,,the ,,ceramic ,,art ,,the ,,ceramic ,,art ,a ,,compendium ,,of ,,the ,,history ,,and ,,manufacture ,,of ,,pottery ,,and ,,porcelain ,,by ,,jennie ,j4 ,,young ,,with #dfd ,,illustrations ,argilla quidvis imitaberis uda ,,horace1 ,,epist41 ,,ii41 #b1 #h ,illustration ,,new ,,york ,,harper ,,brothers1 ,,publishers ,,franklin ,,square #ahgh ,entered according to ,act of ,congress1 in the year #ahgh1 by ,,harper ,,brothers1 ,in the ,office of the ,librarian of ,congress1 at ,washington4 ,,preface4 ,in writing the present volume1 the author's object has been to answer as tersely and lucidly as possible the more important questions in connection with the history and manufacture of pottery and porcelain1 and to bring the results of recent research to bear upon some of the unsolved problems of the 8science of ceramics40 ,the literature of the subject is formidable in dimensions4 ,authors have divided the field into sections1 and have in many cases presented learned and exhaustive special treatises4 ,notwithstanding the solid learning and critical acumen reflected in their pages1 their form and voluminous character1 however1 detracted from their value as books for familiar and speedy reference1 and left the acquirement of a general knowledge of the ceramic art a matter for wide research and prolonged study on the part of every reader and collector4 ,the attempt has here been made to condense the leading points of the subject1 to arrange them after a simple and easily intelligible method1 and thus to present in one volume a comprehensive history4 ,no hesitation has been shown in drawing upon foreign authors4 ,many of the later developments of the art have also been touched upon1 and the results of the more recent efforts of artists and manufacturers have been illustrated and described4 ,in treating of ,america1 the author has endeavored to convey some idea of its wealth in materials and of the present condition and tendencies of the industry1 and to do justice to those who have laid the foundation of its claim to recognition in the world of art4 ,the author has incurred obligations in many quarters for information and assistance4 ,mr4 ,samuel ,p4 ,avery1 the ,hon4 ,yoshida ,kiyonari1 ,japanese ,minister at ,washington1 ,general ,di ,cesnola1 and the many private collectors whose cabinets are represented in the following pages1 gave valuable aid both in obtaining illustrations and in other respects4 ,mr4 ,charles ,edward ,haviland1 ,mr4 ,theodore ,haviland1 and ,m4 ,bracquemond contributed many valuable hints upon technology and the manufacture and composition of different wares4 ,the dealers of ,new ,york1 ,boston1 ,washington1 ,albany1 and other cities took an active interest both in directing the author to collections and in furnishing specimens for illustration4 ,among ,american manufacturers1 ,mr4 ,thomas ,c4 ,smith1 of ,greenpoint2 ,mr4 ,james ,carr1 of ,new ,york2 ,mr4 ,hugh ,c4 ,robertson1 of ,chelsea1 ,massachusetts2 and ,mr4 ,j4 ,hart ,brewer1 of ,trenton1 are especially deserving of thanks for helping the author to a true insight into the past history1 present condition1 and prospects of the art in the ,united ,states4 ,in regard to the engravings1 while it was1 of course1 found necessary in many cases to cull from the rich accumulations of ceramic treasures in ,europe1 in order to secure the proper illustration of the work1 the preference has invariably been given to the collections of ,america4 ,such a course recommended itself for obvious reasons4 ,it was thought that it would1 in the first place1 gratify those desirous of knowing where1 in this country1 the best representatives of the art of certain countries are to be found2 and that1 in the second place1 it would direct artists where to study the best styles of decoration4 ,one result of the author's investigations in this matter has been the conviction that the ,american collector is cosmopolitan in his tastes1 and that the ,american cabinet--in many instances the ,american tea-table--represents the amity of nations4 ,the arts of all countries are found arrayed side by side in a profusion of which it would have been hard1 a few years ago1 to find a trace4 ,in choosing the pieces to be engraved1 a threefold aim has been kept in view3 the elucidation of the text1 the representation of the greatest number of different wares by characteristic examples1 and the introduction of as many beautiful works of art as possible consistently with the accomplishment of the two previous objects4 ,the requirements of the student of decorative art have been fully considered1 and due weight has been given to the fact that these requirements can be met better by the pencil than the pen4 ,in procuring specimens1 the author has acknowledgments to express both to private collectors and to the curators of public institutions4 ,among the latter may be mentioned ,general ,loring1 of the ,boston ,museum of ,fine ,arts1 and ,mr4 ,h4 ,c4 ,hutchins1 of the ,metropolitan ,museum of ,art in this city1 both of whom admitted the author to a close inspection of the collections under their charge1 and personally superintended the taking of sketches and photographs4 ,similar favors were received from the trustees and ,dr4 ,m#8,leod1 of the ,corcoran ,art ,gallery2 from ,professor ,baird and ,mr4 ,cushing1 of the ,smithsonian ,institution1 in ,washington2 and from the officers of the ,united ,states ,geological and ,geographical ,survey of the ,territories4 ,mr4 ,edward ,bierstadt of ,new ,york1 and ,mr4 ,t4 ,w4 ,smillie of ,washington1 also granted facilities and volunteered courtesies which proved invaluable4 ,casual reference is made in the following pages to the marks of factories and artists1 but after due deliberation it was decided not to make them the subject of special treatment or illustration4 ,several good manuals are already in the hands of the public1 and a book of marks should never take any other form4 ,it is comparatively useless unless easily portable and handy4 ,then1 again1 marks are1 and always have been1 imitated to such an extent that they are not the most trustworthy guides to the parentage of specimens4 ,collectors who buy pieces for the sake of the mark they bear may be deceived2 those who buy for the sake of beauty may occasionally be mistaken2 but a cultivated taste can never be deluded into finding beauty in the unbeautiful4 ,the art1 and not the mark1 should be studied2 and the fact that many of the finest and most highly valued specimens--,chinese1 ,japanese1 ,persian1 ,saracenic1 ,greek1 ,italian1 and many modern wares--have no mark gives additional point to the observation4 ,if the present work should be found defective in certain points1 it must be remembered that it could hardly be otherwise1 considering its scope and limits4 ,the author will be satisfied if1 besides answering its primary purpose1 it should increase the interest already awakened in the subject of which it treats1 and lead students to appreciate and examine the collections at their command in this country4 ,,right ,j4 ,j4 ,y4 ,,contents4 ,,introduction4 ,advantages of the ,study4--,the ,lost ,origin of the ,art4--,ascribed to the ,gods4--,legends of ,china1 ,japan1 ,egypt1 and ,greece4--,keramos4--,a ,solution suggested4--,how ,pottery illustrates ,history4--,how it explains the ,customs of the ,ancients4--,its ,bearings upon ,religion4--,examples from ,egypt1 ,greece1 and ,china4--,the ,art represented in ,pottery4--,its ,permanency4--,as a ,combination of ,form with ,drawing and ,color4--,greek ,art4--,its ,merits and ,defects4--,the ,orientals1 and their ,attention to ,color4--,eastern ,skill4--,the ,aim of ,palissy4--,the ,highest ,aim of the ,ceramic ,artist4--,painting on ,porcelain4--,rules to be ,observed in ,decorating4--,where ,color alone is a ,worthy ,object4--,how the ,art affords the ,best ,illustration of the ,useful combined with the ,beautiful4--,its ,place in the ,household44444,page #ai ,,book ,i4--,,nomenclature ,,and ,,methods4 ,,chapter ,i4 ,,technology4 ,confusion in ,use of ,terms4--,porcelain as an ,instance4--,derivation of ,ceramic4--,pottery4--,faience4--,majoli ca4--,mezza-,majolica4--,composition of ,porcelain4--,origin of ,word4--,where first made4--,when introduced into ,europe4--,hard and ,soft ,paste4--,soft ,porcelain of ,venice1 ,florence1 ,england1 ,france4--,hard ,porcelain invented at ,meissen by ,bttcher4--,vienna4--,discovery of ,kaolin in ,france4--,biscuit44444#dh ,,chapter ,,ii4 ,,classification4 ,tabulated ,view4--,brongniart's ,division3 ,its ,objections4--,classification adopted4--,leading ,features and ,advantages4--,distinctions between ,different ,bodies and ,different ,glazes44444#ed ,,chapter ,,iii4 ,,composition ,,of ,,wares ,,and ,,glazes4 ,hard and ,soft ,pottery and ,porcelain4--,,composition ,,of ,,porcelain3 ,kaolin--,its ,derivation and ,ingredients--,petuntse--,how prepared in ,china4--,the ,european ,process4--,differences between ,chinese and ,european ,porcelains4--,chemical ,analysis4--,english ,porcelain and its ,peculiarities3 ,its ,average ,composition4--,how ,english ,clay is prepared4--,french ,artificial ,porcelain4--,parian4--,,common ,,earthen-,,ware3 ,table of ,ingredients of different kinds4--,general ,table4--,,glazes3 ,classes4--,brongniart's ,classification4--,difference between ,enamel and ,glaze4--,silicious ,glaze4--,history4--,use of ,oxides4--,egyptian ,processes4--,metallic ,lustre4--,stanniferous ,enamel3 ,its ,history44444#ei ,,chapter ,,iv4 ,,manufacture ,,and ,,decoration4 ,divisions of ,chapter4--,japanese ,method of ,preparing ,porcelain ,clay4--,old ,svres ,soft ,porcelain4--,pug-,mill4--,blunger4--,ea rly ,italian ,methods4--,shaping the ,clay4--,moulding among the ,egyptians1 ,greeks1 ,italians1 and at the ,present ,day4--,moulding ,porcelain4--,japanese ,method4--,european4--,throwing4--,the ,potter's ,wheel in all ,countries4--,baking and ,firing4--,egyptian1 ,greek1 ,italian1 and ,japanese ,kilns4--,those of ,modern ,europe and ,america4--,times of ,firing4--,glazing and ,painting4--,metallic-,lustre ,majolica4--,japanese ,methods4--,glazing ,stone-ware4--,natural and ,artificial ,porcelain44444#ff ,,book ,,ii4--,,the ,,orient4 ,,chapter ,i4 ,,egypt4 ,the ,east the ,cradle of ,art4--,the ,antiquity of ,egypt3 ,its ,claim to ,notice in every ,branch of ,inquiry4--,the ,fountains of ,oriental and ,greek ,art4--,the ,nile ,clay4--,egypt's ,early ,maturity4--,limitation of ,material4--,effect of ,religion upon ,art4--,two ,periods in ,art ,history4--,ancient ,religion4--,various ,symbols4--,,unglazed ,,pottery--,sun-dried3 ,bricks4--,moulds1 ,stamps1 etc4--,vessels4--,baked ,ware3 ,its ,early ,date4--,color of ,vessels and ,bricks4--,coffins4--,cones4--,figures4- -,sepulchral ,vases4--,amphor and other ,vessels4--,decoration4--,grco-,egyptian ,pottery4--,,glazed ,,ware1 miscalled ,porcelain3 ,its ,nature1 and how ,colored4--,wall ,tiles4--,inlaying of ,mummy ,cases4--,personal ,ornaments4--,images4--,beads1 etc4--,vases4--,bowls4--,glazed ,schist4--,stanniferous ,enamel44444#hb ,,chapter ,,ii4 ,,assyria ,,and ,,babylonia4 ,possible ,priority to ,egyptian ,pottery4--,similarity between ,assyrian and ,egyptian4--,the ,course followed by both ,arts4--,unbaked ,bricks4--,baked ,bricks4--,writing ,tablets4--,seals4--,vases4--,terra-cott as4--,porcelain4--,glazing and ,enamelling4--,tin4--,colored ,enamels4--,babylonian ,bricks4--,glazes44444#ig ,,chapter ,,iii4 ,,jud,a4 ,art ,derived from ,egypt4--,never ,reached any ,eminence4--,preference for ,metals4--,frequent ,allusions in ,scripture4--,bought ,earthen-ware from ,phnicia and ,egypt4--,home ,manufacture4--,decoration4--,necessity for ,distinguishing between ,home and ,foreign ,wares44444#ajc ,,chapter ,,iv4 ,,india ,,and ,,central ,,asia4 ,mystery ,surrounding ,people4--,history of its ,art in great measure ,unknown4--,questions of its ,existence and ,originality4--,how they ,arose4--,the ,brahmins4--,geographical ,position4--,views of ,early ,travellers4--,later ,investigations4--,more ,ancient ,pottery4--,clay ,used4--,knowledge of ,glazing3 ,its ,application to ,architecture4--,glazed ,bricks4--,terra-cotta4--,chronological ,arrangement4--,porcelain3 ,its ,decoration4--,use of ,gold4--,siam44444#aje ,,chapter ,v4 ,,china4 ,art ,different from that of ,europe or ,america4--,how it must be ,viewed4--,religion4--,legend4--,hoang-t i the ,inventor of ,pottery4--,the ,leading ,points of ,religious ,system4--,personified ,principles4--,lao-tseu1 ,confucius1 and ,buddha4--,kuan-in4--,pousa or ,pou-tai4--,dragons4--,dog of ,fo4--,ky-lin4--,sacred ,horse4--,fong-hoang4--,symbols4--,meani ng of ,colors and ,shapes4--,,pottery3 ,when ,first ,made4--,cladon4--,crackle4--,how ,made4--,porcelain ,crackle4--,decorations on ,crackle4--,household ,vessels4--,stone-ware4--,licouli4--,tow er of ,nankin4--,pipe-clay4--,boccaro4--,color s and ,decoration of ,pottery4--,colors on ,crackle4 ,,porcelain3 ,when ,invented4--,king-teh-chin4--,all ,classed as ,hard1 ,exceptions4--,old ,porcelains4--,kouan-ki4--,blue-and-whit e4--,persian ,styles4--,turquoise and other ,blues4--,leading ,events of ,ming ,dynasty4--,egg-shell4--,tai-thsing ,dynasty4--,mandarin ,vases4--,families4--,old ,white4--,jade4--,purple and ,violet4--,liver ,red4--,imperial ,yellow4--,chinese ,ideas of ,painting4--,souffl4--,grains of ,rice4--,articulated and ,reticulated ,vases4--,cup of ,tantalus44444#aji ,,chapter ,,vi4 ,,corea4 ,geographical ,position4--,successive ,conquests4--,its ,independent ,art4--,confused ,opinions regarding it4--,its ,porcelain4--,decoration44444#aed ,,chapter ,,vii4 ,,japan4 ,how to ,study ,japanese ,art3 ,its ,origin4--,its ,revived ,independence4--,nomino-,soukoune4--,shi rozayemon4--,raku4--,when ,porcelain was ,first ,made4--,shonsui4--,form of ,government4--,the ,gods4--,symbols4--8,land of ,great ,peace40--,foreign ,relations4--,general ,features of ,art4--,chinese and ,japanese ,porcelains4--,,pottery3 ,geographical ,distribution4--,classification4--,satsu ma4--,difficult ,ware4--,saki ,cups4--,imitations of ,satsuma4--,kioto4--,awata4--,awadji4--, banko4 --,kiusiu4--,karatsu4--,suma4--,,porcela in3 ,leading ,differences between ,japanese and ,chinese4--,sometsuki ,blue4--,ware for ,export4--,gosai1 or ,nishikide4--,arita1 or ,hizen4--,families4--,decoration4--,mode rn ,hizen4--,seidji4--,kioto4--,eraku4--,ka ga4--,portraiture4--,owari4--,lacquer4 --,cloisonn4--,rose ,family4--,early ,styles3 ,indian3 ,dutch ,designs4--,general ,characteristics of ,japanese ,art44444#aef ,,chapter ,,viii4 ,,persia4 ,persia1 and its ,influence4--,history4--,conquests4--,re ligious ,revolutions4--,zoroaster4--,mohammed4-- ,geographical ,position4--,general ,view of ,influences bearing upon ,art4--,decoration4--,flowers and ,symbols4--,conventional ,styles4--,whence came the ,monsters ,appearing upon ,wares4--,metallic ,lustre4--,,pottery3 ,composition4--,caution in ,looking at ,specimens4--,wall-,tiles and their ,decoration4--,vases4--,,porcelain3 ,had ,persia a ,true ,porcelain8--,classification1 and the ,difficulties ,attending ,it4--,decoration4--,classes ,formed by ,prevailing ,color44444#ahi ,,book ,,iii4--,,europe4 ,,chapter ,i4 ,,the ,,fountains ,,of ,,european ,,art4 ,routes by which ,art ,travelled4--,their ,point of ,convergence4--,cyprus3 ,its ,history4--,the ,successive ,nations ,governing ,it4--,the ,strata of ,ancient ,civilization found within its ,shores4--,the ,discoveries of ,cesnola4--,larnaca4--,dali4--,athieno4- -,curium4--,progress of ,cypriote ,pottery4--,early ,greek ,art3 ,its ,connection with ,assyria and ,egypt4--,phnician and ,assyrian ,art4--,general ,deductions4--,asia ,minor4--,oriental ,art turning in various ,streams to ,greece4--,what ,greece ,rejected1 ,persia ,seized upon4--,persia's ,contributions to ,ceramic ,art4--,history in ,reference to its ,art4--,effect of ,conquest4--,what ,persia ,taught the ,arabs4--,spread of ,persian ,art by the ,saracens4--,rhodes4--,damascus4--,progr ess of ,saracenic ,art4--,the ,north of ,africa4--,metallic ,lustre and ,stanniferous ,enamel4--,hispano-,moresque4--,early ,spain4--,persian ,influence upon ,europe44444#aih ,,chapter ,,ii4 ,,greece4 ,general ,character of ,greek ,ceramics4--,form and ,color4--,borrowed from ,egypt and ,phnicia4--,how ,original4--,,unbaked ,,clay3 ,bricks and ,statues4--,,terra-,,cotta3 ,where ,used4--,tiles4--,models4--,vessels4--,p ithos4--,amphora4--,pigments used on ,terra-cotta4--,rhyton4--,,glazed ,,wares3 ,quality of ,glaze4--,paste4--,enumeration and ,description of ,vessels4--,uses of ,vases4--,chronological ,arrangement4--,methods of ,making ,vessels4--,successive ,styles of ,ornamentation4--,figures4--,earliest ,style4--,archaic ,style4--,human ,figures4--8,old ,style40--,approach to ,best ,art4--8,fine ,style40--8,florid ,style40--,decline4--,classification according to ,subjects ,represented on ,vases4--,reliefs and ,statuettes as ,decoration44444#bai ,,chapter ,,iii4 ,,the ,,iberian ,,peninsula4 ,,spain3 ,ancient ,pottery4--,valencia the ,most ,ancient ,centre4--,the ,roman ,period4--,arabs4--,valencia under the ,moors4--,its ,decline4--,malaga the ,most ,ancient ,moorish ,settlement4--,the ,alhambra ,vase4--,influence of ,christianity4--,majorca4--,azulejos4--, modern ,spain4--,porcelain4--,buen ,retiro4--,moncloa4--,alcora4--,,portuga l3 ,vista ,allegre4--,rato4--,caldas44444#bcc ,,chapter ,,iv4 ,,italy4 ,italian ,art4--,whence ,derived4--,greece and ,persia4--,divisions4--,ancient ,roman and ,etruscan4--,etruria and ,greece4--,questions ,resulting from ,discoveries at ,vulci4--,early ,connection between ,etruria and ,greece4--,etruscan ,art an ,offshoot of ,greek4--,examples4--,best of ,black ,paste4--,why ,etruscan ,art ,declined4--,rome4--,nothing ,original4--,its ,debt to ,etruria and ,greece4--,decline of its ,art4--,unglazed ,pottery and its ,divisions4--,glazed ,pottery4--,samian ,ware4--,aretine4--,terra-cotta4--,after ,rome fell4--,the ,renaissance4--,saracenic ,influences4--,crusades4--,conquest of ,majorca4--,tin ,enamel and ,metallic ,lustre4--,bacini at ,pisa4--,lead ,glaze4--,majolica ,made at ,pesaro4--,sgraffiati4--,luca della ,robbia4--,sketch of his ,life4--,his ,alleged ,discovery4--,what he really ,accomplished4--,where he ,acquired the ,secret of ,enamel4--,his ,works4--,bas-,reliefs4--,paintings on the ,flat4--,his ,successors4--,recapitulation of ,beginnings of ,italian ,majolica4--,chaffagiolo4--,siena4--,flo rence4--,pisa4--,pesaro4--,castel-,duran te4 --,urbino4--,gubbio and ,maestro ,giorgio4--,faenza4--,forli1 ,rimini1 and ,ravenna4--,venice4--,ferrara4--,deruta4 --,naples4--,shape and ,color4--,modern ,italy4--,,porcelain3 ,florence and ,earliest ,artificial ,porcelain4--,theory of ,japanese ,teaching4--,la ,doccia4--,venice1 and the ,question of its ,first ,making ,european ,porcelain4--,le ,nove4--,capo di ,monte44444#bdj ,,chapter ,v4 ,,france4 ,prospect on approaching ,france4--,present and ,past4--,the ,ancient ,celts4--,under the ,romans4--,middle ,ages4--,poitou1 ,beauvais1 and ,hesdin4--,italian ,influence4--,a ,national ,art4--,bernard ,palissy1 ,barbizet1 ,pull1 and ,avisseau4--,henri ,deux ,ware4--,rouen4--,nevers4--,moustiers4-- ,marseilles4--,strasburg4--,limoges4 --,haviland's ,new ,process4--,examples4--,bourg-la-,reine4 --,laurin4--,deck4 --,colinot4--,creil4 --,montereau4--,longwy4--,parville4--,gi en4--,sarreguemines4 --,niederviller4--,luneville4--,nancy4-- ,st4 ,clement4--,st4 ,amand4--,paris4--,sceaux4 --,,porcelain3 ,efforts to ,make ,porcelain4--,first ,artificial ,porcelain4--,st4 ,cloud4--,lille4--,paris4--,chantilly4-- ,mennecy4--,vincennes4--,svres4--,natura l1 or ,hard1 ,porcelain4--,discovery of ,kaolin4--,various ,factories4--,limoges4 --,deck4--,regnault4--,solon4--,pate ,changeante4--,pate-sur-,pate44444#bga ,,chapter ,,vi4 ,,germany ,,and ,,central ,,europe4 ,early ,pottery4--,lake ,dwellers4--,early ,german4--,peculiar ,shapes4--,how ,peasants ,account for ,relics4--,roman ,epoch4--,tin ,enamel4--,leipsic4--,breslau4--,nurembe rg4--,the ,hirschvogels4--,villengen4--,hchst4--,m arburg4--,bavaria4--,switzerland4 --,belgium4--,delft4--,,stone-,,ware3 ,countess ,jacqueline4--,teylingen4--,graybeards4- -,fine ,stone-ware4--,grs de ,flandre4--,creussen4--,,porcelain3 ,bttcher4--,his ,first ,productions4--,meissen ,porcelain4--,decoration4--,best ,days of ,meissen4--,its ,decline4--,vienna4--,hchst4--,frstenbur