style were adopted simultaneously at ,derby1 but they are inferior to the vases made when ,m4 ,sprimont had the works under his direction4 ,,wales ,,swansea4 ,the manufacture of porcelain was revived at ,swansea in #ahad by ,l4 ,l4 ,dillwyn4 ,at that time ,billingsley had commenced making his porcelain at ,nantgarw2 it naturally attracted ,dillwyn's attention1 and conceiving that the kilns used by ,billingsley ,walker might be considerably improved1 he made arrangements with them to carry on their process at ,swansea4 ,hence the origin of the ,swansea porcelain1 which obtained great repute1 and was continued for six or seven years4 ,baxter1 a clever painter of figure subjects1 left ,worcester and entered ,dillwyn's service in #ahaf and continued there for three years1 returning to ,worcester in #ahai4 ,in the year #ahbj the manufactory was discontinued1 and all the moulds and appliances were purchased by ,john ,rose1 who removed them to ,coalport about the same time as those of ,nantgarw4 ,illustration3 ,,fig4 #cba4--,,plate4 ,illustration3 ,,fig4 #cbb4--,,plate4 ,,nantgarw4 ,established in #ahac by ,billingsley1 the celebrated flower painter of ,derby1 with ,walker1 after they left ,worcester4 ,they produced some very fine porcelain1 of the same peculiar character as that of ,pinxton1 with a sort of vitreous appearance and a granulated fracture like that of lump sugar4 ,being very soft the paste would not in all cases stand the heat of the kiln2 some of the early pieces are consequently found cracked on the glaze1 or slightly warped and bent4 ,illustration3 ,,fig4 #cbc4--,,plate4 ,illustration3 ,,fig4 #cbd4--;,,cup ,,and ,,saucer4 ,the ,nantgarw porcelain was of remarkably fine body and texture1 but its production was expensive4 ,about the year #ahbj the manufacture was discontinued2 ,billingsley and ,walker having disposed of their interest in the concern to ,j4 ,rose1 the moulds and everything connected with the works were removed to ,coalport4 ,illustration3 ,,fig4 #cbe4--,,vase4 ,,oriental ,,pottery ,,and ,,porcelain ,,china ,the porcelain of ,china is composed of two earths1 the one a decomposed felspathic rock called kaolin1 and the other a rock of the same geological origin1 mixed with quartz1 called petuntse4 ,they both harmonise so completely that they have an equally resisting power when placed in the kiln4 ,the kaolin used in making porcelain is much softer than petuntse when dug out of the quarry1 yet it is this which1 by its mixture with the other1 gives strength and firmness to the work4 ,chinese porcelain was classified by the late ,dr4 ,s4 ,w4 ,bushell1 ,c4,m4,g41 under the following periods3-- #a4 ,primitive period1 including the ,sung dynasty 7#ifj-abgi7 and the ,yuan dynasty 7#abhj-acfg74 #b4 ,ming period1 comprising the whole of the ,ming dynasty 7#acfh-afdc74 #c4 ,k'ang ,hsi period1 extending from the fall of the ,ming dynasty to the close of the reign of ,k'ang ,hsi 7#affb-agbb74 #d4 ,yung ,chng and ,chin ,lung period 7#agbc-agie71 the two reigns being conjoined4 #e4 ,modern period1 from the beginning of the reign of ,chia ,ch'ing to the present day4 ,illustration3 ,,fig4 #cbf4--,,stoneware ,,vase4 ,with ,cladon green glaze4 ,ming dynasty4 ,the most ancient mode of decoration was the blue camaeu1 and it is still much esteemed in ,china2 it was executed on the ware1 simply dried before the glaze was applied1 and then placed in the kiln4 ,being all completed in one baking1 au