g4--,hxter4--,frankenthal4 --,nymphenburg4--,berlin4--,holland4--,w eesp4--,loosdrecht4--,the ,hague4--,switzerland4--,zrich4--,nyon44 444#cbg ,,chapter ,,vii4 ,,russia1 ,,denmark1 ,,and ,,scandinavia4 ,scandinavian ,pottery allied to ,teutonic4--,hand-shaped ,vessels4--,primitive ,kiln4--,the ,eighteenth ,century4--,st4 ,petersburg3 ,its ,porcelain4--,moscow4--,rorstrand4--,mar ieberg4--,modern ,swedish ,faience4--,denmark4--,kiel4--,copenhage n4--,imitations of ,greek4--,copenhagen ,porcelain44444#cdd ,,chapter ,,viii4 ,,great ,,britain ,,and ,,ireland4 ,continuity of ,history4--,early ,british ,urns4--,scottish ,relics4--,irish ,urns4--,roman ,conquest4--,caistor ,ware4--,anglo-,roman ,ware4--,saxon ,period4--,after the ,norman ,conquest4--,tiles4--,dutch ,potteries in ,england4--,english ,delft4--,stone-ware4--,sandwich4--,staf fordshire ,potteries4--,early ,products4--,the ,tofts4--,salt ,glaze4--,broadwell and the ,elers ,family4--,use of ,calcined ,flint4--,wedgwood4--,his ,life4--,jasper ,ware4--,queen's ,ware4--,the ,portland ,vase4--,basaltes4--,wedgwood's ,removal to ,etruria4--,his ,death4--,minton ,co4--,their ,imitations of the ,oriental4--,pate ,changeante4--,pate-sur-,pate4--,cloison n ,enamel on ,porcelain4--,other ,reproductions4--,their ,majolica4--,their ,artists4--,minton1 ,hollins ,co4--,lambeth4--,doulton ,ware4--,terra-cotta and ,stone-ware4--,george ,tinworth4--,fulham4--,bristol4--,leeds4 --,liverpool4--,lowestoft4--,yarmouth4 --,nottingham4--,shropshire4--,yorkshire 4--,,porcelain3 ,plymouth ,hard ,porcelain4--,cookworthy4--,bow4--,chels ea4--,derby4--,worcester4--,minton4 --,pate-sur-,pate4--,spode4--,copeland4- -,bristol4--,tunstall4--,caughley4 --,nantgarrow4--,swansea4--,colebrookdal e4--,pinxton4--,shelton4--,belleek4--,ge neral ,character of ,manufacture in ,great ,britain44444#ceb ,,book ,,iv4--,,america4 ,,chapter ,i4 ,,south ,,america4 ,antiquity of ,american ,people4--,scope of ,inquiry4--,,peru3 ,its ,old ,inhabitants4--,course of ,ceramic ,art4--,doubts regarding ,origin of ,peruvian ,civilization4--,periods4--,the ,incas4--,pizarro4--,geological ,evidence of ,antiquity4--,unbaked ,bricks4--,pachacamac4--,its ,graves4--,opposite ,types4--,effect of ,religion4--,symbols4--,forms of ,pottery4--,water-,vessels4--,human ,forms4--,leading ,features of ,decoration4--,colors ,employed4--,processes4--,customs ,learned from ,pottery4--,,brazil3 ,ancient ,specimens4--,modern ,ware4--,bricks and ,tiles4--,talhas4--,moringues and other ,water-,vessels4--,colombia44444#cia ,,chapter ,,ii4 ,,central ,,america4 ,connection with ,peru4--,nicaragua4--,ometepec4--,modern ,potters4--,guatemala4--,ancient ,cities4--,who ,built ,them4--,copan4--,quirigua4--,palenque4- -,mitla44444#dah ,,chapter ,,iii4 ,,the ,,mound-,,builders4 ,who were they8--,their supposed ,central ,american ,origin4--,the place they occupy in the present ,history4--,recent ,discoveries4--,pottery of the ,lower ,mississippi4--,deduction from ,comparison with ,peruvian44444#dbe ,,chapter ,,iv4 ,,indian ,,pottery4 ,successors of the ,mound-builders4--,opinion of ,professor ,marsh4--,pueblos descended from the ,mound-builders4--,natchez and ,mandan ,tribes4--,pueblos of ,colorado1 etc4--,pottery found at ,el ,moro4--,zuni4--,further ,discoveries4--,immense ,quantities of ,fragmentary ,pottery4--,corrugated ,pottery of ,colorado4--,painted ,pottery4--,moquis of ,tegua4--,modern ,pueblos4--,trade in ,pottery4--,resemblances between ,potteries of ,south1 ,central1 and ,north ,america4--,indian ,pottery from ,illinois4--,louisiana1 and how ,pottery made4--,new ,jersey ,indians4--,tennessee4--,maryland4--,oth er ,indian ,tribes44444#dbi ,,chapter ,v4 ,,united ,,states4 ,the ,future of ,america4--,obstacles in the ,way of ,progress4--,commercial ,conditions ,illustrated by ,tariff4--,expense of ,artistic ,work4--,lack of ,public ,support4--,american ,marks4--,misrepresentation of ,american ,wares4--,materials4--,early ,use in ,england by ,wedgwood1 etc4--,cookworthy and a ,virginian4--,native ,use of ,clay4--,new ,jersey4--,value of ,clay ,deposit ,illustrated4--,american ,kaolin4--,vague ,use of ,word4--,analysis4--,opinions of ,american ,deposits4--,,pottery3 ,dependence upon ,england4--,wedgwood's ,fears of ,american ,competition4--,norwich4--,hartford4--,s tonington4--,norwalk4--,herbertsville4 --,sayreville4--,south ,amboy4--,philadelphia4--,baltimore4--,j ersey ,city4 --,bennington4--,new ,york ,city ,pottery4--,trenton4--,present ,extent of ,industry4 --,trenton ,ivory ,porcelain4--,terra-cotta4--,beverly4--, chelsea4--,portland4 --,cambridge4--,,porcelain3 ,philadelphia4--,william ,ellis ,tucker4--,bennington4 --,jersey ,city4--,greenpoint4--,decorating ,establishments4--,metal and ,porcelain44444#ddb ,,index44444#dhi ,,illustrations4 ---------------------------------------- -------------------------------- ,,fig4 ,,country ,,or ,,subject ,,collection ,,page ,,chapter ---------------------------------------- -------------------------------- ,,introduction #a ,france ,old ,svres ,pate ,teudre ,l4 ,double #bc #b ,greece and ,amphor ,di ,cesnola #be ,phonecia #c ,china ,bottles #bf #d ,greece ,diogenes in ,pithos #bg #e 8 ,prize ,vase #bh #f 8 ,rhyton ,trumbull-,prime #bi #g 8 ,kylix #bi #h ,egypt ,sepulchral ,cone ,trumbull-,prime #cj #i 8 ,painted ,ball #ca #aj 8 ,glazed ,draughtsman #ca #aa ,babylon ,enamelled ,brick ,louvre #cb #ab ,japan ,hexagonal ,vase ,r4,h4 ,pruyn #cg #ac ,persia ,tile #ch #ad 8 ,mosque of ,sultaneah #ci #ae ,japan ,porcelain ,vase ,j4,f4 ,sutton #dj #af ,china ,crackle ,vase ,j4,f4 ,sutton #da #ag ,france ,palissy ,dish ,soltykoff #dc #ah 8 ,limoges ,porcelain ,mrs ,charles ,crocker #df #ai 8 ,limoges ,porcelain ,thomas ,scott #dg ,,technology #bj ,egypt ,blue-glazed ,pottery #dh ,,manufacture #ba1bb 44 ,pug-mills #fg #bc ,judea ,potter at ,work #gj #bd ,egypt ,a ,pottery #gb #be ,italy ,venetian ,potter #gd #bf-bi 44 ,earthen-ware and #gg-gi ,porcelain ,kilns ,,egypt #cj ,captives making ,bricks #hd #ca ,scarabus ,way1 ,b4,m4,f4,a4 #hf #cb ,gods ,way1 ,b4,m4,f4,a4 #hg #cc ,earthen-ware #hh #cd ,pottery ,cone ,trumbull-,prime #hi #ce ,terra-cotta ,vase ,british ,museum #hi #cf ,polished ,terra-cotta #ia #cg ,polished ,terra-cotta ,british ,museum #ia #ch ,glazed ,pottery ,vase #ib #ci ,scarabi ,way1 ,b4,m4,f4,a4 #ib #dj ,pectoral ,tablets ,way1 ,b4,m4,f4,a4 #ic #da1db ,mummy ,figures ,way1 ,b4,m4,f4,a4 #id1ie #dc ,fragment ,tin ,enamel ,trumbull-,prime #if ,,assyria1 ,etc #dd ,pottery ,vases #ig #de ,terra-cotta ,venus #ih #df ,cylinder ,british ,museum #ih #dg ,inscribed ,seal #ih #dh ,seal of ,sabaco #ih #di ,enlarged ,impression #ii #ej ,back of ,assyrian ,seal #ii #ea ,fragment3 ,porcelain 787 #ii #eb ,box in ,porcelain787 #ii #ec ,enamelled ,brick ,louvre #ii #ed ,babylonian ,brick #ajj #ee ,mujellib #ajj #ef ,terra-cotta ,tablet ,british ,museum #aja #eg ,baked ,clay ,ram #ajb #eh ,glazed ,coffins #ajb ,,judea #ei ,earthen-ware ,vessels #ajc #fj ,lamps and ,oil ,vessels #ajd ,,india #fa ,porcelain ,vases #ajh ,,china #fb ,porcelain ,group ,s4,p4 ,avery #aji #fc ,cheon-lao #aaa #fd ,kuan-in ,s4 ,p4 ,avery #aab #fe ,dog ,fo #aac #ff ,vase with ,ky-lin ,august ,belmont #aac #fg ,sacred ,horse #aad #fh ,fong-hoang #aad #fi ,vase with ,fong-hoang ,robert ,hoe1 ,jr #aae #gj ,crackle ,vase ,s4,p4 ,avery #aah #ga ,nankin ,tower #aai #gb ,bricks from ,nankin ,tower ,n4 ,y4 ,metro4 ,museum #aai #gc ,crackle ,vase ,j4,c4 ,runkle #abj #gd ,porcelain ,lantern ,s4,p4 ,avery #aba #ge-hb ,honorific ,marks #abd #hc ,blue-and-white ,porcelain ,j4,c4 ,runkle #abe #hd ,blue-and-white ,porcelain ,w4,l4 ,andrews #abe #he ,lancelle ,vase ,w4,l4 ,andrews #abf #hf ,blue-and-white ,vase ,j4,c4 ,runkle #abg #hg 8,hawthorn0 ,vase ,s4,p4 ,avery #abh #hh 8,hawthorn0 ,vase ,j4,c4 ,runkle #abi #hi ,black 8,hawthorn0 ,s4,p4 ,avery #acj #ij ,aster ,plaque ,w4,l4 ,andrews #aca #ia ,ewer1 ,persian ,style ,j4,c4 ,runkle #acb #ib ,turquoise ,vase ,s4,p4 ,avery #acc #ic ,kieu-long ,green ,j4,c4 ,runkle #ace #id ,ming ,vase ,g4,r4 ,hall1 ,b4,m4,f4,a4 #acg #ie ,ming ,vase ,j4,c4 ,runkle #ach #if ,ming ,vase1 ,green ,f4 ,robinson #aci #ig ,rose ,family ,mrs ,j4,v4,l4 ,pruyn #adj #ih ,rose ,plate ,robert ,hoe1 ,jr #ada #ii ,rose ,bowl ,mrs ,j4,v4,l4 ,pruyn #adb #ajj ,rose ,egg-shell ,w4,l4 ,andrews #adc #aja ,white ,porcelain ,cup ,j4,c4 ,runkle #ade #ajb ,five-fingered ,rosadon ,g4,w4 ,wales #adi #ajc ,yellow ,porcelain ,j4,f4 ,sutton #aej #ajd ,grains of ,rice ,s4,p4 ,avery #aea #aje ,reticulated ,vase ,s4,p4 ,avery #aeb #ajf ,cup and ,saucer ,mrs ,j4,v4,l4 ,pruyn #aec ,,corea #ajg ,earthen-ware ,jar ,a4,a4 ,vantine ,co #aed #ajh ,porcelain ,cup and ,saucer ,w4,l4 ,andrews #aee #aji ,porcelain ,vase #aee ,,japan #aaj ,japanese ,gods #aef #aaa ,raku ,bowl ,a4,a4 ,vantine ,co #afj #aab ,kiri-mon #afa #aac ,guik-mon #afa #aad ,tycoon's ,arms #afa #aae ,dragon ,bowl ,corcoran ,art ,gall4 #afb #aaf ,satsuma ,vase ,b4,m4,f4,a4 #aff #aag ,satsuma ,vase ,august ,belmont #afg #aah ,satsuma ,vase ,r4,h4 ,pruyn #afh #aai ,satsuma ,vase ,j4,w4 ,paige #afi #abj ,satsuma ,vase ,j4,f4 ,sutton #agj #aba ,kioto ,faience ,a4,a4 ,vantine ,co #aga #abb ,kioto ,faience ,b4,m4,f4,a4 #aga #abc ,kioto ,faience ,j4,f4 ,sutton #agb #abd ,kiusin ,vase ,a4,a4 ,vantine ,co #agb #abe ,karatsu ,vase ,j4,f4 ,sutton #agc #abf ,suma ,vase ,a4,a4 ,vantine ,co #agc #abg ,satsuma ,vase ,robert ,h4 ,pruyn #agd #abh ,porcelain ,plaque ,w4,l4 ,andrews #age #abi ,old ,hizen1 or ,imari ,a4,a4 ,vantine ,co #agg #acj ,porcelain ,dish ,r4,h4 ,pruyn #agg #aca ,hizen ,porcelain ,vase ,mrs ,j4,v4,l4 ,pruyn #agh #acb ,japanese ,porcelain ,vase ,h4,c4 ,gibson #agh #acc ,kaga ,vase ,a4,a4 ,vantine ,co #agi #acd ,owari ,vase ,yoshida ,kiyonari #aha #ace ,lacquer ,vase ,corcoran ,art ,gallery #ahb #acf ,tokio ,cloisonn ,enamel ,j4,f4 ,sutton #ahb #acg ,owari ,cloisonn ,enamel ,j4,f4 ,sutton #ahc #ach ,rose ,family ,vase ,robert ,h4 ,pruyn #ahc ,,persia #aci ,faience ,plaque ,robert ,hoe1 ,jr #ahi #adj1ada ,faience ,plaques ,b4,m4,f4,a4 #aib #adb ,shrine of ,imam ,hussein #aid #adc ,porcelain ,bottle ,jacquemart #aif #add ,porcelain ,narghili #aif ,,fountains ,,of ,,european ,,art #ade ,general ,di ,cesnola #aii #adf-adi ,phnician ,vases ,di ,cesnola #bjj-bjb #aej ,assyro-,phnician ,vase ,di ,cesnola #bjc #aea ,greek ,vase ,di ,cesnola #bjd #aeb-aeh ,phnician ,pottery ,di ,cesnola #bje-bji #aei ,greek ,vases and ,cups ,di ,cesnola #baj #afj ,saracen ,tile ,trumbull-,prime #bac #afa ,saracen ,tiles ,b4,m4,f4,a4 #bac #afb1afc ,rhodian ,faience #bad1bae #afd ,maghreb ,urn #baf ,,greece #afe ,early ,greek ,aryballoi ,trumbull-,prime #bai #aff ,early ,greek ,vases #bbj #afg ,greek ,vase ,louvre #bba #afh ,head of ,minerva ,trumbull-,prime #bbb #afi ,stamnos #bbc #agj ,askos #bbc #aga ,skyphos #bbc #agb ,rhyton #bbd #agc1agd ,kraters #bbd1bbe #age ,holmos #bbe #agf ,kelebe #bbe #agg ,oxybaphon #bbe #agh1agi ,prochoos #bbf #ahj ,olpe #bbf #aha ,kyathos #bbg #ahb ,kantharos #bbg #ahc ,kylix ,trumbull-,prime #bbh #ahd ,early ,greek ,oinochoe ,trumbull-,prime #bbh #ahe ,early ,greek ,oinochoe ,t4,g4 ,appleton1 #bbi ,b4,m4,f4,a4 #ahf ,bacchic ,amphora ,t4,g4 ,appleton1 #bbi ,b4,m4,f4,a4 #ahg ,kalpis ,t4,g4 ,appleton1 #bcj ,b4,m4,f4,a4 #ahh ,hydria ,trumbull-,prime #bca #ahi ,amphora ,t4,g4 ,appleton1 #bca ,b4,m4,f4,a4 ,,spain #aij ,hispano-,moresque ,vase ,south ,kensington #bcc #aia ,hispano-,moresque ,plaque ,j4,w4 ,paige #bcd #aib ,alhambra ,vase #bce #aic ,hispano-,moresque ,plaque ,g4,w4 ,wales1 #bcf ,b4,m4,f4,a4 #aid ,early ,hispano-,moresque ,boston ,household #bcf ,art ,rooms #aie ,moorish ,tile #bcg #aif ,early ,hispano-,moresque ,boston ,household #bcg ,art ,rooms ,,italy #aig ,etruscan ,vase ,j4,j4 ,dixwell #bdc #aih ,roman ,lamps #bde #aii ,samian ,ware #bde #bjj ,siculo-,moresque ,vase #bdg #bja ,siculo-,moresque ,vases ,castellani #bdh #bjb ,sgraffiato #bdi #bjc ,luca della ,robbia #bej #bjd ,robbia ,medallion ,htel ,cluny #bea #bje ,robbia ,plaque ,b4,m4,f4,a4 #bea #bjf ,robbia ,medallion ,south ,kensington #beb #bjg ,andrea della ,robbia ,b4,m4,f4,a4 #beb ,plaque #bjh ,imitation ,robbia ,b4,m4,f4,a4 #bec #bji ,st ,sebastian1 by ,giorgio ,south ,kensington #bec #baj ,chaffagiolo ,pitcher ,south ,kensington #bed #baa ,siena ,vase ,south ,kensington #bed #bab ,the ,sforza ,dish #bef #bac ,pesaro ,vase ,john ,taylor ,johnston #beg #bad ,castel-,durante ,dish ,south ,kensington #beh #bae ,castel-,durante ,dish ,castellani #beh #baf ,plate by ,xanto ,marryat #bei #bag ,urbino ,vase ,castellani #bfj #bah ,urbino ,pilgrim's ,bottle ,south ,kensington #bfa #bai ,gubbio ,lustre ,south ,kensington #bfa #bbj ,platean by ,giorgio ,south ,kensington #bfb #bba ,faenza ,dish #bfc #bbb ,deruta ,dish ,south ,kensington #bfd #bbc ,medicean ,porcelain ,castellani #bff #bbd ,design on the ,above #bfg #bbe ,nove ,porcelain #bfi ,,france #bbf ,biscuit ,group1 ,svres ,august ,belmont #bga #bbg ,bernard ,palissy #bgd #bbh ,palissy ,dish ,rothschild #bgf #bbi ,palissy ,pitcher ,rothschild #bgg #bcj ,barbizet ,plaque ,tiffany ,co #bgh #bca ,palissy ,cistern #bgi #bcb ,henri ,deux ,ewer #bhj #bcc ,henri ,deux ,biberon ,malcolm #bhj #bcd ,rouen ,faience #bha #bce ,rouen ,faience ,trumbull-,prime #bhb #bcf1bcg ,moustiers ,dishes #bhd1bhe #bch ,haviland ,faience ,smithsonian ,inst4 #bij #bci ,haviland ,faience ,henry ,havemeyer #bif #bdj ,haviland ,faience ,g4,w4 ,gibson #big #bda ,haviland ,faience ,whitelaw ,reid #big #bdb ,haviland ,faience ,mrs ,wm4 ,h4 ,dannat #bih #bdc ,haviland ,faience ,mrs ,col ,t4 ,scott #cjj #bdd ,haviland ,faience ,clara ,l4 ,kellogg #cjb #bde ,bourg-la-,reine ,faience ,g4 ,collamore #cjc #bdf ,bourg-la-,reine ,faience ,tiffany ,co #cjc #bdg ,deck ,faience ,corcoran ,art ,gallery #cjd #bdh1bdi ,deck ,bottle and ,vase ,g4 ,collamore #cje #bej ,colinot ,faience ,tiffany ,co #cjf #bea ,colinot ,faience ,g4 ,collamore #cjf #beb ,colinot ,faience ,tiffany ,co #cjg #bec ,longwy ,faience ,g4 ,collamore #cjh #bed1bee ,longwy ,faience ,tiffany ,co #cjh1cji #bef ,parville ,faience ,tiffany ,co #cji #beg ,gien ,faience ,d4 ,collamore #caj #beh ,sarreguemines ,faience ,g4 ,collamore #caj #bei ,st ,cloud ,porcelain ,jacquemart #cab #bfj ,vincennes ,porcelain ,duke de ,martina #cac #bfa ,svres ,pate ,tendre ,august ,belmont #cad #bfb ,jewelled ,svres ,mrs ,j4,v4,l4 ,pruyn #cae #bfc ,jewelled ,svres ,h4,c4 ,gibson #cae #bfd ,svres ,vase ,mrs ,c4,b4 ,hosack #caf #bfe ,svres ,vase ,white ,house #cag #bff ,svres ,porcelain ,mrs ,j4,v4,l4 ,pruyn #cag ,candlestick #bfg ,svres ,vase ,white ,house #cah #bfh ,svres ,tea-set ,miss ,m4,f4 ,curtis #cah #bfi1bgj ,washington's ,svres #cai #bga ,limoges ,porcelain ,s4,s4 ,conant #cbj #bgb ,limoges ,porcelain #cbj #bgc ,limoges ,porcelain ,mrs ,col ,t4 ,scott #cba #bgd ,limoges ,porcelain ,general ,a4,j4 ,myer #cba #bge ,limoges ,porcelain ,whitelaw ,reid #cbb #bgf ,limoges ,pate ,tendre ,h4,j4 ,jewitt #cbb #bgg-bgi ,limoges ,pate ,tendre #cbc1cbd #bhj1bha ,deck ,vase and ,plaque ,g4 ,collamore #cbe #bhb ,pate-sur-pate1 by ,solon ,g4 ,w4 ,wales1 #cbf ,b4,m4,f4,a4 ,,germany #bhc ,hut-shaped ,vases #cbh #bhd ,hirschvogel ,vase #ccj #bhe1bhf ,delft ,faience ,mrs ,j4,v4,l4 ,pruyn #cca1ccb #bhg1bhh ,graybeards 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,bost4 ,household #ceg ,art ,rooms #cai ,posset-pot1 #aeth ,century ,bateman #cei #cbj ,staffordshire ,tyg #cei #cba ,elers ,ware #cfj #cbb ,josiah ,wedgwood #cfj #cbc ,wedgwood ,cameo #cfa #cbd ,wedgwood ,basaltes ,meyer #cfb #cbe ,wedgwood ,jasper ,barlow #cfc #cbf ,wedgwood ,earthen-ware ,w4,s4 ,ward #cfc #cbg ,wedgwood ,portland ,vase #cfd #cbh ,wedgwood ,jasper ,vase ,john ,w4 ,britton #cfe #cbi ,wedgwood ,earthen-ware ,d4 ,collamore #cfe #ccj ,wedgwood ,plate ,tiffany ,co #cff #cca ,wedgwood ,majolica ,horace ,russell #cfg #ccb ,minton ,stone-ware ,d4 ,collamore #cfh #ccc ,minton ,plaque ,tiffany ,co #cfi #ccd ,minton ,majolica ,corcoran ,art ,gallery #cgj #cce1ccf ,doulton ,ware ,w4,b4 ,dickerman #cga #ccg ,lambeth ,faience #cgb #cch1cci ,lambeth ,faience ,d4 ,collamore #cgc #cdj ,doulton ,terra-cotta ,smithsonian ,inst4 #cgd #cda ,lambeth ,faience ,dr ,h4,g4 ,piffard #cge #cdb ,lowestoft ,pottery ,f4 ,robinson #cge #cdc ,plymouth ,porcelain #cgg #cdd ,bow ,porcelain #cgg #cde ,chelsea ,porcelain #cgh #cdf ,derby ,porcelain ,f4 ,robinson #cgh #cdg ,bloor-,derby ,f4 ,robinson #cgi #cdh ,old ,worcester ,porcelain ,robert ,hoe1 ,jr #cgi #cdi ,worcester ,porcelain ,g4 ,collamore #chj #cej1cea ,worcester ,porcelain ,d4 ,collamore #chj1cha #ceb ,minton ,pate-sur-pate1 ,h4,c4 ,gibson #chb ,solon #cec ,jewelled ,copeland ,tiffany ,co #chc #ced1cee ,copeland ,parian #chd #cef ,copeland ,reticulated ,w4,b4 ,dickerman #che ,ware #ceg ,shelton ,porcelain ,d4 ,collamore #chh #ceh-cfj ,belleek ,porcelain ,tiffany ,co #chh1chi ,,south ,,america #cfa ,tile-piece1 by #cia ,f4,t4 ,vance #cfb1cfc ,peruvian ,pottery #cic1cig #cfd ,peruvian ,water-jar ,smithsonian ,inst4 #djj #cfe ,peruvian ,pottery #djj #cff ,peruvian ,drinking-vessel #dja #cfg ,pottery from ,cuzco #dja #cfh ,coiled ,water-vessel ,smithsonian ,inst4 #djb #cfi1cgj ,peruvian ,pottery #djc #cga ,peruvian ,water-vessel ,smithsonian ,inst4 #djd #cgb ,greek ,head-shaped ,cup #djd #cgc-cge ,peruvian ,pottery #dje1djf #cgf-cgh ,peruvian ,pottery ,smithsonian ,inst4 #djg1djh #cgi-cha ,peruvian ,pottery #djh1dji #chb ,peruvian ,black ,vessel ,smithsonian ,inst4 #daj #chc ,peruvian ,painted ,cup ,smithsonian ,inst4 #daj #chd1che ,peruvian ,pottery #daa #chf-chh ,peruvian ,pottery ,barboza #dab1dac #chi ,brazilian ,basin #dad #cij ,burial ,urn #dad #cia1cib ,modern ,pottery #dae1daf #cic ,colombia ,corrugated ,ware ,smithsonian ,inst4 #dag ,,central ,,america #cid ,vase from ,ometepec ,smithsonian ,inst4 #dah #cie ,vase from ,ometepec ,smithsonian ,inst4 #dai #cif ,tripod from ,ometepec ,smithsonian ,inst4 #dai #cig ,urns from ,ometepec #dbj #cih1cii ,terra-cotta ,figures #dbj1dba #djj ,terra-cotta ,heads #dba #dja ,guatemala ,urn #dbb #djb ,guatemala ,cup #dbb ,,mound- ,,builders #djc ,vases from ,missouri ,mrs ,j4,v4,l4 ,pruyn #dbe #djd ,vase ,b4,m4,f4,a4 #dbf #dje ,vase ,smithsonian ,inst4 #dbf #djf ,vase ,b4,m4,f4,a4 #dbg #djg ,vases #dbg ,,indian #djh-daj ,corrugated ,pottery ,u4 ,s4 ,geol4 ,survey #dcb1dcc #daa ,pottery ,handle ,u4 ,s4 ,geol4 ,survey #dcc #dab ,pottery ,ladle ,u4 ,s4 ,geol4 ,survey #dcd #dac ,pottery ,pipe ,u4 ,s4 ,geol4 ,survey #dcd #dad-dbc ,painted ,pottery ,u4 ,s4 ,geol4 ,survey #dcd-dcf #dbd ,pottery with ,relief ,u4 ,s4 ,geol4 ,survey #dcf #dbe-dbh ,modern ,moqui ,u4 ,s4 ,geol4 ,survey #dcf1dcg ,,united ,,states #dbi ,greenpoint ,porcelain #ddc #dcj ,jersey ,city ,earthen-ware #def #dca ,n4 ,y4 ,city ,porcelain #deg #dcb ,n4 ,y4 ,iron-stone ,china #deh #dcc ,n4 ,y4 ,city ,pottery #deh #dcd-dch ,trenton ,parian #dfd-dfg #dci1ddj ,chelsea ,terra-cotta #dgj #dda1ddb ,philadelphia ,porcelain ,trumbull-,prime #dga1dgb #ddc ,bennington ,porcelain ,trumbull-,prime #dgb #ddd ,greenpoint ,century ,vase #dgd #dde 8,kramos0 ,vase #dge #ddf ,greenpoint ,biscuit #dgf ,porcelain #ddg 8,song of the ,shirt0 #dgg #ddh1ddi ,greenpoint ,porcelain #dgh1dgi #dej ,greenpoint ,porcelain ,e4 ,bierstadt #dgi #dea ,poets' ,pitcher #dhj #deb-ded ,greenpoint ,porcelain #dhj1dha #dee ,greenpoint ,porcelain #dhb #def ,english ,porcelain ,d4 ,collamore #dhb #deg ,jersey ,city ,earthen-ware #dhc #deh-dfj ,bennett ,faience ,d4 ,collamore #dhd1dhe #dfa ,plate by ,j4,m4 ,falconer #dhe #dfb ,porcelain and ,silver ,reed ,barton #dhf #dfc ,porcelain and ,silver ,reed ,barton #dhf #dfd ,porcelain and ,silver ,j4,w4 ,britton #dhg ---------------------------------------- -------------------------------- ,b4,m4,f4,a4 ,bost4 ,mus4 of ,fine ,arts ,,the ,,ceramic ,,art4 ,,introduction4 ,advantages of the ,study4--,the ,lost ,origin of the ,art4--,ascribed to the ,gods4--,legends of ,china1 ,japan1 ,egypt1 and ,greece4--,keramos4--,a ,solution suggested4--,how ,pottery illustrates ,history4--,how it explains the ,customs of the ,ancients4--,its ,bearings upon ,religion4--,examples from ,egypt1 ,greece1 and ,china4--,the ,art represented in ,pottery4--,its ,permanency4--,as a ,combination of ,form with ,drawing and ,color4--,greek ,art4--,its ,merits and ,defects4--,the ,orientals1 and their ,attention to ,color4--,eastern ,skill4--,the ,aim of ,palissy4--,the ,highest ,aim of the ,ceramic ,artist4--,painting on ,porcelain4--,rules to be ,observed in ,decorating4--,where ,color alone is a ,worthy ,object4--,how the ,art affords the ,best ,illustration of the ,useful combined with the ,beautiful4--,its ,place in the ,household4 ,the history of ceramic art carries us back to ages of which it has furnished us with the only records4 ,beginning almost with the appearance of man upon the globe1 it brings us down through the intricate paths of his migrations to the time in which we live4 ,historically1 therefore1 the study of the art is not only replete with interest1 but promises much benefit to the student4 ,the forms under which it appears are so varied1 the circuitous route it has followed leads to so many lands and among so many peoples1 and the customs it illustrates are so distinctive of widely separated nationalities1 that its history is co-extensive with that of humanity4 ,in many cases it supplies us with information regarding nations whose works in pottery are their only monuments4 ,were we1 therefore1 to attempt to find its origin1 we might go back as far as written history could guide us1 and then find proofs of its existence in a prehistoric age4 ,it is curious to observe that1 as we compare the earliest productions of different countries1 we discover a similarity between the crude ideas to which they owe their origin4 ,it is equally remarkable--and the fact is worthy of notice as pointing to the great antiquity of the practice of working in clay--that all nations of whose early religious ideas we have any knowledge ascribe its inception to the gods4 ,daily habit demonstrated its utility1 and gratitude found a cover for ignorance1 in bestowing upon the heavenly powers the credit of inspiring man with a knowledge of the capabilities of the plastic clay4 ,reason supplies an easy solution of the problem1 but one not likely to occur to the unreasoning man of the primitive world4 8,on the day10 says ,jacquemart1 8when man1 walking upon the clayey soil1 softened by inundations or rain1 first observed that the earth retained the prints of his footsteps1 the plastic art was discovered2 and when lighting a fire to warm his limbs or to cook his food1 he remarked that the surface of the hearth changed its nature and its color1 that the reddened clay became sonorous1 impervious1 and hardened in its new shape1 the art was revealed to him of making vessels fit to contain liquids40 ,the reason of the nineteenth century conflicts strangely with old-world opinions of what was due to beneficent deity4 ,of this we can easily find abundant illustration4 ,let us take1 as examples1 ,china1 ,japan1 ,egypt1 and ,greece4 ,we will find that each reverts to the misty boundary between legend and history1 or to the earlier age when the gods had not deserted the world--the horizon of mortal vision or fancy1 where heaven seems to touch earth4 ,it is said that nearly two thousand seven hundred years before the ,christian era the potter's art was discovered in ,china by ,kouen-ou4 ,this was during the reign of the enlightened ,emperor ,hoang-ti4 ,of him it is recorded that after many labors for the good of his subjects1 the amelioration of their condition1 and the extension of their knowledge1 he was translated to the upper sphere on the back of a huge and whiskered dragon4 ,the ,japanese follow a precisely similar course4 ,having no real knowledge1 they call imagination to their aid1 and solve an historical problem by the creation of a legend4 ,turning back to a period long before history begins1 they affect to find the inventor of pottery in ,oosei-tsumi1 a legendary being who lived in the age of ,oanamuchi-no-mikoto1 and conferred upon him the title of 8,kami10 distinctive of deity4 ,the ,egyptians1 more reverently1 gave the art directly to the gods4 ,having a pantheon1 they merely singled out that one of its occupants to whom the honor should be ascribed4 ,as ,osiris is their ,bacchus1 and ,thoth their ,mercury1 so to the director ,num1 the first creature1 they ascribe the art of moulding clay4 ,like the ,hebrew ,jehovah1 he first made the heavens and earth1 the firmament1 the sun1 and the moon1 and1 from the fact of his having made the rivers and mountains1 would appear also to have evolved order out of the ,egyptian chaos4 ,lastly1 he made man4 ,turning the clay of the ,nile upon his wheel1 he fashioned the last and greatest of created things1 and having 8breathed into his nostrils the breath of life10 made man the cornerstone of the fabric of creation4 ,inspiration and monotheism apart1 it would almost appear that the ,jewish law-giver found in the hated 8house of bondage0 a foundation for his cosmogony4 ,in how many instances did the ,greeks lay the honors due to some forgotten mortal at the feet of a god or a semi-divine hero8 ,to them ,inachus1 who about #ahjj ,b4,c4 founded the kingdom of ,argos1 was not the leader of a band of adventurous emigrants from ,egypt1 but a child of the sea over which he came1 a son of ,oceanus and ,tethys4 ,it was only when ,gelanor1 the last of the race of ,inachus1 was deposed by ,danaus1 that we find a ,greek recognition of the early connection of that country with ,egypt4 ,danaus was the son of ,belus1 and brother of gyptus1 jointly with whom he occupied the throne of ,egypt4 ,quarrelling with his brother1 ,danaus set sail1 and1 arriving at ,argos1 rose to the throne by the means above indicated4 ,these statements are only of value to our present purpose as showing the close connection between ,greece and ,egypt1 and pointing to the conclusion that ,egypt dropped the germs of that art which ,greece cultivated to such perfection that it won the admiration of the world4 ,if we turn to the origin of pottery accepted by the ,greeks themselves1 we are confused by the liveliness of their teeming imagination4 ,the exercise of fancy takes the place of an undeveloped historical sense4 ,when ,jupiter wished to punish the rash impiety of ,prometheus by giving him a wife1 ,vulcan made ,pandora1 the first of mortal women1 out of clay4 ,prometheus is one of the strangest figures in ,greek mythology4 ,he laughed at the whole ,pantheon1 cheated the great ,jove himself1 and was yet a benefactor of mankind1 after he had created the species2 for to him also is ascribed the creation from clay of the first man and woman4 ,thus the gods and heroes were potters1 and the art was practised by them before mortal life began4 ,to two ,corinthians1 one ,athenian1 and one ,cretan1 the invention of the plastic art has been attributed2 but1 passing these by1 let us turn1 for philological reasons1 to the legend of ,keramos4 ,the story of the adventures of ,theseus is pretty well known4 ,by the help of ,ariadne1 he killed the ,minotaur of ,crete1 and escaped from the ,labyrinth1 and1 having subsequently abandoned his fair assistant on the island of ,naxos1 she is said by some to have hanged herself in despair4 ,others1 however1 assert--and to their tale we must listen--that in the arms of ,bacchus she found solace for her sorrows4 ,their son ,keramos was the patron of potters1 and to his name we owe our word 8keramic0 or 8ceramic40 ,when the ,argives pointed out the tomb of ,ariadne1 her ashes were deposited in an urn in one of their temples1 so that by means of the art attributed to the son1 the mother's remains were preserved4 ,it is thus made clear that the practice of making vessels of clay had no origin to which we can now turn back4 ,the art was born in the 8twilight of the gods10 whose productions are now used in illustrating the pages of history4 ,even in these wild fancies there is a germ of truth4 ,the first attempts at moulding in clay had a common origin in the necessities of man1 and the promptings of nature to supply them4 ,the material was on all hands ready for use2 and why should the men of antiquity be held to differ from the children of after-ages1 or those of our own time8 ,to one the suggestion may have come from one source1 to another it may have come from another2 and unless we choose to bind ourselves to the narrative of the building of the great ,tower of ,babel1 and the dispersal of races1 we may be led to think that its origin may have been manifold1 as its rudest attempts have certainly been discovered in places wide apart4 ,on the sea-shore the child builds its house and mill1 giving by the help of water a certain consistency to the inadhesive sand4 ,on the roadside1 or by the pond's rim1 it shapes the oozy mud into the forms suggested to childhood's imitative instinct4 ,one of the earliest and most beautiful of the legends relating to the youth of ,christ has reference to this very matter4 ,he was engaged with his playmates in making earthen birds4 ,his efforts were clumsy and his art rude1 and his companions jeered him1 until the birds he had made became living things1 and flew away4 ,let us by all means concede this to have been an impossible miracle1 based upon an idle legend4 ,yet it proves that either in the early days of ,galilee1 or in those of the inventor of the tale1 the habits of children differed in no degree from those of to-day4 ,a kind of instinct would almost appear to lead them to model and imitate in clay2 and putting primitive man upon the level of childhood1 there is no reason for believing that the plastic art had not several independent origins4 ,illustration3 ,fig4 #a4--,old ,svres ,patetendre4 ,fontenoy ,vase1 commemorative of the ,battle of ,fontenoy4 ,painted by ,genest4 7,m4 ,l4 ,double ,coll47 ,the manner in which pottery illustrates history brings us to one of the most interesting features of the study 7,fig4 #a74 ,while the connoisseur is deep in the history of the art itself1 the student prefers to view it in its relation to that of mankind4 ,it suggests difficulties1 confirms deductions1 and offers hints for the solution of the problems of history4 ,the memory of extinct nations is perpetuated by the clay records which have survived their submergence in the tide of time4 ,in these we may read1 as in a book1 of the gods they worshipped1 of their daily life1 of their death and burial4 ,historians now1 in fact1 consult the relics of the potter's art with as much confidence and readiness as they would turn to the pages of an old-world chronicle4 ,migrations1 intercourse1 and conquest have all been recorded in clay4 ,one might in that way define with the utmost exactness the line bounding the vast empire of ,rome4 ,the bricks or tiles1 placed over the graves of the soldiers or found in their camps1 show the stations of the legions and the extent of conquest4 ,wherever 8the ,empress of the world ,of yore her eagle wings unfurled10 in ,england1 ,scotland1 ,france1 ,germany1 ,jerusalem1 or elsewhere1 there have been found tiles or bricks stamped with the number of the legion or its distinctive appellation4 ,the tragic end of ,quintilius ,varus is known to all readers of ,roman history4 ,a ,roman proconsul of high birth1 and enriched by the governorship of ,syria1 he was appointed to the command of the army confronting the hordes of ,germany4 ,surprised by the ,german chief ,hermann1 or ,arminius1 his army was almost annihilated1 and he1 in despair1 after the fashion of his time1 sought death by his own hand4 ,the ,emperor ,augustus wailed for months1 8,varus1 give me back my legions10 the legions which were lying on the field1 at the farthest point to which the armies of ,rome had penetrated1 and also the farthest in that direction1 at which any specimens of ,roman pottery have been found4 ,from the funereal urns of the ,greeks we are enabled to tell how far they pursued their conquests in any direction4 ,other nations left1 in the lands to which their arms were carried1 similar mementos of their presence1 which1 on being exhumed1 after lying for centuries covered thickly over by the dust time is continually spreading over the past1 are transferred to the page of history4 ,a very forcible example of the historical value of earthen-ware is found almost at our very door4 ,irving relates1 in his 8,life of ,washington10 that1 not long after his birth1 his father removed to ,stafford ,county1 near ,fredericksburg4 ,the house stood on a knoll overlooking the ,rappahannock4 ,this was the home of ,george's youth4 ,the meadow between the house and the river was his play-ground4 ,but this home1 like that in which he was born1 has disappeared2 the site is only to be traced by fragments of bricks1 china1 and earthen-ware4 ,another example may be taken from a paragraph which appeared in the daily papers very recently1 in which it was stated that two amphor--the name given to the ,greek two-handled1 oval-bodied vases 7,fig4 #b7 with pointed base1 which have been found wherever ,greek commerce extended--containing fifty thousand coins of the ,emperor ,gallienus and his immediate successors1 had been discovered at ,verona4 ,nearly all were as fresh as when coming from the mint4 ,gallienus assumed the purple ,a4,d4 #bfj1 and reigned for eight years before he was assassinated at ,milan4 ,for over fifteen hundred years1 therefore1 these vases preserved their numismatic treasures4 ,illustration3 ,fig4 #b4--;,greek and ,phnician 7on right7 ,amphor4 7,cesnola ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,illustration3 ,fig4 #c4--;,chinese ,bottles found in ,egyptian ,tombs4 ,still another instance may be mentioned in which the close connection between history and its handmaid1 pottery1 is illustrated4 ,some time ago certain travellers in ,egypt purchased a number of small jars 7,fig4 #c7 of a kaolinic composition1 which they were told had been taken from the tombs4 ,they were evidently1 from the style of decoration and the characters they bore1 of ,chinese manufacture2 and the first conclusion was1 that1 as evidence was not wanting to show that one of them had been taken from a very old tomb on its being first opened1 they were possessed of a highly venerable antiquity4 ,subsequent investigations1 however1 showed that they had been obtained from certain ports on the ,red ,sea1 and were to be ascribed to a comparatively recent date4 ,the discovery subtracted about two thousand five hundred years from their age4 ,but how came these ,chinese vases to find their way to the commercial cities of the ,red ,sea8 ,before navigators had learned that the great highway between ,europe and the ,east was round the ,south of ,africa1 intercourse was maintained either by the overland route or through the ,persian ,gulf4 ,this accounts for the abundance of ,chinese porcelain found in ,persia4 ,some of the specimens may have been left on the western side of the ,gulf1 and have thence found their way across ,arabia to the shores of the ,red ,sea1 whence they were obtained by the fraudulent venders of ,lower ,egypt4 ,in this way the intercourse of nations may frequently be explained by the help of pottery4 ,not only1 be it observed1 may it be taken as an indicator of the movements or extension of the nations themselves1 but of the manner and extent of their intercourse with the rest of the world4 ,as an exponent of the customs of antiquity1 its aid is of the highest value4 ,we learn1 for instance1 that among the ,greeks the usual custom was to mix wine in one vessel1 cool it in another1 draw it from the latter into jugs1 and from them fill and replenish the beakers or cups of guests4 ,we can see anywhere to-day tiny tea-sets for the amusement of children4 ,the ,greeks had something closely akin to them4 ,vases were given to children1 as toys are given now4 ,some of those discovered are so limited in their dimensions that they could not have been used for any other purpose1 and on others are depicted the games in which children engaged4 ,of all the uses to which an earthen jar could be put1 certainly the most singular was that discovered by ,diogenes1 when he chose one for his habitation 7,fig4 #d74 ,that such was the case there is strong reason for believing4 ,this statement is one which may disconcert popular belief1 and break off the association between the philosopher and a 8tub20 but the authorities in favor of his home being a huge jar are tolerably decisive4 ,a tub1 moreover1 scarcely seems to meet the requirements of the occasion1 whereas it is easy to imagine a pithos satisfying the limited demands of ,diogenes in the way of house-keeping4 ,nor was the whim of the philosopher without parallel4 ,it is said that during the ,peloponnesian war the ,athenians lived in similar vessels4 ,the pithos occupied by ,diogenes was cracked and patched2 and these vessels1 when unfit for other use1 were1 long after his day1 used as dwellings by the poor4 ,illustration3 ,fig4 #d4--;,diogenes in ,pithos4 ,vases were presented as prizes 7,fig4 #e7 to the victors in the athletic games2 and it is from these and other kinds deposited in sepulchres1 that we derive the greater part of our knowledge of ,greek ceramic art4 ,not only were they used--at least after the earliest days of ,greece--to hold the ashes of the dead1 but were evidently employed as tokens of respect or affection4 ,thus1 the vases the deceased had most admired or used in life were placed in the tomb1 along with others containing the remains of the funeral feast1 and those employed in the last rites4 ,the amphora was devoted to all kinds of domestic uses4 ,the rhyton was a drinking-cup 7,fig4 #f74 ,there were special vessels for oil and unguents2 and the different kinds of wine-jars and drinking-cups present an almost endless variety of shapes1 and1 especially the latter1 a most wonderful beauty of form4 ,of these1 the kylix affords a good example 7,fig4 #g74 ,in this way we see that1 from childhood to the grave1 the customs of the ,greeks are illustrated by their pottery4 ,we pass by1 in the mean time1 with a mere reference the numberless mythic themes decipherable in the decoration of their vases4 ,illustration3 ,fig4 #e4--;,greek ,prize ,vase4 ,we meet with a precisely similar state of things among the ,chinese4 ,we can only study the pottery of that people after familiarizing ourselves with their religion4 ,how otherwise can we understand the quaint figures and designs which meet us at every turn--the ,god of ,longevity1 ,pou-tai the ,god of ,contentment1 their manifold dragons1 the ,kylin1 the ,dog of ,fo1 or the ,fong-hoang8 ,colors and shapes1 as well as animals1 are employed as symbols4 ,as the crane symbolized long life1 so were certain colors and forms distinctive of social rank4 ,let us take a vase and study it closely1 observe its proportions and decoration1 and these will guide us to its purpose and to the rank of the individual making use of it4 ,vases and images tell of both the public and private worship of the ,chinese1 and of the manner in which it was conducted4 ,the excess to which the ,chinese carry the duties of hospitality and courtesy has been frequently commented on4 ,it would be hard to imagine anything showing better the refinements of which etiquette is capable1 than their manner of decorating their reception-rooms1 so that they may be filled with the mildest incense of flattery to the expected guest4 ,should he be a soldier1 vases stand on all sides1 decorated with the warlike scenes best suited to his professional taste4 ,should he be a poet1 war is changed to literature1 and vases are chosen which recall the great names of the profession4 ,after a manner similar to that in vogue among the ,greeks1 pottery and porcelain were used by the ,chinese as media for the conveyance of compliments and good wishes1 and as special marks of honor4 ,they were conferred on the officer by his sovereign1 and passed between friends at the customary times of rejoicing4 ,illustration3 ,fig4 #f4--;,greek ,rhyton4 7,trumbull-,prime ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,we approach ,egypt1 in this connection1 with a certain amount of awe4 ,we examine its early pottery with a sensation similar to that with which we view a mummy4 ,it comprises relics of a civilization of so hoary an antiquity1 that to study them is like peering into the secrets of the grave4 ,it is1 in fact1 from the tombs that the treasures have been exhumed which enable us to trace ,egyptian ceramic art4 ,they tell of customs followed long before the ,persian ,cambyses 8,o'erthrew ,osiris1 ,orus1 ,apis1 ,isis1 ,and shook the ,pyramids with fear and wonder ,when the gigantic ,memnon fell asunder40 ,some of the specimens date from the ,third ,dynasty1 about four thousand years ago4 ,there is now in existence a porcelain