grand feu1 the painting thus executed became imperishable4 ,illustration3 ,,fig4 #cbg4--,,stoneware ,,vase4 ,with ,cladon crackle glaze4 ,it is on this blue ware that the greater number of the ,chinese characters are found denoting the period in which the porcelain was made4 ,the cobalt on the earlier pieces was not so fine as on those of the ,siouen-te and ,ching-hoa periods1 which are now much sought after4 ,it is extremely difficult to tell even the approximate date of the coloured pieces1 especially as there was a conventional method of decorating them which had been practised from time immemorial2 the painters worked according to given models or patterns1 and monsters1 deities1 or flowers and landscapes1 of the same uncouth and rude designs1 were placed in successive ages upon the ware4 ,illustration3 ,,fig4 #cbh4--,,porcelain ,,vase4 ,painted in enamel colours4 ,the ,pre d',entrecolles tells us the manner of painting vases in ,china1 and how the different parts of a landscape on one vase were intrusted to various hands according to their ability to paint special objects mechanically4 ,he says3 ,one is employed solely to form the coloured circle which is seen round the border of the ware1 a second traces the flowers in outline1 which a third fills in with colour2 another excels only in painting the water and the mountains1 while the next is only competent to portray birds or animals4 ,illustration3 ,,fig4 #cbi4--,,porcelain ,,ewer4 ,painted in enamel colours1 and mounted with ,florentine copper gilt4 #agth century4 ,a sort of very hard stoneware1 covered with a thick glaze1 may be the most ancient description seen at the present day4 ,the surface is covered with a semi-opaque glaze which is called cladon by the ,french1 and which varies in colour from a russet grey to a sea green4 ,the glaze of this ware is frequently seen crackled all over in irregular lines1 which is termed in ,england crackle4 ,this crackle china is the most esteemed of ,oriental porcelain1 although it arises from a defective cause4 ,illustration3 ,,fig4 #ccj4--;,,bottle4 ,powder blue porcelain4 ,ming dynasty4 ,illustration3 ,,fig4 #cca4--;,,jar4 ,painted with plum blossoms4 ,ming dynasty4 ,the same effect may be easily produced upon all terra-cottas of which the paste is more sensible to the changes of temperature than the exterior coating or glaze4 ,in fayence this accident is of frequent occurrence2 the red porous clay1 being more expansive1 draws away the enamel1 which1 being less elastic1 is separated into fragments1 and the greater the resistance the more they are multiplied4 ,now one of the qualities of porcelain is precisely to avoid this double action4 ,its paste is composed of a felspathic rock1 decomposed and infusible1 called kaolin2 the cover or glaze comes also from a felspathic rock1 slightly crystallised2 these melt and assimilate together harmoniously in vitrification1 and a complete affinity is evident between the two elements of porcelain4 ,nevertheless the ,chinese1 in modifying the glaze1 are able to render it more or less expansive and to break the harmony between its own shrinkage and that of the paste or body which it covers4 ,illustration3 ,,fig4 #ccb4--,,plate4 ,egg shell porcelain4 ,hence the crackle1 at the option of the potter1 is made of large1 middling1 or small size4 ,various kinds of crackle are thus produced1 sometimes upon one and the same piece1 as by exposing the porcelain or portions