box bearing one of the names of ,amasis ,,ii41 the king whom ,cambyses overthrew six hundred years before our era began4 ,the earliest relics may be said to have been coeval with the invention of a written language4 ,illustration3 ,fig4 #g4--,kylix1 with ,gorgon and ,eyes4 ,a very curious custom may be allowed to arrest our attention for a moment4 ,in the tombs previous to the sixth century ,b4,c41 have been found cones 7,fig4 #h71 having inscriptions on their base4 ,from these we learn the occupants' names and office1 whether scribes1 priests1 or nobles4 ,they served1 in short1 all the purposes of the inscriptions on the tombs of our day1 or of labels for establishing the identity of the dead4 ,terra-cotta figures have also been found in some graves1 bearing1 like the cones1 the name and title of the deceased4 ,in the same connection may be mentioned the peculiar1 and to us revolting1 usage of devoting vases to holding the viscera of the embalmed body4 ,illustration3 ,fig4 #h4--,red ,earthen-ware ,cone4 7,trumbull-,prime ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,the multitudinous domestic uses of jars cannot here be enumerated4 ,we know that they were devoted to purposes which would now be considered somewhat at variance with the legitimate object of the manufacture of earthen-ware4 ,we might almost say that all the receptacles designed in modern times for domestic convenience1 such as baskets1 boxes1 and tin utensils1 have their counterparts among the earthen fabrics of the ,egyptians4 ,nor must we stop there if we observe the many other purposes of ornament and religion to which their ceramic wares were devoted4 ,the ,egyptians had an idea that the physical wants of the deceased did not come to an end with life1 and they accordingly placed in the tombs jars with meat and drink for consumption after death4 ,of these jars1 many had unquestionably been previously employed in the household4 ,from such and other sources we learn that earthen pots were employed in cooking1 as those of metal are with us1 that certain vessels were used for holding water2 others for the juice of the grape1 for butcher-meat or poultry1 for cosmetics1 and1 stranger than any1 for holding the flax while it was being spun4 ,manuscripts1 or papyri1 have also been discovered in them2 so that it may easily be seen how important a part pottery played in the every-day life of the ,egyptians4 ,illustration3 ,fig4 #i4--;,ball of ,painted ,earthen-ware4 ,egyptian4 ,if we turn to their glazed ware1 or porcelain1 as it has been called1 we find it much more extensively applied to decorative purposes4 ,the unglazed was almost exclusively restricted to articles of a domestic kind4 ,the glazed ware was employed in tiling1 and inlaying coffins and boxes1 and in the making of various vases and cups4 ,balls1 presumably for the amusement of children1 and other toys sometimes also made of pottery 7,fig4 #i71 ear-rings1 the pieces for a game akin to draughts 7,fig4 #aj7 or checkers1 amulets1 beads1 necklaces1 small figures of the gods 7perforated71 emblematic animals1 finger-rings1 and sepulchral figures1 have all been found of this material4 ,the extent to which such discoveries illustrate the customs of the ,egyptians need not be enlarged upon4 ,having thus brought forward ,china1 ,greece1 and ,egypt as instances1 it is hardly necessary to pursue this line of inquiry further4 ,it may be said1 in the broadest language1 that every nation of whose ceramic productions we have any specimens1 have in them reflected their religion and customs1 and thus furnished most important aids to the construction of their national history4 ,illustration3 ,fig4 #aj4--;,draughtsman of ,glazed ,pottery1 from ,thebes4 ,literature has been enriched by figures drawn from the ceramic art4 ,some of the most effective similes of ,biblical writers are thus derived4 ,it is under the type of a potter that ,jeremiah represents ,god as showing his absolute power over the ,israelites3 8,behold as the clay is in the potter's hand1 so are ye in mine hand1 ,o house of ,israel40 ,in a similar manner1 ,st4 ,paul typifies the divine control over man4 8,nay but1 ,o man1 who art thou that repliest against ,god8 ,shall the thing formed say to him that formed it1 ,why hast thou made me thus8 ,hath not the potter power over the clay1 of the same lump to make one vessel unto honor and another unto dishonor80 ,it is this absolute 8power over the clay0 which led men to use it for the conveyance of their first conceptions of the beautiful4 ,the pottery of all countries shows how religion stimulated art1 by furnishing it with themes1 and infusing into it a spiritual signification which all could understand4 ,the pottery of the ,greeks shows best how art may embellish religion and history1 and perpetuate the legends belonging to neither4 ,to the above may be added the very effective simile employed by ,plato in characterizing ,socrates3 8,the outside of the vase is scrawled over with odd shapes and writing1 but within are precious liquors and healing medicines1 and rare mixtures of far-gathered herbs and flowers40 ,illustration3 ,fig4 #aa4--;,enamelled ,babylonian ,brick4 7,louvre47 ,and thus1 by a short step1 we reach the art represented in pottery4 ,it supplies1 beyond all question1 the best means of observing the growth of intelligence and the expansion of artistic ideas4 ,the very qualities of clay which led to its being used in the gratification of awakening necessities1 led also to its being adopted for the expression of the first inspirations of art4 ,when the ,assyrian potter first ornamented the brick he had moulded 7,fig4 #aa71 the mechanical pursuit was elevated to the sphere of art4 ,the same course was followed among all nations4 ,when the discovery was reached1 that clay could be made serviceable for building or for household vessels1 decoration sooner or later suggested itself4 ,either forms were varied and became in themselves ornamental1 or a superficial decoration was resorted to4 ,the useful led to the beautiful1 and their combination1 as seen on the dinner-tables of our day1 is the natural result of a universal process by which nations have advanced from rude and unskilful ignorance to art4 ,the aboriginal ,american potter decorated his coarse vase with a few scratches made with a stick2 his modern successor moulds his porcelain into graceful forms1 and brings to its ornamentation a palette of bright colors1 a trained hand1 and a cultivated taste4 ,the one is a relic of barbarism1 the other a work of civilization1 and both are the fruits of a combination to which all nations have been irresistibly led1 viz41 the useful with the beautiful4 ,this course has been universally followed1 and may1 for that reason1 be called natural4 ,man in every part of the world has given vent to his instinctive longing for that which1 to him1 represents beauty in the embellishment of objects in daily use4 ,it is by the consideration of such facts that we learn to appreciate fully the bearing of pottery upon art and history4 ,upon this point ,dr4 ,birch says3 8,by the application of painting to vases1 the ,greeks made them something more than mere articles of commercial value or daily use4 ,they have become a reflection of the paintings of the ,greek schools1 and an inexhaustible source for illustrating the mythology1 manners1 customs1 and literature of ,greece4 ,unfortunately1 very few are ornamented with historical subjects1 yet history receives occasional illustration from them2 and the representations of the burning of ,crsus1 the orgies of ,anacreon1 the wealth of ,arcesilaus1 the tributes of ,darius1 and the meeting of ,alcus and ,sappho1 lead us to hope that future discoveries may offer additional examples40 ,this passage leads directly to the consideration of the permanency of ceramic works as compared with those of other branches of art4 ,the 8reflections of the paintings of the ,greek schools0 have come down to us in all the beauty they possessed on first leaving the artist's hand4 ,we may allow ,mr4 ,ruskin to state the reverse case1 and draw the conclusion4 8,it is surely10 he says1 8a severe lesson to us in this matter1 that the best works of ,turner could not be shown for six months without being destroyed--and that his most ambitious ones1 for the most part1 perished before they could be shown4 ,i will break through my law of reticence1 however1 so far as to tell you that ,i have hope of one day interesting you greatly 7with the help of the ,florentine masters7 in the study of the arts of moulding and painting porcelain2 and to induce some of you to use your future power of patronage in encouraging the various branches of this art1 and turning the attention of the workmen of ,italy from the vulgar tricks of minute and perishable mosaic to the exquisite subtleties of form and color possible in the perfectly ductile1 afterward unalterable clay4 ,and one of the ultimate results of such craftsmanship might be the production of pictures as brilliant as painted glass--as delicate as the most subtle water-colors1 and more permanent than the ,pyramids40 ,both these writers thus refer to permanency as a feature of the potter's art1 which lends it a special importance4 ,whatever form the art may have assumed1 it is1 when applied to pottery1 practically imperishable4 ,by his allusion to the effect of time and exposure upon the paintings of ,turner1 ,mr4 ,ruskin invests the results he contemplates with a certain kind of grandeur4 ,he has in view the culminating point of ceramic art1 the apex to which the works of the artists of all time lead up step by step4 ,what process he would adopt1 or what forms of the art he would discard1 we need not now inquire4 ,it will be sufficient to take our stand at the point indicated--the perfection of form and decoration--and observe how the artists of the past have approached it1 and to mark the ideas by which they have been influenced4 ,the ceramic is the union of two branches of art1 the architectural and the graphic4 ,it combines form and proportion with drawing and color4 ,it is unnecessary here to define art in the abstract2 but there are certain general principles which may help us to estimate the works of the ceramic artists of all countries4 ,of these1 the first is thus stated by ,ruskin3 8,the entire vitality of art depends upon its being either full of truth or full of use2 and however pleasant1 wonderful1 or impressive it may be in itself1 it must yet be of an inferior kind1 and tend to deeper inferiority1 unless it has clearly one of these main objects--either to state a true thing1 or to adorn a serviceable one4 ,it must never exist alone--never for itself4444 ,every good piece of art 444 involves skill1 and the formation of an actually beautiful thing by it40 ,the 8statement of a true thing0 referred to in the passage quoted is ,similitude1 one of the philosopher-critic's essentials in the graphic arts4 ,in the architectural arts1 including pottery1 he demands ,skill1 ,beauty1 and ,use2 in the graphic arts1 ,skill1 ,beauty1 and ,likeness4 ,if1 however1 we keep in mind what ,dr4 ,birch says of the vases of ,greece being a reflection of the ,greek school of painting1 and also ,mr4 ,ruskin's desideratum of pictures upon exquisitely moulded porcelain1 we shall see that the essentials of the ceramic art1 as a special branch1 comprise those of both the architectural and graphic divisions--,skill1 ,beauty1 ,use1 and ,similitude4 ,in one respect1 therefore1 it may be said to be the highest of all the arts4 ,the rule thus laid down can be easily applied1 and is capable of various modifications to suit the special object upon which it is brought to bear4 ,thus1 a work of art may represent ,skill alone4 ,add1 to equal ,skill1 the second essential1 ,beauty1 and the work will rank higher in art4 ,invest an object for ,use with both ,skill and ,beauty1 and it is raised still higher4 ,if to these ,similitude be added1 the work will be estimated according to the degree in which it possesses the four essentials4 ,it is obvious1 however1 that in the works of the ceramic artist1 it is neither always possible nor desirable to aim at bringing the four essentials together2 and this fact will receive ample illustration from what follows4 ,the rule has been modified by every nation according to its views of art and beauty4 ,it is better to recognize the good in all1 than to accept one standard and exclude all others4 ,catholicity of sympathy and breadth of appreciation are as necessary to the collector's enjoyment as to the student-artist's benefit4 ,should the one raise an inflexible standard by which to measure his admiration1 or the other allow only one carefully defined style to kindle his emulation1 both will shut out the greater part of the world of art4 ,every work of art is an expression of feeling1 and1 to appreciate it1 it is necessary to make as near an approach as possible to understanding the sentiment it embodies4 ,the form of expression varies with different nations and with different men2 and to catch all the fine and elusive shades of feeling surrounding the art of different times and peoples1 the cultivation of a keen and sensitive perception of beauty is better than voluntary slavery under a despotic and arbitrary rule4 ,art is the universal language in which humanity has couched its ideas of beauty4 ,the form of expression varies1 but the impulse is everywhere fundamentally the same4 ,we have endeavored to put in words rather the common aim of all1 than a rule by which to measure individual endeavor4 ,it does not follow that all efforts are equal4 ,some have approached the common object by one route1 and others by another1 and some have approached it nearer than others2 but in no case can one be singled out as the only correct course1 to the condemnation of all others4 ,the true artist will combine the best features of all achievements1 and so win a place nearer the goal than his predecessors4 ,if we find one artist excelling in form1 and another in color1 he who combines excellence of form with beauty of color will surpass both4 ,the narrowness of schools and the vagaries of fashion have been a burden upon art2 and the less we allow ourselves to be enthralled by either1 the greater will be our enjoyment of artistic work4 ,the more rigid our rule1 the more precarious is its existence4 ,the standard of yesterday is to-day looked upon with a feeling akin to contempt4 ,methods1 models1 ideals change2 and the wise man is he who can see the merits and shortcomings1 the beauties and defects1 of all4 ,we have said that different nations have shown in different ways their sense of the aims and possibilities of ceramic art4 ,the works of the ,greeks indicate an absorbing admiration of elegance of form and figure-drawing4 ,their vases mark the second step in the progress of decoration4 ,firstly came linear ornamentation1 and then light and line1 of which all the ,greek vases are examples4 ,if1 then1 the ,greeks in their best days had only reached the second step in decoration1 to what must we ascribe the wonderful influence of their art8 ,certainly it is not in the subjects they chose to illustrate that its charm consists4 ,taking our stand in ancient ,greece1 we may glance along the whole line by which the art has progressed toward an approximate perfection1 and at the same time see in what the ,greeks were pre-eminent1 and in what they were deficient4 8,to ,greece10 says one writer1 8was intrusted the cultivation of the reason and the taste4 ,her gift to mankind has been science and art40 ,her highest idea was beauty4 ,she left behind her canons of taste1 beyond which1 in their special application1 we have not advanced1 and have little hope of advancing4 ,we are not1 therefore1 surprised when a writer on pottery reminds us that 8to every eye familiar with works of art of the higher order1 the cleverest imitations of nature1 and the most elegant conceits of floral ornaments1 whether exhibited in the efforts of ,oriental or ,european potters1 appear coarse and vulgar when contrasted with the chaste simplicity of the ,greek forms40 ,if we would appreciate the full truth of this1 we have only to make comparisons in any sufficiently extensive collection4 ,the ,greeks took the articles of daily use1 and made them representatives of their ideas of beauty in both form and ornamentation4 ,in this they followed the examples set them ages before4 ,in accomplishment only they were alone4 ,while1 therefore1 we study some as mere examples of skill1 or curiosities of design1 we study the ,greek forms as embodying our highest ideal of beauty4 ,let us now examine that in which they were deficient1 and see how others have tried to remedy it4 ,there are branches of the art which the ,greeks either did not study1 or studied without success4 ,they give little evidence of having been able to appreciate color or to understand its uses4 ,they1 as ,ruskin says1 painted anything anyhow--gods black1 horses red1 lips and cheeks white4 ,they attained to a certain unsurpassable elegance of shape1 and the beautiful outlines of their human-figure ornamentation can at times hardly be sufficiently admired2 but their coloring was purely conventional1 and its application but little understood4 ,its changes may be noticed with some curiosity4 ,at first the favorite ground was a pale cream-color1 which1 later1 turned to a redder tint1 and human took the place of animal forms4 ,the vases in what is called the 8old style10 show black figures and ornamentation in monochrome1 with the exception of female faces1 which are white1 and eyes red4 ,the effects of perspective are only occasionally tried4 ,white was used for the hair and beard of old men4 ,coming down next to the highest art of ,greece1 the ground is black1 the figures red1 and the ornamentation white4 ,specimens belonging to this period show advance chiefly in the drawing and expression4 ,we remark further1 that1 besides the use of conventional colors1 the ,greeks did not care to copy nature too closely1 and thus in two distinct ways showed their indifference or inability to introduce into their art the element of likeness4 ,when ,jacquemart says that 8no natural object1 be it plant1 bird1 or animal1 is rendered in its real form1 or in its intimate details10 he gives expression to a fact which shows the distinction between ,greek ceramic art and that in which a nearer approach is made to similitude by the use of correct drawing and color4 ,illustration3 ,fig4 #ab4--;,japanese ,hexagonal ,vase4 ,deep blue ground4 ,figures in dark brown1 three shades of green1 and yellow4 ,height1 #af in4 7,r4 ,h4 ,pruyn ,coll47 ,illustration3 ,fig4 #ac4--,persian ,tile4 ,arabesque ,decoration4 ,the ,orientals went to the opposite extreme4 ,they delighted in bright and gorgeous decoration to an extent that1 but for their many intensely realistic works1 would lead to the belief that the production of certain effects in color was the highest object of their artists4 ,their strength lies in their coloring4 ,nowhere else can the same skill be found in the harmonizing of shades usually deemed discordant1 and nowhere else have colors the same brilliancy and depth 7,fig4 #ab74 ,the ,japanese and ,chinese1 in particular1 appear to have thoroughly grasped the true place of color in the decoration of curving surfaces1 from which the brilliant glaze reflects the light4 ,the artists of ,svres1 anticipating in a manner ,ruskin's idea1 embellished their vases with compositions similar to those on canvas4 ,they made the mistake of thinking that the artist's work is independent of the surface on which it appears1 whereas perspective is altered and sometimes destroyed by the curvature of a vase and the brilliancy of the enamel4 ,the artists of the ,orient1 on the other hand1 either restrict themselves to subjects which can be treated upon a judiciously limited part of the surface1 or throw aside compositions entirely1 and trust to floral designs1 isolated figures1 repetitious decoration without unity of design1 or to beauty of colors alone4 ,everything contributed to exalt their estimation of color for its own sake1 and to it we accordingly find that they devote the regard entertained by the ,greeks for form4 ,any ulterior use of color1 as for picture-painting on the flat surface of porcelain plaques1 does not appear to have occupied their attention to any very