of it when at its greatest heat to a sudden cold or contact of water1 large fissures may be obtained4 ,these cracks are sometimes filled in with black1 red1 chocolate1 or purple colours4 ,others may be classed among the curiosities of porcelain--for example1 cups or bowls which have an outer reticulated coating1 pierced or cut out into arabesques1 completely insulated from the inner vessel1 except at the rim at top and bottom where it is joined2 these have been used for tea or hot liquids1 and may be held in the hand with impunity1 notwithstanding the heat enclosed within it4 ,illustration3 ,,fig4 #ccc4--,,plate4 ,egg shell porcelain4 ,another variety consists in cutting or punching out pieces of the paste or body of the ware in patterns before it is baked2 the pieces so cut out are small ovals like grains of rice placed in more or less numerous stars1 rosettes1 c4 ,the vase thus ornamented is dipped into the glaze which fills up all these small holes1 and then placed in the kiln4 ,the pattern1 being much more transparent than the body of the ware1 is distinctly seen1 but especially so when held to the light4 ,another beautiful effect is produced by means of the glaze itself1 which is of a light or dark shade according to its intensity or thickness2 for example3 a fish1 animal1 or other object is stamped incuse on the upper surface of a plate1 it is then filled in with a coloured glaze and vitrified1 and is consequently shaded according to the thickness of the glaze on each portion of the design1 the surface being perfectly smooth4 ,vases are sometimes seen separated in the middle into two pieces 7which must have been cut while the clay was soft71 the upper half being completely divided from the lower half--in arabesques and dove-tail patterns1 in such a manner1 that although separate1 they cannot be altogether removed from each other2 the wonder is1 that in the baking1 the edges in juxtaposition should not have become again cemented together4 ,the ,chinese themselves are great forgers1 and endeavour to impose not only upon the ,europeans1 but upon their own countrymen1 many of whom are great amateurs1 and are willing to pay extravagant prices for ancient examples of porcelain1 especially if made by a celebrated potter4 ,,japan ,the information concerning the origin of making porcelain in ,japan is very scanty4 ,dr4 ,hoffmann of ,leyden published a history of the principal porcelain manufactories in #agii1 which is appended to ,m4 ,stanislas ,julien's account of those of ,china3 it was a translation from a ,japanese work4 ,he says it was to a colony of ,korans established in the province of ,omi1 in the island of ,nippon1 in the year #bg ,b4,c41 that the introduction of this art was attributed4 ,about the same epoch there lived in the province of ,idsumi1 situated like that of ,omi in the island of ,nippon1 a man named ,nomino ,sukun1 who made1 in pottery and porcelain1 vases and notably figures of the size of life1 to substitute for slaves1 which it had been previously the custom to bury with their masters4 ,nomino received as a recompense authorisation to take the name of ,fazi1 in the ,koran language ,patzi1 artist-workman4 ,under ,sei-wa 7#hei-hgf ,a4,d47 the number of fabriques increased considerably4 ,under ,syun-tok 7#abaa-abba71 a ,japanese potter named ,katosiro-uye-mon commenced the making of small vases in which to preserve tea1 but for want of a better process he placed them in the kiln