great extent4 ,it is in isolated figures and flowers that we can best study the marvellous delicacy of the ,chinese or ,japanese brush1 and the fidelity with which the suggestions of nature are followed4 ,there is little absolute imitation4 ,color is paramount1 and its beauty obscures the incongruities of ,oriental art4 ,the ,persians1 like the ,greeks1 mingled the natural with the conventional4 ,their vases and tiles 7,fig4 #ac7 are ornamented with floral designs1 in which1 while some of the flowers can be distinguished1 others are altered beyond recognition4 ,among the ,mussulman ,persians the enamels reached the highest point of gorgeous brilliancy3 glowing red as a ground-color1 dishes with bottoms covered with rich arabesques--everything set in tints of the most pronounced and striking kind4 ,their decorations are many-hued as the rainbow2 and if at times they lack its softly melting shades1 they appear at others as if suspended in the clear and liquid glaze1 as soft as the tints of early spring4 ,white figures on a blue or yellow ground1 or vice versa1 are distinctive of much of the ornamentation of ,persia4 ,the mosque at ,sultaneah 7,fig4 #ad7 is described as having its walls entirely 8cased with enamelled tiles of deep blue1 with yellow and white scrolls and devices40 ,the patterns are arabesque1 occasionally mingled with animal and floral forms4 ,the finest specimens of ,persian tiling at the ,museum at ,svres are in blue and white1 the latter forming the ground4 ,illustration3 ,fig4 #ad4--,mosque at ,sultaneah4 ,cased1 inside and out1 with enamelled tiles4 ,illustration3 ,fig4 #ae4--;,japanese ,porcelain4 ,cloudy gray1 flecked with gold2 dress1 rose and gold4 7,sutton ,coll47 ,these technical secrets1 known centuries ago in ,persia and the far ,east1 have been coveted by ceramists down to the present day4 ,they have been and are the most jealously guarded possessions of artists and factories1 and history records many instances of the extreme precautions adopted to prevent their spread4 ,the ,japanese1 for example1 although indebted to ,china and ,corea for the foundation of the knowledge upon which the magnificent structure of their subsequent art was built1 guard with the utmost care the borrowed secrets in their possession4 ,in a native work on porcelain it is said3 8,the painting and decoration of vases is a secret that it is not permitted to reveal40 ,similar instances present themselves on every hand4 ,the production of any unusually beautiful color1 although really only one-half of the difficulty with which the ceramic artist has to contend1 is universally regarded as a triumph4 ,such were the efforts upon which the potters of ,china expended their skill1 and upon which the emperors of the ,flowery ,kingdom bestowed rewards4 ,there are dynastic colors1 but no dynastic style of ornamentation with design4 ,the ability to apply color to an artistic creation was a secondary matter1 and went without recognition4 ,the position of the artist and the workman were thus in a measure inverted1 if we insist that the production of color is mechanical1 and its application artistic4 ,if the decoration be examined1 its execution in detail will be found to be almost perfect--birds of brilliant plumage1 flowers of richest hue1 men and women draped in ,oriental splendor 7,fig4 #ae74 ,in every case the colors used are those which produce the subtlest harmony4 ,they gleam through the glaze like gems1 or lie upon its surface like drops of pearl1 ruby1 or emerald4 ,the drawing is precise and minute4 ,a cylindrical ,japanese vase1 in ,mr4 ,j4 ,t4 ,sutton's collection1 is decorated with a flock of cranes4 ,they cover the upper part of its surface1 flying1 turning1 diving1 in every conceivable attitude--a perfect whirlwind of birds4 ,the decorator has1 with astonishing skill1 seized upon the varied attitudes most suggestive of motion1 and has produced what might be called 8a study of cranes10 as far beyond the apprehension of a ,european artist as the minuti are beyond his skill4 ,elsewhere we may see a masterpiece of manual dexterity4 ,it is reticulated1 or articulated2 or has its paste perforated1 and then covered with glaze2 or it may be a grotesque expression of ,oriental humor4 ,others are decorated with designs in color1 and their aspects have no monotony4 ,should one side weary1 the vase may be partially turned1 and an entirely new effect is secured4 ,in it1 as in that described above1 there is no repetition4 ,in ,oriental work1 as a whole1 we therefore find skill in manipulation1 similitude in drawing1 and beauty in color2 and the greatest of these is color4 ,we have seen how it was regarded by the ,chinese themselves1 and our collectors follow their lead4 ,they value one piece for the rarity of its prevailing green1 another for the depth of its turquoise1 a third for the clearness of its blue and the transparency of its white1 a fourth for the harmony of its many tints1 a fifth for the skill displayed in its quaint form and decoration4 ,we thus reach an interesting point where some instruction may be gained4 ,on the one hand1 are the ,greeks pursuing beauty of form with assiduity and marked success2 on the other1 are the ,orientals occupying themselves with mechanical skill and the beauty resulting from color4 ,both were right so far as they went4 ,men will admire ,greek pottery so long as they have any sense of elegant proportion2 they will admire ,oriental pottery so long as they find any beauty in the changing colors of a kaleidoscope or in a gem4 ,the aims and ideals of the two peoples were different1 and the world has not yet seen the combination of a gracefulness of form equal to the ,greek with the coloring of the ,orient4 ,illustration3 ,fig4 #af4--,nankin ,porcelain4 ,brown bands2 base1 white2 body1 pale green2 neck1 light brown4 ,decoration chiefly pink1 green1 and blue2 neck and body crackled4 7,sutton ,coll47 ,in other directions1 especially in ,europe1 it is more difficult to unravel the lines of art1 or to specify1 without numberless exceptions and modifications1 the distinctive aims of artists or schools4 ,the example of the ,orientals has led some manufacturers to choose the production of color as their great aim4 ,they have no intelligent comprehension of its higher uses1 as these might be studied in ,chinese decoration4 ,they form an exaggerated estimate of ,oriental processes1 and seek to equal the wonderful coloring of the faience of ,persia or ,rhodes4 ,if they fail1 as is generally the case1 they are in no way deterred from using their inferior colors as the ,orientals used the riches of their palette4 ,instead of turning toward a new object within the compass of their lower skill1 they appeal to the eye with works which1 by suggesting comparison with the models that inspired them1 are at once condemned4 ,if a vase of ,nankin porcelain should be placed side by side with a ,delft copy1 the force of this will at once be seen4 ,it is comparatively easy to assign a place to ,palissy4 ,his career deserves study as an illustration of the movement of art between the conventional and the natural4 ,as we look back upon his works1 we find that truth to nature1 in both form and color1 was the guiding motive in the production of his most remarkable pieces4 ,we owe the romance of his life to his earnestness in attempting to solve the mysteries of enamel4 8,i thought10 he says1 8that if ,i could discover the invention of making enamel1 ,i should be able to make vessels of earth1 and other things of beautiful arrangements1 because ,heaven had given me to understand something of painting2 and thenceforth1 without considering that ,i had no knowledge of argillaceous earth1 ,i set about seeking enamel like a man who gropes in the dark40 ,the story of his trials1 his failures and successes1 his poverty1 honors and persecutions1 compose the great romance in the history of ceramics4 ,what he attained was1 first1 a white enamel2 then1 jasper glaze of warm tints of blue1 brown1 and white2 lastly1 his ,rustiques figulines 7,fig4 #ag74 ,the last was his crowning effort4 ,we regard him both as the leading representative of ,french art in the sixteenth century1 and as a great originator4 ,he had made1 after long struggle and endeavor1 a great discovery in enamelling2 but what we admire more than that is the ideal he had formed4 ,he developed skill1 and aimed at both beauty and likeness4 ,palissy was great because1 having chosen a certain line of art1 he adopted the only ideal by which he could possibly reach perfection1 viz41 absolute truth to nature1 alike in form and color4 ,he neither spared himself nor overlooked any detail4 ,his moulds were formed from living specimens4 ,we recognize every ornament--shells of the district round ,paris1 reptiles and plants from the same places1 and fish from the ,seine4 ,he did not dare to improve or conventionalize4 ,he preferred nature as he found her2 and his wisdom was genius4 ,what we wish chiefly to note is1 that here was an artist who used the beauties of enamel for the reproduction of the natural4 ,he not only moulded the clay into the forms of living things1 but reproduced the colors of his models4 ,no better examples can be given of ,similitude4 ,it hardly seems possible that his was a branch of the same art that we have seen in the ,east and in ,greece4 ,the fact of its being so merely shows the wide scope of ceramic art1 and the infinity of the forms it may assume4 ,illustration3 ,fig4 #ag4--,palissy ,dish4 7,soltykoff ,coll47 ,having chosen representatives of three different components of what we have assumed to be the highest form of art1 we may now glance at the end in view1 and see to what extent the lower forms may be worthily followed4 ,let us suppose that a piece of pottery or porcelain has been painted1 and that the action of the fire has made the coloring perennial1 so that we find on it a portrait or a landscape everlasting as the ware itself4 ,let us suppose1 further1 that the tints are natural1 that1 in short1 the portrait is all that we now understand by the word1 and that in the landscape nature is displayed as on canvas--then we should have a specimen of the perfect union of the potter's and painter's art4 ,the lessening obstructions in the way of such a consummation may be referred to in brief4 ,the colors are mineral1 and change by submission to fire1 different temperatures producing different tints1 even when the same pigment is used4 ,the painter1 therefore1 in applying the colors1 must take into account the change to be effected by the fire in endeavoring to produce a certain result4 ,he has not merely1 it will be observed1 to lay on given colors1 and have them made perpetual by glazing and firing4 ,he must estimate and make allowance for the transformations effected in the process4 ,we are now in a position to realize the difficulty attending the exercise of the combined skill of potter and painter4 ,as a consequence1 although many great painters have turned their genius to the decoration of earthen-ware1 others have been deterred from doing so by the very facts here mentioned4 ,they are unwilling to submit their work to processes unattended with certainty1 and to have their artistic individuality obliterated by the fire4 ,it is clear1 therefore1 that if by any means doubt can be changed to certainty1 and the finish characteristic of the individual artist be preserved1 artists of every grade will gladly avail themselves of the opportunity to place their works above the reach of the defacing fingers of ,time4 ,the ceramic art would be revolutionized4 ,artists1 being at present less able to follow nature1 make a virtue of necessity1 and lose themselves among fantasies of tint and form4 ,we find elaborately decorated pieces1 the great virtue of the floral ornamentation of which is1 that it is--not true1 but--new4 ,a new leaf or a novelty in flowers is a valuable discovery2 and the rpertoire of the potter is filled with designs in which nature has no part4 ,if nature be brought within the artist's reach1 it will be followed more closely2 and the result might be the realization of ,ruskin's idea--the rendition of absolute similitude in outline1 color1 and perspective4 ,the next question arising is1 in view of the restraints upon artists1 what styles of decoration are the best8 ,the subject is worth considering at length4 ,there may be a beauty of a certain kind in the ware itself4 ,as a rule1 porcelain should never be overloaded with gold or any kind of decoration or color less beautiful than its own enamel4 ,it demands lightness of ornamentation and gracefulness of design1 rather than brilliancy of decoration4 ,we can1 when these canons are observed1 find something to admire in capricious floral designs1 even although they may not be floral to the naturalist4 ,the best rule is to adapt the decoration to the object upon which it is laid4 ,it would be a violation of good taste to demand pictures upon plates1 or that a soup-tureen should resemble a sarcophagus4 ,if an object be for use1 let its usefulness be the primary consideration2 if for ornament1 let its beauty be its first2 if it be meant to combine them1 let the ornamentation be that best suited to the useful purpose4 ,when we come to consider color alone1 a distinction must again be drawn between articles for different purposes4 ,ornamentation may address either the eye alone or the sensibilities through the eye4 ,restricting ourselves to the former1 the article will be the most ornamental which1 apart from shape1 seems most brilliant1 and reflects the most light4 ,to illustrate this1 we might reproduce an object in different materials--diamond1 ruby1 topaz1 gold1 iron1 lead1 sand1 and plaster4 ,show it1 in all these materials1 to a savage1 an ignoramus1 an artist1 a woman1 and each will select the copy in precious stone as the most agreeable to the eye4 ,the plaster would be the least likely to attract1 and the person choosing it would be at once put down as devoid of taste4 ,suppose1 now1 that a vase is presented to us duplicated in different materials1 we should find the turquoise of ,japan or the red of ,china more pleasing to the eye than stanniferous enamel4 ,it would1 again1 be like choosing between ruby and plaster4 ,in this way a rule could be drawn up capable of universal application1 one which would surmount all the advancing and receding waves of changing fashion4 ,in the shape which an object intended for ornament should assume1 or in the style of its decoration1 there is1 as we have seen1 no absolute rule4 ,individual taste is paramount1 since ornaments are intended mainly to administer to the pleasure of the possessor1 but one rule may be considered universal in regard to the decoration4 ,if the object be a vase intended to brighten a house1 then its ornamentation should never be of such an order that its greatest and best effect is perceived when it stands alone4 ,what ought to be kept in view1 is the extent to which it will increase the attractiveness of the room in which it stands4 ,it is a very curious fact that the most perfect decoration demands isolation for the appreciation of its full effect1 and that decoration of comparative mediocrity will frequently add more to an apartment4 ,we are thus led to observe that decoration is not an end1 but a way1 a means to the beautifying of a home4 ,every such object in a house should be a note1 and from combination of all the notes comes harmony4 ,were each a tune complete1 however perfect1 the result would be a jarring discord4 ,for that reason1 a vase of one perfectly simple color may harmonize with its surroundings as well as1 or even better than1 another showing a masterpiece of painting4 ,such a color must1 however1 be as near perfection as possible1 like that of a precious stone4 ,a vase of turquoise-blue may produce in a room the effect of diamonds in the ears of a woman4 ,taste is not likely to lead her to carry pictures in her ears1 nor to exclude all but picture-painted porcelain from her rooms4 ,illustration3 ,fig4 #ah4--,limoges ,porcelain ,plate4 ,painted by ,m4 ,bracquemond4 7,mrs4 ,charles ,crocker ,coll47 ,illustration3 ,fig4 #ai4--,limoges ,porcelain ,plate4 ,painted by ,pallaudre4 7,thomas ,scott ,coll47 ,having thus seen how ceramic productions illustrate the art ideas of all nations1 having touched upon the influence of pottery upon art in general1 and having glanced at its present aims and possible accomplishments1 it will not be forgotten1 after what has just been said1 that the combination of the useful and the beautiful is the great charm of the ceramic art1 making between them a new beauty which finds its best place in the household4 ,let us look at the usual appurtenances of the table4 ,they both reflect taste and form it4 ,a wide range is before us from which to choose--from the vulgarity of overloaded glaring colors and gilt1 to the most exquisite simplicity of design and perfection of workmanship4 ,every house-keeper ought to visit an extensive collection1 and1 by comparing and contrasting one style with another1 learn in what the true beauty of ceramic decoration consists4 ,the painting and moulding of pottery and porcelain are quite as important as oil-painting and sculpture4 ,as we look at the pictures and statues in a gallery1 we read the stories they tell1 feel the sentiment they express1 study the grace they embody1 or linger lovingly over the evidences they present of artistic skill4 ,a plate may appear an humble thing to which to turn from them4 ,but let us consider the intimate relations into which we are brought with its unobtrusive beauty4 ,it is the daily contact that lends so comparatively lowly a matter its real importance1 and daily contact with delicately painted and gracefully moulded cups1 platters1 and dishes cannot be without its influence upon taste4 ,or suppose the ceramic treasure be an earthen-ware jar4 ,it presents us with green1 its depth suggestive of a forest glade1 shading off into blue like that of the sky4 ,as we turn it slowly round1 a leaf appears attached to a tiny stem1 and still farther lies a flower1 colored with the very hue of nature1 and suggesting the perfume of a garden in summer4 ,art such as that is never out of place1 and never thrown away4 ,or let our attention rest upon more purely ornamental representatives of the art4 ,there are vases which1 while offering for our admiration a beauty which is eternal1 are yet invested with a chameleon-like power of change4 ,they never allow monotony to break their charm4 ,it may consist of a mere color4 ,take the old turquoise-blue of ,china4 ,the eye can scarcely catch the fleeting shades1 to determine whether the vase is blue or green4 ,while daylight lasts1 the blue is dominant1 but when the lamps are lit in the evening1 the blue gives place to a green of greatly increased brilliancy4 ,the same thing may be observed in many flower-painted vases4 ,they may be examined once without revealing a tithe of their beauty4 ,the sky is overcast and the outside world gloomy1 and the flowers1 as sympathetic as though growing in the garden1 look sombre and drooping4 ,but let a ray of sunshine fall across the vase1 and mark how the flowers are glorified4 ,their hues change and brighten1 and1 as if endowed with life1 they smile1 and lift up their heads in the face of the sun4 ,,book ,i4--,,nomenclature ,,and ,,methods4 ,,chapter ,i4 ,,technology4 ,confusion in ,use of ,terms4--,porcelain as an ,instance4--,derivation of ,ceramic4--,pottery4--,faience4--,majoli ca4--,mezza-,majolica4--,composition of ,porcelain4--,origin of ,word4--,where first made4--,when introduced into ,europe4--,hard and ,soft ,paste4--,soft ,porcelain of ,venice1 ,florence1 ,england1 ,france4--,hard ,porcelain invented at ,meissen by ,bttcher4--,vienna4--,discovery of ,kaolin in ,france4--,biscuit4 ,illustration3 ,fig4 #bj4--;,blue-glazed ,pottery4 ,egyptian4 ,it will be necessary as we proceed to make use of certain terms1 the meaning of which should be defined with as much exactness as possible4 ,it may be premised that considerable confusion exists in the nomenclature of the art4 ,this has arisen partly from the want of precision in the language employed by writers1 and partly from diversity of usage4 ,as an illustration1 the word 8porcelain0 may be adduced4 ,the material to which the ,egyptians applied a glaze1 and which was very largely used in