on their orifices1 which consequently appeared as if they had been used1 and the vases were little cared for4 ,desirous of improving himself in the art1 ,katosiro1 accompanied by a ,bonze or ,buddhist monk1 visited ,china in #abaa1 with orders from his ,government to make himself acquainted with all the secret processes of the manufacture1 which was at that time brought to so great perfection there4 ,illustration3 ,,fig4 #ccd4--,,porcelain ,,vase4 ,hizen ware4 ,about #afij4 ,illustration3 ,,fig4 #cce4--;,,fukurokuji4 ,the god of longevity4 ,on his return1 he made such important improvements in the composition and decoration of porcelain that henceforth it became superior in many instances to the ,chinese1 especially in the manufacture of the best specimens1 upon which much time and labour were bestowed4 ,the porcelain of ,japan is very much like that of ,china1 but the colours are more brilliant on the fine pieces2 it has a better finish1 and the designs are more of the ,european character1 the flowers1 birds1 c41 being more natural1 and the ky-lins1 dragons1 and other monsters less hideous2 the paste is of better quality and a purer white1 especially in ware of the #agth and #ahth centuries4 ,illustration3 ,,fig4 #ccf4--,,sak ,,cup ,,and ,,stand4 ,porcelain gold ornament on red ground4 ,illustration3 ,,fig4 #ccg4--,,stoneware ,,jar4 to ware4 ,illustration3 ,,fig4 #cch4--,,porcelain ,,vase4 ,kishin ware4 ,illustration3 ,,fig4 #cci4--;,,candlestick4 ,tozan porcelain4 ,painted in blue4 ,perhaps the most beautiful of all the porcelain made in ,japan is the egg shell1 so called because it is extremely thin and translucent1 yet so compact that it can be formed into large vases1 as well as plates and bowls or cups4 ,the small cups without saucers1 which are usually placed upon prsentoirs of lac1 are seldom painted on the exterior2 but within is frequently found a fillet of gold1 and slight sketches in blue or gold indicating the outline of a mountain1 the sun1 clouds1 and a line of birds taking flight1 or sometimes animals1 all in outline4 ,on other pieces are birds1 flowers1 and animals delicately painted in colours4 ,illustration3 ,,fig4 #cdj4--;,,flask4 ,satsuma ware4 ,the art has been continued to the present day2 those beautiful and extremely delicate cups and saucers1 thin as paper1 are frequently seen covered on the outside with a casing of bamboo threads woven together2 the larger basins and covers are also made of equally thin porcelain4 ,all these are produced now1 as they were in ancient times1 at ,imari1 in the province of ,hizen4 ,it is not in the village itself that these manufactories are established1 but as many as twenty-four or twenty-five are situated near the mountain of ,idsumi-yama1 whence the kaolin is obtained of which the vessels are made4 ,crackle china was made in ,japan as well as in ,china from a very early period1 and was frequently painted with flowers1 landscapes1 and birds4 ,illustration3 ,,fig4 #cda4--;,,incense-,,burner4 ,imari porcelain4 #ahth century4 ,according to the late ,sir ,augustus ,w4 ,franks1 ,k4,c4,b41 the ceramic wares of ,japan exhibit great differences in their composition1 texture1 and appearance1 but may be roughly classed under three principal heads3 7#a7 common pottery and stoneware1 generally ornamented simply by scoring and glazing the surface2 7#b7 a cream-coloured faence1 with a glaze1 often crackled and delicately painted in colours2 7#c7 hard