making ornaments and small images1 has been called1 and is constantly spoken of1 as ,egyptian porcelain 7,fig4 #bj74 ,in reality the substance is not porcelain1 having neither the transparency nor the hardness of that ware1 but a compound between porcelain and earthen-ware4 ,the word was also used by the ,italians in the sixteenth century1 to designate their finer qualities of majolica4 ,an equally incongruous application of it is made in the case of ,lambeth faience1 which is described by the manufacturers as a 8kind of porcelain40 ,such words as faience1 hard and soft porcelain1 majolica1 stone-ware1 etc41 are in continual use by writers upon ceramic art1 and a few of the more important will now be defined4 ,allusion has already been made to the derivation of the word 8ceramic40 ,viewing the subject more prosaically1 the name was applied by the ,greeks to pottery in general1 and also to a large jar2 and several derivatives were used for the designation of different vessels4 ,the potter himself was called 1 and the pot-market 4 ,although the matter has been differently viewed1 it appears probable that the root of all the above words is 1 a horn4 ,the horn was used at a very early period as a drinking-cup1 and a more decided air of probability is thus given to the above assumption1 since ,bacchus was the reputed parent of 1 or ,ceramus4 ,however philologists may ultimately settle this matter1 the word 8ceramic0 is now employed to designate the potter's art and its productions4 ,the word 8pottery0 is variously used4 ,its root is the ,latin potum1 a drinking-vessel4 ,it is applied1 according to general ,english usage1 to all wares distinguished by their opacity from translucent porcelain4 ,the ,french word poterie1 on the other hand1 is applied to all vessels1 including those made of porcelain4 ,the latter fact has led to a slight confusion in the use of the ,english word4 ,one writer makes the assertion in one place1 that the words 8earthen-ware0 and 8pottery0 have limited and distinctive meanings1 the former applying only to vessels of the coarser qualities1 the latter to the finest products of the fictile art1 8including even porcelain40 ,in another place1 he draws a distinction between pottery and porcelain1 and in the latter course he is followed by the present writer4 ,faience1 fayence1 or fayance1 is a ,french word applied to every kind of glazed earthen-ware4 ,according to the earlier ,french usage1 the term included porcelain1 but more lately it has been applied only to pottery4 ,the word 8majolica10 as now employed1 has almost the same meaning as faience4 ,a more limited signification is attached to it by some4 ,the writer of the article on pottery in 8,appleton's ,cyclopdia0 says it is used 8to signify all faience of ,italian manufacture4 ,lately the word has been used as almost1 if not quite1 synonymous with faience40 ,a more recent writer has said1 8,in its now common acceptation1 the word is applied to all kinds of decorated pottery made in ,italy1 or made in colors and styles imitating the old ,italian work4 ,but when you read a book on pottery written during the present century by an expert1 you will do well to remember that the word in that book means exclusively ,italian decorated pottery of the fifteenth1 sixteenth1 seventeenth1 and eighteenth centuries1 in the old ,italian styles4 ,it does not include ,italian vases made in imitation of ,german1 ,french1 ,dutch1 or ,english wares40 ,the changing meaning of this word is a good illustration of the careless use of the terms employed in treating of ceramic art4 ,originally1 majolica1 or maiolica1 had a meaning different from any of those given above4 ,the name is derived from ,majorca1 the largest of the ,balearic ,islands1 between which and ,italy intercourse is known to have taken place in the twelfth century2 and two hundred years later1 the commercial transactions of ,majorca were of a very extensive kind4 ,the evidence in favor of the above derivation of the word is conclusive4 ,scaliger says distinctly that the ,italian pottery derived its name of majolica from ,majorca1 where the pottery was most excellent4 ,ferrari believes that 8the use of majolica1 as well as the name1 came from ,majorca1 which the ancient writers called ,majolica40 ,the 8,dictionary della ,crusca0 adds weight to these authorities4 ,such being the case1 it seems probable that the ,italians derived part of their knowledge of making majolica from the place which gives it its name4 ,even admitting that the ,saracens who settled in ,sicily1 and the ,moors expelled from ,spain who settled in ,italy1 initiated the ,italians in the art1 nothing is thereby detracted from the importance of ,majorca4 ,the fact is left unaffected that the intercourse with the ,balearic group enabled the ,italians to find a name for the ware they admired so much4 ,on trying to imitate it1 the ware called 8mezza-majolica0 was produced4 ,the red clay was first thinly coated with white earth1 upon which the colors were laid4 ,after a partial firing1 lead glaze was applied1 and lustre pigments gave the ware the iridescence characteristic of real majolica4 ,it was after this that tin enamel was used in place of a white slip2 and the lustre pigments being applied as before1 fine majolica was produced4 ,it will thus be seen that the words 8mezza-majolica0 and 8majolica0 were originally applied only to wares showing the reflet mtallique1 or lustre4 ,this limited use of the word was observed down to the middle of the sixteenth century4 ,piccolpasso1 writing in #aedh1 in no case applies the name to the painted and glazed wares of his own production4 ,all the glazed earthen-ware of ,italy was thereafter called majolica2 and the application of the word has been growing wider ever since4 ,mr4 ,fortnum says1 8,we think1 with ,m4 ,jacquemart1 ,m4 ,darcel1 ,mr4 ,j4 ,c4 ,robinson1 and others1 that the word #8maiolica' should be again restricted to lustred wares40 ,any such attempt must necessarily end in failure4 ,the popular employment of a word is not to be controlled by its scientific application4 ,the tendency is in the opposite direction--toward the establishment of a universal usage by which faience and majolica will become convertible terms4 ,the different kinds of ware1 such as ,lucca della ,robbia1 ,palissy1 ,doulton1 and ,limoges1 will be found described under the countries to which they belong4 ,porcelain is composed of two ingredients1 one of which--kaolin--is infusible1 and the other--petuntse--vitrifies1 and envelops the kaolin4 ,it is translucid1 and therein differs from pottery1 which is opaque4 ,as to the origin of the word1 we have already seen that it was1 in its ,italian form1 applied to majolica in the sixteenth century2 and the word 8pourcelaine0 occurs two centuries earlier4 ,it was used to designate ,oriental china in the fifteenth century4 ,mr4 ,j4 ,f4 ,davis1 in his work on the ,chinese 7#ahdj71 quotes ,marsden to the effect that the word 8porcelain10 or porcellana1 was applied by ,europeans to the ware of ,china1 from the resemblance of its fine polished surface to that of the univalve-shell so named2 while the shell itself derived its appellation from the curved or gibbous shape of its upper surface1 which was thought to resemble the raised back of a porcella1 or little hog4 ,when porcelain was first invented in ,china is not exactly known4 ,the combination was discovered in the province of ,honan about eighteen hundred years ago2 but the date cannot be more specifically fixed4 ,from ,china it was introduced into ,persia1 ,egypt1 and ,barbary1 at a very early period1 and was thence imported into ,europe1 where1 however1 it was not generally known until #aeah4 ,the first specimens of ,oriental porcelain known to have reached ,england were given by ,philip of ,austria to ,sir ,thomas ,trenchard1 of ,wolverton1 in #aejf4 ,to continue its history in ,europe1 it is necessary to observe that there are two kinds of porcelain--the natural1 or pate dure1 and the artificial1 or pate tendre4 ,the latter cannot stand so high a temperature as the former1 and can be scratched with a knife1 which the hard porcelain resists4 ,the soft-paste was the first to be discovered in ,europe4 ,chemists1 struck with the beauty of the ,chinese porcelain1 and impelled by a desire to imitate1 began to experiment in the sixteenth century2 and the first success1 of which substantial evidences now exist1 was gained at ,florence in #aehj4 ,it is said that a ,venetian potter made porcelain sixty or seventy years earlier2 but no specimen known to be his is now in existence4 ,after that of ,florence1 the next discovery was made by ,dr4 ,dwight1 of ,fulham1 ,england1 in #afga2 and in #afie the secret was penetrated by ,m4 ,chicanneau1 at ,st4 ,cloud1 ,france4 ,by that time the ,florentine porcelain and process had been forgotten1 and the ,english and ,french ceramists pursued perfectly independent investigations4 ,the problem of making a hard-paste porcelain resembling that of the ,orient still remained unsolved4 ,no chemistry could avail the experimenters so long as the materials were wanting4 ,to the accidental discovery of a bed of kaolin1 ,europe owed its first hard porcelain4 ,this important event took place about the year #agji1 and the circumstances leading to it are full of interest4 ,john ,frederic ,bttger1 or ,bttcher1 was a chemist's assistant in ,berlin1 and having fallen under suspicion as an alchemist1 he took refuge in ,saxony1 which was then under the electorate of ,augustus ,,ii4 ,the elector1 having questioned him as to his researches in the forbidden science1 placed him in the laboratory of a chemist who was in search of the philosopher's stone4 ,while working to that end1 ,bttcher surprised himself by producing something akin to ,chinese porcelain4 ,the course of his experiments was turned at once from the channel in which it had run4 ,the king gave him every facility for continuing his experiments and working out his secret4 ,he was first established at ,meissen1 then at ,knigstein1 and last at ,dresden4 ,the first results were comparatively rude2 then came a reddish stone-ware1 and afterward a dull white porcelain4 ,how long his experiments might have been continued1 or what might have been their ultimate result1 cannot be estimated1 had not an accidental discovery brought the object at which he was aiming suddenly within his reach4 ,john ,schnorr1 a wealthy iron-founder1 riding one day in the vicinity of ,aue1 near ,schneeberg1 ,saxony1 noticed that his horse lifted his feet with difficulty4 ,on examination he found that the clay was very white and peculiarly adhesive4 ,schnorr1 although rich1 would gladly be richer1 and avarice made him ingenious4 ,why not use this white earth in the making of hair-powder8 was the question which occurred to him4 ,the commodity was dear1 and clay was a cheap substitute4 ,he took a quantity with him1 made the new hair-powder1 and was successful in his venture4 ,in due course1 the new powder reached ,bttcher1 and he1 in turn1 found an original use for the white earth4 ,inquiring into the nature of the powder1 he found it was earthy1 and at once tried it in his laboratory4 ,the powder was kaolin1 and hard porcelain was discovered4 ,a manufactory was established at ,meissen1 of which ,bttcher was director until his death1 in #agai4 ,in #agbj1 the manufacture was begun at ,vienna1 whither the secret was carried by an escaped foreman from ,bttcher's works at ,meissen4 ,it is very curious to note that the first manufacture of hard porcelain in ,france was due to a chance discovery almost identical with that made in ,germany4 ,kaolin had been found at ,alenon1 but the porcelain made from it was not pure in color4 ,in #agfe1 the wife of a surgeon found near ,st4 ,yrieix a peculiarly soft earth of great whiteness4 ,being poor1 ,madame ,darnet was also economical4 ,unlike ,schnorr1 her thoughts turned in the direction rather of keeping down household expenses than of adding to her income4 ,the earth had a soft1 oily touch1 and the good lady thought that it might answer all the purposes of soap4 ,her husband sent a sample to a chemist1 and it was soon afterward decided to be kaolin4 ,the manufacture of hard porcelain was begun at ,svres in #agfi1 the quarries of ,st4 ,yrieix supplying both the kaolin and petuntse4 ,as illustrating the ingratitude of the world1 it may be mentioned that the humble instrument by whose aid ,france reached its lofty eminence in the manufacture of porcelain was1 for about sixty years1 left unrewarded4 ,in #ahbe1 ,madame ,darnet1 spending her old age in poverty1 received a pension from ,louis ,,xviii4 ,biscuit is the technical term applied to both pottery and porcelain before they are enamelled or glazed4 ,in this condition1 porcelain is of a dead white1 and is not very well suited to receive decoration in colors which require a glaze to bring out their full beauty4 ,,chapter ,,ii4 ,,classification4 ,tabulated ,view4--,brongniart's ,division3 ,its ,objections4--,classification adopted4--,leading ,features and ,advantages4--,distinctions between ,different ,bodies and ,different ,glazes4 ,in order to avoid repetitions and explanations1 and for the sake of lucidity1 tabulated views of the different branches of ceramics are here presented4 ,the first is least detailed1 but gives the salient points of a systematic arrangement4 ,unglazed ,common brick4 ,earthen-ware4 ,soft ,lustrous ,greek pottery4 ,,pottery ,glazed ,some ancient and most modern faience4 ,enamelled ,robbia ware4 ,hard ,stone-ware4 ,fire-brick4 ,soft ,naturally soft ,english porcelain4 ,artificially soft ,french porcelain1 pate tendre1 ,,porcelain such as old ,svres4 ,china4 ,hard ,dresden4 ,svres4 ,the following is more full1 and is to be ascribed to ,m4 ,brongniart3 ,,first ,,class1 ,,soft-,,paste4 #ast ,order4 ,baked clay without glaze4 #b;d ,order4 ,lustred wares with silico-alkaline glaze4 #c;d ,order4 ,glazed pottery with plumbiferous glaze4 #dth ,order4 ,enamelled pottery1 in the enamel of which tin is used4 ,,second ,,class1 ,,hard-,,paste 7,,opaque74 #eth ,order4 ,fine faience1 uncolored paste with plumbiferous glaze4 #fth ,order4 ,stone-ware without glaze1 or with salt or plumbiferous glaze4 ,,third ,,class1 ,,hard-,,paste 7,,translucent74 #gth ,order4 ,hard porcelain1 paste and glaze both felspathic4 #hth ,order4 ,english natural soft-paste porcelain--paste1 argillaceous kaolin1 pegmatite1 phosphate of lime1 etc42 glaze1 boracic4 #ith ,order4 ,french artificial soft-paste porcelain--paste1 a frit1 marly alkaline2 glaze1 alkaline containing lead1 alkali1 and silica4 ,if these tables be studied carefully1 it will be found that in arranging the nine orders1 a gradual ascent is made from the humblest ware--baked clay left unglazed--to the finest of artificial compounds4 ,its only objection--and it is one very likely to confuse an inexperienced student of the art--is1 that1 under the head of hard-paste pottery1 are classed the soft-paste porcelains of ,england and ,france4 ,the question is1 also1 very likely to suggest itself1 why the distinction should be drawn between the soft-pastes of ,england and ,france1 and the one called natural1 the other artificial4 ,the reason is that the paste of ,england is naturally soft1 while that of ,france is made soft by the chemical action of certain of its ingredients4 ,the classification has1 on the other hand1 the advantage of being in general use4 ,terms are employed in its construction which have a peculiar but well understood significance2 and even in its errors there is a modicum of truth4 ,thus1 although the artificial porcelain of ,france is invariably called pate tendre1 or soft porcelain1 it is not improperly classed under translucent hard-pastes4 ,the error is in the distinctive name rather than in the classification4 ,there is1 in reality1 very little difference in hardness between the hard-paste and the soft-paste2 and although the glaze of the latter is not so hard as the body1 the appellation soft-paste has been adjudged a misnomer4 ,the question then came to be whether it might not be better to retain the old terms1 with an explanation of their technical meaning1 than to supplant them with something new4 ,the latter course has been adopted1 upon the ground of obviating meaningless and misleading distinctions4 ,both simplicity and a clear understanding of one of the most important practical divisions of our subject point toward a revision of the old system of grouping4 ,pottery and porcelain differ in one essential respect1 and their varieties can also be classed according to the leading features of their composition1 manufacture1 or appearance4 ,these differences have been taken as the basis of the following classification1 against which1 at least1 none of the objections to that of ,m4 ,brongniart can be brought4 ,it has been prepared by a distinguished ,french artist of the present time1 and is offered in the hope that it may be intelligible1 although it is not claimed to be either perfectly exact or altogether complete4 ,all wares are divisible into two great classes1 viz41 transparent porcelain and opaque earthen-ware4 ,,porcelain may be natural or artificial4 ,i4 ,natural porcelain is made from kaolinic clay4 ,it may have-- #a4 ,a pure felspathic glaze1 such as porcelain of ,china1 ,japan1 ,limoges1 ,svres1 ,dresden1 ,berlin2 or1 #b4 ,no glaze1 such as the biscuit porcelain of ,china or ,france4 ,,ii4 ,artificial porcelain may be made from alkaline clay1 calcareous clay1 or felspathic clay4 #a4 ,alkaline clay may have an alkaline glaze1 either colorless or colored1 or may be biscuit4 a4 ,alkaline glaze1 colorless--,persia1 ,china1 ,st4 ,cloud1 ,limoges1 ,svres1 ,tournay4 b4 ,alkaline glaze1 colored--,persia1 ,china1 ,limoges1 ,deck4 c4 ,biscuit--,old ,svres statuettes4 #b4 ,calcareous clay has a colorless boracic glaze1 as in the case of the ,english china of ,minton1 ,copeland1 and ,worcester4 #c4 ,felspathic clay is exemplified in the parian of ,copeland1 ,minton1 and ,worcester4 ,,earthen-,,ware is of two kinds--that showing a non-vitrified fracture1 and that showing a vitrified fracture4 ,i4 ,,earthen-,,ware with non-vitrified fracture may have either a transparent glaze or an opaque enamel4 #a4 ,transparent glaze may be plumbiferous or alkaline1 and in either case colorless or colored4 a4 ,plumbiferous4 ,glaze1 colorless--,faience d',oiron or ,henri ,deux ware1 ,wedgwood1 ,meakin1 ,creil1 ,montereau4 ,glaze1 colored--,palissy1 ,nuremberg1 ,minton's majolica4 b4 ,alkaline4 ,glaze1 colorless--,persian faience1 ,chinese and ,japanese faience2 ,deck1 of ,paris4 ,glaze1 colored--,haviland or ,limoges faience4 #b4 ,opaque enamel is stanniferous1 and may be either colorless or colored4 ,stanniferous1 colorless--,della ,robbia1 ,rouen1 ,moustiers1 ,delft1 ,nevers4 ,stanniferous1 colored--,colinot1 ,parville1 ,longwy4 ,,ii4 ,earthen-ware with vitrified fracture may be either glazed or in biscuit4 ,of the former1 the ,grs of ,germany1 ,beauvais1 and ,doulton may be taken as examples4 ,for convenience of reference1 the same classification may be given in tabulated form3 ,,classification ,,of ,,all ,,kinds ,,of ,,ware4 ,china1 ,japan1 ,glaze of ,dresden1 ,berlin1 ,natural ,kaolinic felspath1 ,svres1 ,limoges4 paste pure ,biscuit ,biscuit porcelain of ,limoges and ,china4 ,persia1 ,china1 ,,translucent ,st4 ,cloud1 ,tournay ,,porcelain4 ,alkaline ,glaze alkaline1 ,svres1 ,haviland4 paste colorless ,glaze alkaline1 colored ,persia1 ,china1 ,deck1 ,haviland4 ,biscuit ,old ,svres statuettes4 ,artificial,calcareous ,glaze boracic1 color ,english china1 paste ,minton1 ,worcester1 ,copeland4 ,felspathic ,parian ,copeland1 ,worcester1 paste ,minton4 ,glaze1 ,faience ,henri ,,ii41 ,plumbiferous colorless4 ,wedgwood1 ,meakin1 glaze ,creil1 ,montereau4 ,glaze1 ,palissy1 ,nuremberg1 ,earthen body ,transparent colored ,minton's majolica4 with a glaze4 non-vitrified ,alkaline ,glaze1 ,faience of ,persia1 break glaze colorless4 ,china1 and ,japan2 ,deck4 ,limoges faience of ,haviland1 ,glaze1 ,bracquemond1 colored and ,chaplet4 ,,opaque ,delia ,robbia1 ,,earthen ,opaque ,stanniferous ,colorless ,rovigo1 ,fontana1 ,,body4 enamel ,rouen1 ,moustiers1 ,nevers1 ,delft1 ,,terres4 ,ulysses de ,blois1 ,st4 ,clement4 ,colored ,colinot1 ,parville1 ,longwy4 ,earthen body1 ,biscuit ,boccaro1 ,bizen4 with a vitrified break ,glaze ,grs from ,germany4 ,under