porcelain4 ,to the first of these classes belong the wares of ,bizen1 old ,seto1 ,shigaraki1 and other small fabrics1 including the ,raku wares4 ,the principal factories of the second class are ,awata1 ,satsuma1 and the recent imitations of the latter at ta and elsewhere4 ,among the porcelain1 the coarsest is that made at ,kutani1 but the most celebrated fabrics are in the province of ,hizen1 at ,seto in ,owari1 and ,kiyomidzu near ,kito4 ,,persia1 ,,syria1 ,,and ,,turkey ,,persia ,siliceous-glazed wares were produced in ,persia at a very early period1 and the late ,mr4 ,c4 ,drury ,e4 ,fortnum1 in his ,historical ,treatise on ,majolica1 states that the decoration by means of metallic lustre was practised in that country in the course of the thirteenth century1 if not long before4 ,glass-glazed bricks1 tiles1 and other wares1 were made in ,babylon at a remote period1 as well as in ,assyria and ,egypt2 and it is probable that the art of their manufacture spread into the surrounding countries4 ,the ,persian ware is principally decorated with blue and black4 ,the lustres are a rich orange gold1 a dark copper colour1 and a brass lustre4 ,the patterns upon the tiles and vases are similar1 and consist of elegant arabesques1 foliage1 and ornamented flowers1 more or less in imitation of nature4 ,among these we notice the tulip1 the ,indian pink1 the rose1 and other flowers4 ,the tulip in ,persia is the emblem of ,affection1 which is thus symbolised at the present day4 ,the bowls and vases are sometimes ornamented with fabulous birds1 gazelles1 antelopes1 hares1 c41 mixed with scrolls and foliage4 ,the forms include hemispherical and cylindrical cups1 vases1 and bowls on conical feet2 common forms are a bottle with a very long neck1 probably used to hold wine1 and ewers and basins1 the former like a bottle with handle and long spout1 used especially for ablutions1 the latter with a pierced cover4 ,the tiles being mostly made to cover walls1 form continuous arabesques when placed side by side4 ,chardin says of them1 ,in truth1 nothing can be seen more lively or more brilliant than this sort of work1 nor of equally fine design4 ,illustration3 ,,fig4 #cdb4--,,wall ,,tile4 ,glazed earthenware4 #acth century4 ,the ,persian fayence was probably the same as the ,gombroon ware1 which was shipped by the ,english ,east ,india ,company from a port of that name in the ,persian ,gulf1 where they formed their first establishment about the year #afjj1 and whence the great bulk of ,chinese porcelain was exported4 ,illustration3 ,,fig4 #cdc4--,,water-,,bottle4 ,with metallic lustre4 #aeth or #afth century4 ,it has long been a vexata qustio whether porcelain was ever made in ,persia2 some say the idea is altogether chimerical1 but ,m4 ,jacquemart endeavours to prove that both hard and soft porcelain were made at ,iran1 and has devoted three or four long chapters to the support of his theory 7,les ,merveilles de la ,cramique74 ,illustration3 ,,fig4 #cdd4--;,,dish ,,for ,,rice4 ,the nearest approach to porcelain in ,persian ware is a sort of siliceous frit or fine stoneware1 which possesses a very slight degree of translucency but is not true porcelain composed of kaolin and petuntse like ,chinese porcelain4 ,small creamy white basins1 with the sides pierced with slashes and filled with translucent glazes1 are semi-translucent and have the appearance of porcelain4 ,illustration3 ,,fig4 #cde4--,,rose-,,water ,,sprinkler4 ,illustration3 ,,fig4 #cdf4--,,rose-,,water ,,sprinkler4 ,,syria ,,and ,,turkey ,dr4 ,fortnum was of opinion that what is generally known as ,,damascus ware was probably made not only in that city but at ,constantinople1 ,broussa1 and all the principal sites of manufacturing industry throughout ,syria and ,asia ,minor4 ,it is distinguished by the great brilliancy of its enamel colours1 the principal of which are a deep lapis-lazuli blue1 turquoise1 a vivid emerald green1 a brilliant red purple1 orange or buff1 olive green and black4 ,the pieces consist principally of circular dishes1 jugs with long cylindrical necks and globular bodies1 flasks1 c41 and the best specimens were probably produced during the first half of the #afth century4 ,illustration3 ,,fig4 #cdg4--;,,damascus ,,plate4 ,painted in colours4 ,remains of potteries are stated to have been found at ,lindus on the ,island of ,rhodes1 and at one period all the ware of ,asia ,minor was attributed to those works and was called ,rhodian4 ,the pottery actually manufactured there appears1 however1 to have been of a somewhat coarser character than that made at ,damascus and elsewhere4 ,richly painted tiles with diapering and conventional floral patterns under a vitreous glaze were used largely for the decoration of palaces1 mosques1 and tombs throughout ,asia ,minor and ,syria2 these tiles are also to be found at ,constantinople4 ,illustration3 ,,fig4 #cdh4--;,,damascus ,,dish4 ,illustration3 ,,fig4 #cdi4--,,rhodian ,,plate4 ,,index ,adams1 ,william1 #bcd ,alcora1 #dg1 #abi ,amstel1 ,oude1 #agc ,amsterdam1 #aje1 #agb ,anspach1 #adc ,aprey1 #gd ,apt1 #ec ,armentires1 #gd ,arnstadt1 #ih ,arras1 #aic ,asia ,minor1 #caj ,astbury1 #bbh ,avignon1 #ed ,baden-,baden1 #aef ,baranowka1 #ahb ,bassano1 #ce ,bayreuth1 #hg1 #add ,beauvais1 #ec ,berlin1 #ace ,blois1 #ed ,boissette1 #bjj ,booth1 ,enoch1 #bcd ,boulogne-sur-,mer1 #aid ,bourg-la-,reine1 #hj1 #aif ,bow1 #bgd ,bradwell1 #bcj ,bristol1 #bea1 #bfi ,broussa1 #caj ,brussels1 #agg ,buen ,retiro1 #abg ,bunzlau1 #ie ,burslem1 #bbj ,burton-on-,trent1 #bfd ,cadborough1 #beb ,caen1 #bja ,cafaggiolo1 #ai ,capo di ,monte1 #aad ,castel ,durante1 #aj ,castelli1 #bg ,castleford1 #bdf ,caughley1 #bgj ,chaffers1 ,richard1 #bdj ,chantilly1 #ahi ,chteau-la-,lune1 #gd ,chelsea1 #bgi ,china1 #bhe ,citt di ,castello1 #cg ,clignancourt1 #aig ,closter ,veilsdorf1 #adf ,coalport1 #bda1 #bga ,cobridge1 #bcd ,colebrook ,dale1 #bgb ,cologne 7,kln71 #hh ,constantinople1 #cab ,copenhagen1 #ahe ,creil1 #hj ,damascus1 #caj ,davenport1 ,messrs41 #bce ,delft1 #ajj ,derby1 #bfj ,diruta1 #ae ,doccia1 #aac ,don ,pottery1 #bde ,douai1 #gh ,dresden1 #if1 #acj ,dwight1 ,john1 #bda ,elers1 ,john ,philip1 #bcj tiolles1 #aie ,etruria1 #bba ,faenza1 #ab ,faence d',oiron1 #ej ,fenton1 #bcd ,ferrara1 #cd ,florence1 #bf1 #aab ,fontainebleau1 #bjg ,forl1 #ag ,frankenthal1 #ih1 #aci ,frechen1 #hi ,fulda1 #adh ,fulham1 #bda ,frstenberg1 #adi ,genoa1 #ce ,gera1 #aee ,gotha1 #aeh ,great ,yarmouth1 #bej ,grenzhausen1 #ib ,grossbreitenbach1 #aec ,gubbio1 #f ,hagenau1 #fc ,hague1 ,the1 #agd ,hanley1 #bca ,harburg1 #ie ,henri ,deux ware1 #ej ,herend1 #aff ,hispano-,moresque ware1 #da ,hchst1 #if1 #ach ,hollins1 ,samuel1 #bbi ,infreville1 #gd ,jackfield1 #bdj ,japan1 #bie ,kelsterbach1 #add ,kiel1 #ii ,kloster ,veilsdorf1 #adf ,korzec1 #ahb ,kreussen1 #id ,la ,fratta1 #ci ,lambeth1 #bdc ,lane ,delph1 #bcf ,lane ,end1 #bce ,lauenstein1 #hi1 #if ,leeds1 #bde ,leipzig1 #hf ,lille1 #ha1 #aie ,limbach1 #aee ,limburg1 #hi ,liverpool1 #bcg ,longton ,hall1 #bgd ,longport1 #bce ,loosdrecht1 ,oude1 #aga ,loreto1 #cg ,lowesby1 #bea ,lowestoft1 #bfe ,ludwigsburg1 #aea ,lunville1 #gb1 #aih ,luxemburg1 #ajf1 #agg ,madrid1 #abg ,majorca1 #db ,malaga1 #db ,malicorne1 #gd ,manerbe1 #gd ,manises1 #df ,marieberg1 #aji1 #ahd ,marseilles1 #fi1 #bjb ,mason1 ,miles1 #bcf ,mayer1 ,elijah1 #bcb ,meissen1 #acj ,mennecy-,villeroy1 #aia ,milan1 #ca ,minton1 ,herbert1 #bcf1 #bgc ,minton1 ,thomas1 #bcf ,monte ,lupo1 #cj ,montereau1 #ha ,moscow1 #ahj ,moustiers1 #fe ,murano1 #be ,nantgarw1 #bhc ,naples1 #cj1 #aad ,neale1 #bcc ,neudeck1 #ada ,nevers1 #ef ,newcastle-on-,tyne1 #bdh ,new ,hall ,china ,works1 #bcj ,niderviller1 #gf1 #aih ,nottingham1 #bdi ,nove1 #be1 #abb ,nuremberg 7,nrnberg71 #hd ,nymphenburg1 #ada ,nyon1 #afh ,oberdorf1 #hg ,oiron1 ,faence d'1 #ej ,orleans1 #aih ,overtoom1 #ajf ,oude ,amstel1 #agc ,oude ,loosdrecht1 #aga ,padua1 #bf ,palissy1 ,bernard1 #ee ,palmer1 #bcc ,paris1 #bjc ,belleville1 #bjg ,faubourg ,st4 ,honor1 #bje ,pont-aux-,choux1 #bjf ,rue de ,bondy1 #bjd ,rue de ,crussol1 #bjg ,rue ,fontaine au ,roi1 #bje ,rue du ,faubourg ,st4 ,denis1 #bjh ,rue ,thiroux1 #bjc ,pavia1 #ci ,persia1 #cjd ,pesaro1 #h ,pinxton1 #bfd ,pisa1 #bc ,plymouth1 #bff ,raeren1 #hi ,ratisbon1 #aec ,rauenstein1 #aeh ,ravenna1 #ah ,regensburg1 #aec ,rhodes1 ,island of1 #caj ,rimini1 #ah ,rockingham1 #bdg1 #bfj ,rrstrand1 #ajg ,rouen1 #ei1 #aij ,rudolstadt1 #adg ,st4 ,anthony's1 #bdh ,st4 ,armand-les-,eaux1 #gi1 #bjb ,st4 ,clment1 #gf ,st4 ,cloud1 #ahg ,st4 ,petersburg1 #ajg1 #agi ,st4 ,porchaire1 #ej ,salopian1 #bgj ,sarreguemines 7,saargemnd71 #gh ,savona1 #cf ,sceaux ,penthivre1 #gi1 #aib ,scherzheim1 #if ,schlaggenwald1 #aff ,svres1 #bji ,sgraffiato1 #cg ,shawe1 ,ralph1 #bbg ,shelton1 #bbh ,siegburg1 #hi ,siena1 #bj ,sinceny1 #gj ,spode1 ,josiah1 #bgb ,staffordshire1 #bag ,steel1 ,moses1 #bbh ,stockholm1 #aji ,stoke-on-,trent1 #bcf1 #bgb ,strassburg1 #fc1 #bjb ,strehla1 #hg ,swansea1 #bec1 #bhb ,swinton1 #bdg1 #beh ,syria1 #caj ,talavera1 #dh ,teinitz1 #ih ,thuringia1 #ade ,toft1 ,ralph1 #bai ,toft1 ,thomas1 #bai ,toulouse1 #gf ,tournai1 #age ,treviso1 #ah1 #aag ,triana1 #df ,tunstall1 #bcd ,turkey1 #caj ,turin1 #cc1 #aah ,turner1 ,john1 #bce ,urbino1 #a ,utrecht1 #aje ,valencia1 #dd ,valenciennes1 #bja ,varages1 #fh ,venice1 #bd1 #aai ,vienna1 #afj ,vincennes1 #gh1 #bjh1 #bji ,vineuf1 #aah ,vinovo1 #aah ,viterbo1 #ah ,volkstedt1 #adf ,voyez1 ,j41 #bcc ,wallendorf1 #aeh ,warburton1 ,j41 #bcd ,wedgwood1 #bbj ,weesp1 #agj ,whieldon1 ,thomas1 #bcd ,wirksworth1 #bfd ,wood1 ,aaron1 #bbg ,wood1 ,enoch1 #bbh ,wood1 ,ralph1 #bbg ,worcester1 #bee ,yarmouth1 ,great1 #bej ,yearsley1 #bdd ,york1 #bde ,zrich1 #afh ,printed by ,,ballantyne1 ,,hanson ,,co4 ,edinburgh ,london ,footnotes3 #a ,as ,strassburg and ,hagenau belonged to ,france at this period1 they are included in the ,french section4 #b ,now ,niederweiler1 in ,germany4 #c ,now ,saargemnd1 belonging to ,germany4 ,transcriber's ,notes3 ,passages in italics are indicated by italics4 ,superscripted letters are shown in superscript4 ,punctuation has been corrected without note4 ,the misprint propuctions has been corrected to productions 7page #acb74 ,the original text contains two images that could not be reproduced in this text version4 ,an eight-pointed star has been replaced with star and a ,maltese ,cross has been replaced with cross4