the above arrangement1 it will be observed that the distinction between hard and soft porcelain and pottery is done away with4 ,the first is divided into natural and artificial1 the kaolinic paste being the only one coming under the former head1 and the 8soft-pastes0 of both ,england and ,france coming under the latter4 ,the subdivisions are made according to the glaze employed4 ,the division of pottery into two classes1 according to the nature of the body as revealed by fracture1 is the most lucid and comprehensive4 ,the subdivisions1 as in the case of porcelain1 are made according to the enamel or glaze applied to the ware4 ,it is presumed that any one can distinguish between transparent and opaque wares1 and thus tell porcelain from pottery1 and similarly1 tell whether the fracture of a broken specimen is vitrified or otherwise1 and thus distinguish stone-ware1 or grs1 from ordinary earthen-ware4 ,in the matter of glazes1 it requires a great deal of skill and long practice to tell one from another4 ,all are transparent1 with the exception of tin or stanniferous enamel4 ,felspathic glaze is that most readily recognized2 but in the case of the others--the alkaline1 plumbiferous1 and boracic--they are very often only to be distinguished by their different effects upon the colors used in decoration4 ,,chapter ,,iii4 ,,composition ,,of ,,wares ,,and ,,glazes4 ,hard and ,soft ,pottery and ,porcelain4--,,composition ,,of ,,porcelain3 ,kaolin--,its ,derivation and ,ingredients--,petuntse--,how prepared in ,china4--,the ,european ,process4--,differences between ,chinese and ,european ,porcelains4--,chemical ,analysis4--,english ,porcelain and its ,peculiarities3 ,its ,average ,composition4--,how ,english ,clay is prepared4--,french ,artificial ,porcelain4--,parian4--,,common ,,earthen-,,ware43 ,table of ,ingredients of different kinds4--,general ,table4--,,glazes3 ,classes4--,brongniart's ,classification4--,difference between ,enamel and ,glaze4--,silicious ,glaze4--,history4--,use of ,oxides4--,egyptian ,processes4--,metallic ,lustre4--,stanniferous ,enamel3 ,its ,history4 ,the division of pottery and porcelain into two great classes1 hard and soft1 is based upon the difference of their composition1 their hardness of surface1 and their power of resisting the action of fire4 ,the simplest test is scratching with a knife or other instrument4 ,hard porcelain and pottery resist the metal1 while the soft is marked4 ,the former will also stand a temperature in the kiln at which the latter would crumble or fuse4 ,to understand the composition of porcelain1 it is necessary to bear in mind that it is a compound of kaolin and petuntse1 the former of which is infusible1 and the latter fusible at a high temperature4 ,the former constitutes the body of the piece1 the latter gives it its translucency4 ,the word 8kaolin0 is derived from ,kaoling1 the name of a mountain near ,king-teh-chin1 one of the great centres of the manufacture in ,china4 ,kaolin is simply the result of the decomposition of granitic rock1 and silica and alumina are its chief ingredients4 ,petuntse is pure felspar4 ,the conditions in which these materials are found in ,china may be briefly stated4 ,they are either in the form of stone or sand1 from which the unsuitable parts are removed by the action of water4 ,when they are thrown into the water1 the fine particles which do not sink are collected and dried4 ,the paste1 before being used1 is again put into water and strained through a sieve1 so that only the finest is preserved1 and used in making porcelain4 ,the materials are obtained from different parts of the country1 and blended according to their respective qualities1 as ascertained by the most systematic investigation and experiment4 ,the ,european process is similar1 the kaolin being first washed clear of all argillaceous impurity1 and then mixed with felspar and silicious sand4 ,of the further similarity between the two1 ,,mm4 ,ebelman and ,salvetat say3 #ast4 ,the kaolin and petuntse used in making paste for ,chinese porcelain are chemically identical with the materials used in ,europe4 ,the ,chinese kaolin is evidently disintegrated granite4 ,chemically1 petuntse resembles the pegmatite of ,limoges2 mineralogically1 it is to be classed with petrosilicious felspar4 #b;d4 ,the mechanical preparation of the pastes of ,china and ,europe is based upon similar methods4 #c;d4 ,the ,chinese paste is the more fusible of the two4 #dth4 ,the ,chinese glaze is also the more fusible1 on account of the addition of lime to the petuntse1 which the ,french use pure4 ,it may be added that the ,dresden1 ,svres1 and ,limoges porcelains are baked at a higher temperature1 and are harder than the ,chinese4 ,the basis of the natural pastes of ,germany and ,france is #df4ff parts of silex1 #dj of aluminous earth1 and #ac4cc alkaline earth1 although the proportions vary1 and the following may be nearer an average3 ,silex1 #ff2 alumina1 #cj2 potash1 magnesia1 and lime1 #d4 ,in the glaze the proportions are different1 the silica largely preponderating3 ,silex1 #gc4d2 alumina1 #ae4g2 potash1 lime1 and magnesia1 #aj4i4 ,the following table is given by ,m4 ,a4 ,salvetat as the result of analyses made at different times by himself and others3 ---------------------------------------- ---------------------------------- ,pastes4 ,silica4,alumina4 ,oxide ,lime4,magnesia4,potash4,soda4 of ,iron4 ---------------------------------------- ---------------------------------- ,china1 #ast quality#fi4jj #bc4fj #a4bj #j4cj #j4jb #c4cj #b4ij ,china1 #b;d quality #gj4jj #bb4bj #a4cj #j4hj traces #c4fj #b4gj ,china1 #c;d quality #gc4hj #ai4cj #b4jj #j4fj traces #b4ej #b4cj ,china1 #dth quality#fh4id #ba4cj #c4dh #a4ad traces #c4db #a4gh ,meissen #eh4ej #ce4aj #j4hj #j4cj traces #e4jj 4444 ,vienna #ei4fj #cd4bj #j4hj #a4gj #a4dj #b4jj 4444 ,berlin #fd4cj #bi4jj #j4fj #j4cj #j4de #c4fe 4444 ,limoges #gj4bj #bd4jj #j4gj #j4gj #j4aj #d4cj 4444 ,svres #eh4jj #cd4ej 4444 #d4ej 4444 #c4jj 4444 ,svres 7sculpture7#fd4aj #cj4bd 4444 #b4hb traces #b4hj 4444 ,worcester #hb4jj #i4aj 44444 #a4cj #g4dj 4444 4444 ,paris #ga4bj #bb4jj #j4hj #j4hj 4444 #d4ej 4444 ---------------------------------------- ---------------------------------- ,the ,english artificial porcelain differs from the natural paste of ,china and the ,european continent chiefly in one particular4 ,at first the compound used was white clay1 white sand1 and glass1 the latter being employed to impart the necessary transparency4 ,more recently bone came largely into use1 and is now one of the distinctive ingredients of ,english paste4 ,the phosphoric acid of that material was found to produce1 in combination with the other materials1 a clear1 translucent body1 of less strength than natural paste1 but less liable to sink4 ,the following may be taken as the mean composition3 ,bone1 #dg2 kaolin1 #cd2 felspar1 #ai4 ,the kaolin is found in ,cornwall1 where a very large tract is formed chiefly of decomposed granite4 ,the purest rock having been selected1 it is placed on an inclined plane1 upon which water can be turned4 ,it is washed down into a trench1 and thence into a catch-pit1 and again into lower pits1 in which successively the impure ingredients are retained1 the water laden with the finer particles running into tanks1 and there depositing its fine silt4 ,the clay is partially dried1 and cut into blocks1 and in that shape reaches the potters4 ,the manner in which the kaolin is prepared bears a very close resemblance to that adopted by the ,chinese1 as previously described4 ,the glaze is composed of felspar1 carbonate of lime1 borax1 and white-lead4 ,sometimes the kaolin is mixed with the bone and felspar in the proportions above specified1 and sometimes the bone is made1 in combination with silex and pearlash1 into a frit4 ,the artificial or soft porcelain of ,france1 exemplified in the old china of ,svres1 was produced by a very intricate and ingenious process4 ,a frit was made of saltpetre1 sea-salt1 burnt alum1 soda-ash1 gypsum1 and sand4 ,this mixture1 having been purified by partial vitrification1 was ground1 and mixed with chalk and marl4 ,the glaze was as follows3 ,litharge1 #ch2 sand1 #bg2 calcined flint1 #aa2 and the carbonates of soda and potash1 #ae and #i parts respectively4 ,the composition called parian1 in which the potters of ,england and ,america have executed much beautiful work1 varies considerably4 ,analysis of one specimen resulted thus3 ,silica1 #eh4eg2 alumina1 #ba2 oxide of iron1 #a2 lime1 #j4ad2 magnesia1 #j4e2 potash1 #aa4dj2 soda1 #e4jh4 ,the clay from which common earthen-ware is made is composed to a great extent of silica and alumina1 with admixtures of iron1 lime1 and magnesia4 ,an average combination is #fj parts silex1 #cj alumina1 #g iron1 and #b lime4 ,these proportions vary very widely1 certain substances appearing in one place and not in another4 ,in some1 carbon is found2 in others1 quartz1 sand1 marl1 or chalk1 as the case may be4 ,the work of classification1 except in a very extended form1 is thus rendered somewhat difficult4 ,possibly the following series of tables will serve our purpose most intelligibly4 ,column headings3 ,s3 ,silica4 ,a3 ,alumina4 ,i3 ,oxide of ,iron4 ,l3 ,lime4 ,m3 ,magnesia4 ,w3 ,water4 ,c3 ,carbon4 ---------------------------------------- -------------------- ,pottery4 ,s ,a ,i ,l ,m ,w ,c ---------------------------------------- -------------------- ,german #fc4ij #ab4gf #aj4bd #a4jd #j4eb #i4ih #a4jb ,scandinavian #fd4jb #aj4gg #aa4bc #b4dh #j4je #i4ig #a4jj ,old ,gallic #fb4bb #ah4cf #e4ga #a4ag #j4dg #aj4ef #j4gh ,peruvian #fg4jd #aj4hc #aj4ag #c4bd #j4bh #g4jg #a4jj ,etruscan #fd4jb #ab4di #h4ec #c4jj #a4hc #h4ac #b4jj ---------------------------------------- -------------------- ,in the following carbon does not appear1 and the proportion of silica increases3 ---------------------------------------- ---------------------------- ,oxide of ,pottery4 ,silica4 ,alumina4 ,iron4 ,lime4 ,magnesia4 ,water4 ---------------------------------------- ---------------------------- ,roman #fd4jj #ag4gg #aj4bc #d4hf 4444 #b4bc ,middle ,ages #gb4ee #bj4bg #b4ed #a4jd 4444 #c4jj ,egypt #ha4jj #ac4ej #a4jj #c4jj 4444 #a4ij ,egypt #ib4jj #d4jj 4444 #b4jj #j4fj #j4dj ,persian #ij4jj #a4ej #a4ej #c4jj #j4hj #j4fj ,jerusalem #hg4af #e4ej 4444 #c4jj #j4gh 4444 ,arabian #hi4ie #c4hg 4444 #b4jj #j4ea #c4jj ---------------------------------------- ---------------------------- ,the ,egyptian1 compounded as above1 is that which has been commonly known as ,egyptian porcelain4 ,many of the better known wares of ,europe and the ,east have a common characteristic in the calcareous nature of their pastes4 ,the silica decreases and the lime increases1 while carbonic acid appears as a new ingredient4 ,column headings3 ,s3 ,silica4 ,a3 ,alumina4 ,m3 ,magnesia4 ,i3 ,oxide of ,iron4 ,c3 ,carbonic ,acid4 ---------------------------------------- -------------------- ,pottery4 ,s ,a ,m ,i ,c ,lime4 ---------------------------------------- -------------------- ,lucca della ,robbia #di4fe #ae4ej #j4ag #c4gj #h4eh #bb4dj ,majorca #dh4jj #ag4ej #a4ag #c4ge #i4df #bj4ab ,spain 7old7 #df4jd #ah4de #j4hg #c4jd #ac4if #ag4fd ,valencia 7modern7 #ea4ee #bj4eb #a4bd #b4fc #aj4db #ac4fd ,delft #di4jg #af4ai #j4hb #b4hb #ac4ji #ah4ja ,persian #dh4ed #ab4je #j4cj #c4ad #af4gb #ai4be ,nevers #ef4di #ai4bb #j4ga #b4ab #f4ej #ad4if ,rouen #dg4if #ae4jb #j4dd #d4jg #ab4bg #bj4bd ---------------------------------------- -------------------- ,of the potteries which hold a place between the hard and soft wares are the ,palissy and ,henri ,deux4 ,the composition of the former is #fg4ej silica1 #bh4ea alumina1 #a4eb lime1 #b4je oxide of iron1 with a very slight admixture of alkalies4 ,that of the latter is #ei4aj silica1 and #dj4bd alumina4 ,from what has been said1 it will be seen that the difference between earthen-ware1 stone-ware1 and porcelain is to be attributed to a few minor ingredients1 to the preparation1 and to the degree of heat to which they are subjected4 ,the following table may be studied for the sake of making comparisons3 ,common earthen-ware ,silica1 #fj2 alumina1 #cj2 iron1 #g2 lime1 #b4 ,blue clay ,silica1 #df2 alumina1 #ch2 iron1 #a2 lime1 #a4 ,staffordshire clay ,pipe-clay1 #dj2 kaolin1 #be2 quartz1 #bj2 felspar1 #ae4 ,stone-ware ,felspar1 #be2 quartz or silex1 #be2 soda1 #be2 plastic clay1 #ae2 boracic acid1 #aj4 ,porcelain ,silica1 #ff2 alumina1 #cj2 potash1 #c4d2 magnesia and lime1 #a4a4 ,porcelain glaze ,silica1 #gc4d2 alumina1 #ae4g2 potash1 #g4d2 magnesia and lime1 #b4b4 ,english porcelain ,kaolin1 #cd2 bone1 #dg2 felspar1 #ai2 soda ash1 #cf4 ,old ,svres soft-paste ,saltpetre1 #bb2 sea-salt1 #g4b2 burnt alum1 #c4f2 soda ash1 #c4f2 gypsum1 #c4f2 sand1 #fj4 ,this was made into a frit and mixed--#ge parts frit1 #ag chalk1 and #h of calcareous marl4 ,as to the glazes applied to clay or opaque ware1 we have seen that they are broadly distinguished as translucent plumbiferous or alkaline1 opaque stanniferous1 and salt glaze4 ,the distinction is also to be observed between glaze and enamel1 although they are often confounded4 ,thus1 according to ,m4 ,brongniart1 there are three kinds of glaze--varnish1 enamel1 and couverte--all of which are vitrifiable4 ,varnish he describes as a transparent and plumbiferous material1 melting at a lower temperature than that required for baking the paste2 enamel1 an opaque1 generally stanniferous 7containing tin7 substance2 couverte1 a substance which melts at a temperature equal to that required for baking the paste4 ,birch1 on the other hand1 draws a distinction between glaze and enamel4 ,in one place he speaks of 8opaque glasses or enamels10 and again1 8among the ,egyptians and ,assyrians1 enamelling was used more frequently than glazing40 ,so1 also1 ,fortnum1 who1 dividing pottery into soft and hard1 subdivides the former into unglazed1 lustrous1 glazed1 and enamelled4 ,the glazed he again divides into silicious1 or glass-glazed1 and plumbeous1 or lead-glazed1 both of which are transparent4 ,the word 8glaze0 is thus more correctly applied to the covering1 which does not alter the color of the body upon which it is laid1 and 8enamel0 to that which obscures the body4 ,glass1 or silicious glaze1 is formed by fusing sand with an alkali--potash or soda4 ,when to this is added the oxide of lead1 transparent plumbiferous glaze is the result2 and when to both of these oxide of tin is added1 we have opaque stanniferous enamel4 ,the glass and plumbeous glazes may be colored with a variety of other oxides1 without losing their transparency4 ,when or where glaze was first applied to clay is not known4 ,like many other branches of knowledge and many nations1 it has its roots in the ,east1 but whether we are indebted for it to ,india1 ,egypt1 or ,assyria1 cannot now be decided4 ,upon this question ,dr4 ,birch says3 8,the desire of rendering terra-cotta less porous1 and of producing vases capable of retaining liquids1 gave rise to the covering it with a vitreous enamel or glaze4 ,the invention of glass has been hitherto generally attributed to the ,phnicians2 but opaque glasses or enamels1 as old as the eighteenth dynasty1 and enamelled objects as early as the fourth 7,b4,c4 #cjjj-bjjj71 have been found in ,egypt4 ,the employment of copper to produce a brilliant blue-colored enamel was very early both in ,babylonia and ,assyria1 but the use of tin for a white enamel1 as recently discovered in the enamelled bricks and vases of ,babylonia and ,assyria1 anticipated by many centuries the rediscovery of that process in ,europe in the fifteenth century1 and shows the early application of metallic oxides4 ,this invention apparently remained for many centuries a secret among the ,eastern nations only1 enamelled terra-cotta and glass forming articles of commercial export from ,egypt and ,phnicia to every part of the ,mediterranean4 ,among the ,egyptians and ,assyrians enamelling was used more frequently than glazing1 and their works are consequently a kind of faience1 consisting of a loose frit or body1 to which an enamel adheres after only a slight fusion4 ,after the fall of the ,roman ,empire the art of enamelling terra-cotta disappeared among the ,arab and ,moorish races1 who had retained a traditional knowledge of the process4 ,the application of a transparent vitreous coating1 or glaze1 over the entire surface1 like the varnish of a picture1 is also referable to a high antiquity1 and was universally adopted either to enhance the beauty of single colors or to promote the combination of many4 ,innumerable fragments and remains of glazed vases1 fabricated by the ,greeks and ,romans1 not only prove the early use of glazing1 but also exhibit1 in the present day1 many of the noblest efforts of the potter's art40 ,the use of oxides is also very ancient4 ,the ,egyptians employed that of copper for the production of their turquoise-blue1 and possibly also for their green1 manganese for violet1 iron or silver for yellows1 etc4 ,the same processes were known in ,babylon and ,assyria4 ,to the ,persians and ,arabians the application of metallic lustres was known at a very early period4 ,plumbiferous1 or lead-glaze1 was employed by the ,babylonians1 and the knowledge of its composition was in all probability imported thence among the ,greeks1 and by them may have been carried into ,southern ,italy4 ,the course of enamel is equally difficult of definition4 ,although used in ,egypt1 ,babylon1 and ,assyria1 it does not appear to have supplanted the lead-glaze2 and for a long period all traces of it are lost1 until it reappeared among the ,arabs4 ,we next meet with it as a distinctive characteristic of the potteries of ,spain4 ,it was also known to the ,saracenic and ,moorish potters of ,sicily1 and from either of these sources may have found its way into ,italy4 ,,chapter ,,iv4 ,,manufacture ,,and ,,decoration4 ,divisions of ,chapter4--,japanese ,method of ,preparing ,porcelain ,clay4--,old ,svres ,soft ,porcelain4--,pug-,mill4--,blunger4--,ea rly ,italian ,methods4--,shaping the ,clay4--,moulding among the ,egyptians1 ,greeks1 ,italians1 and at the ,present ,day4--,moulding ,porcelain4--,japanese ,method4--,european4--,throwing4--,the ,potter's ,wheel in all ,countries4--,baking and ,firing4--,egyptian1 ,greek1 ,italian1 and ,japanese ,kilns4--,those of ,modern ,europe and ,america4--,times of ,firing4--,glazing and ,painting4--,metallic-,lustre ,majolica4--,japanese ,methods4--,glazing ,stone-ware4--,natural and ,artificial ,porcelain4 ,having thus glanced at the different wares1 and learned the composition of the leading kinds of paste and glaze1 the attention is next attracted by the processes of preparing the materials1 and the different methods of manufacture4 ,the levigation of kaolin and making of porcelain have already been touched upon incidentally4 ,the subject of the present chapter naturally divides itself into the following heads3 ,preparation of the paste2 ,forming the vessel to be made2 ,baking or firing2 ,preparation of the glaze or enamel2 ,applying the glaze or enamel2 ,laying on the color and painting4 ,to what has been said about the preparation of ,english and ,chinese kaolin pastes1 little need be added4 ,there is1 however1 a peculiarity about the ,japanese custom not unworthy of notice4 ,in that country the raw material1 whether kaolin1 quartz1 or felspar1 is reduced to a powder by a horizontal balancing pounder of primitive construction1 and worked by water-power4 ,two long beams are joined together at one end by an iron-cased crossbar1 and a trough is attached to the other4 ,this frame is then erected near a stream1 so that the water will fall into the trough4 ,the weight of the water carries the trough down1 and the other end is raised to a corresponding height4 ,when the trough has fallen so far that1 by reason of the slope1 the water runs out and thus takes off the weight at that end1 the iron-shod beam at the other descends1 and falling into a stone mortar in which the raw material has been placed1 in a very short time pulverizes it4 ,the above is the only machine employed by the ,japanese4 ,after being pulverized1 the paste is sifted1 mixed with water1 and decanted1 and the water is finally drained off through matting and sand4 ,the fine clay to be used in making porcelain is deposited on the mat4 ,for the old ,svres soft porcelain1 the frit was crushed1 cleared of salts1 and ground in water4 ,the paste was then mixed with the other ingredients1 as previously given in the table4 ,illustration3 ,fig4 #ba4--,vertical ,pug-,mill1 in use at ,union ,porcelain ,works1 ,greenpoint4 ,to prepare clay for making earthen-ware or stone-ware1 machines are now generally used4 ,that for the coarser kind of wares1 such as bricks or common stone-ware jars1 is a pug-mill 7,figs4 #ba and #bb74 ,the clay1 having been brought by water to a certain workable consistency1 is put into the mill4 ,this is simply a cylindrical box1 with blades projecting from the inside1 and having in the centre a shaft also armed with blades4 ,by the revolving of the shaft the clay is worked into a perfect pulp1 and in that condition issues from a hole in the lower end of the mill4 ,should any hard substance have resisted the knives1 it is removed by hand4 ,illustration3 ,fig4 #bb4--;,horizontal ,pug-,mill1 in use at ,union ,porcelain ,works1 ,greenpoint4 ,for the finer kinds of earthen-ware1 into the composition of which pipe-clay1 kaolin1 quartz1 and felspar enter1 the ingredients are mixed in a 8blunger40 ,this machine is not unlike a steam butter churn1 there being a shaft passing from end to end1 in exactly the same way1 and armed with similar paddles4 ,water is added to the ingredients1 and1 as the blunger turns1 these are all thoroughly mixed into a 8slip10 which is drawn off at the bottom4 ,it is then strained and finally passed through a pug-mill1 and is ready for use4 ,piccolpasso1 or the ,cavaliere ,cipriano ,piccolpasso ,durantino1 who wrote in ,italy1 in #aedh1 gives very minute information regarding the processes of the potters of his time and country4 ,the clay was either washed down by rivers or taken from pits4 ,in the former case it was taken from the river-bed when the water was low1 and was placed in holes in the ground1 either after or without being dried in the sun4 ,the object of keeping it was to allow all impurities to pass off4 ,where there were no rivers1 a series of pits was dug in any convenient hollow1 and connected by a channel4 ,the earth was washed down by the rain into these pits1 and purified by the passage from one to another4 ,in some cases it was found necessary to place the earth on sieves exposed to the rain1 through which the finer particles were washed into receivers placed below4 ,instead of using a pug-mill1 the ,italian potters put the earth upon a table1 where it was beaten with an iron instrument1 and thoroughly kneaded and cleaned by hand4 ,the next process is the formation or shaping of the vessel4 ,this may be done either by moulding or by 8throwing0 upon the potter's wheel4 ,both of these methods are very ancient4 ,the ,egyptians used moulds in making bricks before they resorted to the use of fire for baking them4 ,their lamps1 etc41 also give evidence of having been moulded4 ,the ,greeks used modelling tools for their ornaments1 and also for pithoi1 or casks4 ,afterward moulding was resorted to1 and by that means the potter made certain parts of the vases--the handles and feet1 for example1 and also the ornaments4 ,the entire vessel was sometimes produced by moulding1 such as the rhyta1 or drinking-cups1 with terminations in the form of animals' heads4 ,amphor1 cups1 saucers1 and vases of many shapes were formed by the same process4 ,we must refer to ,piccolpasso again for the manner in which the ,italian potters moulded4 ,like the ,greeks1 they appear first to have moulded the parts1 such as the handles1 which were fixed to the body after it was fashioned4 ,they then1 again like the ,greeks1 began to imitate metal vessels1 and thus were brought directly to the process of moulding upon their models1 or shaped pieces ornamented in relief4 ,the moulds were made of plaster of ,paris1 and1 when ready1 the clay was worked into a cylindrical shape1 and sliced by drawing a wire across it4 ,the thickness of the slice was regulated and made uniform by pieces of wood placed at either side of the lump of clay4 ,a slice was then taken and pressed into the mould1 and another for the other side into the other half of the mould4 ,any excess appearing over the edges was cut away4 ,the feet were similarly moulded1 and subsequently fixed to the body by means of a composition of clay and fine wool cuttings4 ,in making vases or ewers1 moulds were made for both sides1 and joined at the front and back4 ,a wire was used to cut off the superfluous clay1 and the two pieces were joined together with the composition above mentioned4 ,the handle was fastened on by the same means4 ,moulds are at the present day used in every branch of the art1 from the lowest to the highest4 ,drain-pipes are made in a cylindrical mould1 with a smaller and solid cylinder inside4 ,the clay is pressed between the two concentric cylinders4 ,in making earthen-ware1 the clay is sometimes rolled out and spread upon a block of the desired shape4 ,in making plates1 the clay is spread over a round block1 and moulded by a form pressed down from above4 ,when plaster of ,paris is used1 the process is very like that described by ,piccolpasso4 ,the mould is in two parts1 into each of which the clay is pressed4 ,the two pieces are then brought together1 and the seams joined4 ,or a plaster mould may be used1 into which the paste is poured in a liquid state4 ,the absorption of the liquid by the plaster soon gives the clay sufficient consistency to take the necessary shape4 ,subsequent shrinkage allows its removal from the mould4 ,after a partial drying1 the ware is dressed or 8shaved40 ,the process is a very delicate one1 especially in the finer kinds of ware1 in which a finely polished surface is necessary4 ,the piece is placed on a lathe1 and cut to the necessary thickness1 and receives its ornamental lines1 or has the mouldings applied4 ,the handles are then attached1 and1 after drying1 the piece is ready for the kiln4 ,the moulding of porcelain requires very great care1 on account of the fragility of many of the pieces4 ,in ,japan1 clay moulds were exclusively used until within the past three years4 ,after being thrown or moulded1 and slightly dried1 the pieces are shaped by means of sharp metal instruments in the same lathe on which the throwing is done4 ,a coat of pure white clay is then laid on for the purpose of enhancing the beauty and heightening the effect of the color4 ,this having been done1 the piece is ready for the preliminary firing4 ,when large pieces are made1 the ,european method is to pour the necessary thickness of slip over the inside of the mould1 against the side of which it is kept by means of forcing air into the interior1 after covering the surface1 or exhausting the air through the mould4 ,when sufficiently dry to support its own weight1 the piece is fired4 ,illustration3 ,fig4 #bc4--;,a ,potter in ,palestine4 ,the other method of forming the wares is technically called 8throwing0 upon the potter's wheel1 and is suitable for all circular vessels1 or those with modifications of the circular shape4 ,the process is very simple4 ,a piece of clay1 large or small1 as required1 is thrown down on the revolving disk1 and1 as it whirls round1 is formed by the potter's hand into the requisite shape4 ,the potter's wheel is one of the oldest mechanical appliances in existence4 ,its invention was due to the desire of remedying the irregularities of handiwork1 and as such was a valuable and in every way wonderful achievement4 ,it brought symmetry and all the varieties of circular form within the potter's reach4 ,its inventor is unknown4 ,the prehistoric vases of ,greece were made upon the wheel4 ,it was used in ,egypt at least four thousand years ago4 ,in ,assyria1 and among the ,jews1 its use is attested by the frequent reference made to it in ,scripture4 ,it is curious to find a modern traveller1 ,dr4 ,w4 ,m4 ,thomson1 speaking thus in 8,the ,land and the ,book0 of the potter of ,palestine4 8,i have been out on the shore again examining a native manufactory of pottery1 and was delighted to find the whole ,biblical apparatus complete1 and in full operation4 ,there was the potter sitting at his #8frame1' and turning the #8wheel' with his foot 7,fig4 #bc74 ,he had a heap of prepared clay near him1 and a pan of water by his side4 ,taking a lump in his hand1 he placed it on the top of the wheel 7which revolves horizontally7 and smoothed it into a low cone1 like the upper end of a sugar-loaf2 then1 thrusting his thumb into the top of it1 he opened a hole down through the centre1 and this he constantly widened by pressing the edges of the revolving cone between his hands4 ,as it enlarged and became thinner1 he gave it whatever shape he pleased with the utmost ease and expedition40 ,illustration3 ,fig4 #bd4--;,an ,egyptian ,pottery4 7,from a ,tomb47 a1 e1 i1 p1 the wheels on which the clay was put4 ,fig4 #a forms the inside and lip of the cup as it turns on the wheel a4 b1 c1 d are cups already made4 ,fig4 #b forms the outside of the cup1 indenting it with the hand at the base1 preparatory to its being taken off4 ,fig4 #c has just taken off the cup from the clay1 l4 ,fig4 #d puts on a fresh piece of clay4 ,fig4 #e forms a round slab of clay with his two hands4 ,fig4 #f stirs and prepares the oven1 q4 ,at s is the fire1 which rises through the long1 narrow tube or chimney of the oven1 upon the top of which the cups are placed to bake1 as in v4 ,fig4 #g hands the cup to the baker1 #h4 ,fig4 #i carries away the baked cups from the oven4 ,the entire process of making clay vessels in ,egypt has been preserved in a scene depicted in a tomb 7,fig4 #bd74 ,the clay was first trampled underfoot to give it evenness of consistency and make it more perfectly plastic4 ,it was then prepared for working by being rolled out1 and was then put on the wheel4 ,the latter was either round or polygonal and flat4 ,it was placed upon a stand1 and was turned with one hand1 while with the other the potter shaped the clay1 and1 as he worked1 sat either upon a low stool or upon the ground4 ,both the hollowing and external shaping were done by hand4 ,the furnaces were hollow cylinders1 about six and a half feet high1 in which the wares to be baked were placed about half-way up4 ,an aperture at the bottom admitted draught sufficient to drive the flames out of the top of the furnace4 ,among the ,greeks the wheel was also employed at a very early period1 so early that its inventor or introducer is forgotten4 ,one of the ,grecian legends ascribes the honor to ,ddalus1 an ,athenian of royal descent1 and inventor of the wedge1 axe1 and other mechanical contrivances4 ,another legend ascribes it to ,talos1 the nephew of ,ddalus1 whose murder compelled the latter to seek safety in flight4 ,to whatever individual or city the credit may be due1 the wheel was used by ,grecian potters from time immemorial4 ,they turned it with the foot--as did the ,egyptians also at one period--and it appears that the turning was sometimes left to an assistant4 ,the process was almost identical with that described above4 ,the clay was placed upon the wheel and shaped by the hand1 and when the vessel was of so large a size as to make it necessary1 one hand supported and shaped the clay from the inside4 ,in this way the body of the vessel was made1 and before the clay dried1 the feet1 handles1 and other parts were fixed to it4 ,before the wheel was known1 the vessels were hollowed out and shaped by the hand1 and the larger vessels were subsequently made in the same way4 ,it is said that the potter's wheel was invented in ,japan1 in the year #gbd1 by a priest named ,giyoki1 and the event at once raised the potter's art into very high estimation4 ,in ,arita1 the wheel consists of a fly-wheel and revolving disk1 the latter placed about a foot above the former1 and connected with it by a hollow wooden prismatic axle4 ,in the centre of the working disk1 and between the three sides of the prism1 a hollow piece of porcelain is inserted4 ,the whole is then placed upon a pointed stick fixed firmly in the ground1 in such a way that the entire weight is supported upon the point of the upright wood4 ,as that point comes in contact with the inserted porcelain1 friction is reduced to a minimum4 ,vessels of any size can be thrown in this way--from the huge basin three feet in diameter to the smallest work which the potter's hand has shaped4 ,a driving cord is employed for turning the wheel when very large pieces are being made4 ,the ,italians of the sixteenth century used the wheel in the same way1 fashioning the clay with the hands and certain tools of wood and iron 7,fig4 #be74 ,it would thus appear that the potter's wheel improved in due course of time4 ,at first it was merely a horizontal revolving disk turned by hand2 then it consisted of a three-feet shaft with the disk on the top1 and a driving-wheel below to be turned by the potter's foot2 later still1 it was turned by means of a foot-board1 like that of a turning-lathe or printing-press2 afterward the driving-wheel was separated from the disk which it turned by means of a connecting rope or band1 and was worked by an assistant2 more recently1 steam has been brought in to the saving of labor1 and in many large factories is the chief power used4 ,illustration3 ,fig4 #be4--,venetian ,potters of the ,sixteenth ,century4 ,showing two kinds of potter's wheels in use among them4 7,from engraving by ,v4 ,biringuccio47 ,it is almost unnecessary to add that when throwing was resorted to in place of moulding1 the subsequent operations of shaving1 polishing1 and attaching the handles and ornaments were performed in the same manner as that described above4 ,we now reach the third process1 that of baking or firing4 ,sun-dried bricks have been found in nearly every part of the world4 ,they were introduced into ,spain by the ,arabs1 and in the ,new ,world have been found from ,mexico to ,peru4 ,in ,egypt they represent the earliest works of the potter2 and from that country1 ,assyria1 and ,babylonia1 relics of the rudest stage of the art of working in clay have reached our own time4 ,the climate of ,egypt was such that unbaked bricks were sufficiently lasting for architectural purposes1 and walls1 tombs1 and entire pyramids were constructed of them4 ,the use of sun-dried clay was restricted in ,assyria to bricks and small figures of an apparently religious character4 ,in ,babylon1 as in ,assyria1 similar bricks were used as foundations for buildings4 ,among the ,greeks sun-dried clay was widely employed4 ,many of their temples and the walls of some of their fortified cities were constructed of bricks dried in the sun4 ,even statues and models were made of unbaked clay4 ,the kind of furnace in use among the ,egyptians at a very early period has already been described4 ,no remnant of those used by the ,greeks has been discovered1 and all the information regarding them has been derived from representations on pottery or gems4 ,a tolerably correct idea of the more ancient ones may be conveyed by describing them as tall baker's ovens1 into which the wares were pushed and baked like loaves4 ,there are several vases now in existence upon which furnaces of this kind are depicted4 ,a kylix from ,vulci1 and now at ,munich1 is remarkable for the scene depicted on it4 ,one of the epigrammata of ,homer1 entitled #8 --8,the ,furnace10 has been translated by ,cowper4 ,the explanatory preface is attributed to ,herodotus4 8,certain potters1 while they were busied in baking their ware1 seeing ,homer at a small distance1 and having heard much said of his wisdom1 called to him1 and promised him a present of their commodity--and of such other things as they could afford--if he would sing to them1 when he sang as follows3 8#8,pay me my price1 potters6 and ,i will sing4 ,attend1 ,o ,pallas6 and with lifted arm ,protect their oven3 let the cups and all ,the sacred vessels blacken well1 and1 baked ,with good success1 yield them both fair renown ,and profit1 whether in the market sold ,or streets1 and let no strife ensue between us4 ,but1 ,o ye potters6 if with shameless front ,ye falsify your promise1 then ,i leave ,no mischief uninvoked to avenge the wrong4 ,come1 ,syntrips1 ,smaragdus1 ,sabactes1 come1 ,and ,asbestus2 nor let your direst dread ,omodamus delay6 ,fire seize your house6 ,may neither house nor vestibule escape6 ,may ye lament to see confusion mar ,and mingle the whole labor of your hands6 ,and may a sound fill all your oven1 such ,as of a horse grinding his provender1 ,while all your pots and flagons bounce within4 ,come hither also daughter of the ,sun1 ,circe1 the sorceress1 and with thy drugs ,poison themselves1 and all that they have made6 ,come also ,chiron1 with thy numerous troop ,of ,centaurs1 as well those who died beneath ,the club of ,hercules1 as who escaped1 ,and stamp their crockery to dust6 ,down fall ,their chimney6 ,let them see it with their eyes1 ,and howl to see the ruin of their art1 ,while ,i rejoice3 and if a potter stoop ,to peep into his furnace1 may the fire ,flash in his face and scorch it1 that all men ,observe thenceforth equity and good faith4'0 ,the scene on the kylix at ,munich is supposed to represent ,homer among the potters4 ,the furnace is on the extreme right1 and has a tall chimney4 ,the fire is seen below4 ,in front of it is a man who has apparently been placing a vase in the oven1 and behind him comes another carrying what may be a large jar on his shoulder4 ,the next figure is that of ,homer1 holding a staff2 behind him is a vase1 and a youth carrying another vessel toward the furnace4 ,the next group shows the operation of 8throwing10 a boy turning the wheel while an old man shapes the vessel4 ,on the left is a young man sitting and holding on his knees a vase to which he seems to be attaching the handle4 ,the entire composition is interesting1 since--assuming the old man with the crook to be ,homer1 and not the proprietor of the pottery--it illustrates a poem which shows how widely1 even at the early age in which the poet lived1 the various operations in making vases were understood4 ,for our present purpose1 however1 attention is chiefly directed to the furnace4 ,the furnaces described by ,piccolpasso as in use among the ,italians were of three kinds1 one for oxidizing the tin and lead1 a second for baking glazed ware1 and a third for majolica proper1 or lustred ware4 ,in the first the furnace was rectangular1 and was divided into two parts1 one of which was occupied by the fire1 the other by the tray for the metals4 ,the latter was raised to such a height that the flames could play upon the metals as they passed over them to the opening at the other side4 ,the baking furnace was also rectangular1 and was built of brick4 ,it was divided by a perforated arch into an upper and lower compartment4 ,in the upper division the wares were placed4 ,it had four openings on either side and nine in the roof4 ,under the lower chamber was the ash-pit1 and each chamber had a door at one end4 ,at ,castel-,durante the usual dimensions of a furnace were six feet in height and length1 and five in width4 ,at ,venice their dimensions were sometimes double those above stated4 ,the wares were arranged according to their quality4 ,seggars--circular or oval cases of infusible fire-clay1 bottomed1 but without covers1 and perforated--were used for those of fine quality4 ,the seggars1 which may be seen piled one above another in ,fig4 #bh and on the lower right hand of ,fig4 #bi1 were placed as in the first of these engravings1 the bottom of the one above acting as a lid to that next below2 and the coarser wares were arranged in rows between the piles of seggars4 ,the openings having been partially closed1 the fire was applied below1 and kept up for about twelve hours1 when the first firing was finished4 ,the majolica furnace will be described hereafter4 ,illustration3 ,fig4 #bf4--;,common ,pottery ,kiln4 ,among the ,japanese the kilns are arranged in a peculiar manner4 ,that in which the first firing is done is a small furnace1 used only previous to the painting4 ,the oxide of cobalt1 which is more extensively employed than any other1 is laid upon the white clay coating1 and the piece is then glazed1 usually in a compound of felspath and wood-ashes4 ,the second firing then takes place4 ,the kilns are built in terraced rows of from four to twenty1 and rise about three feet above each other1 growing larger in size as they extend up the hill4 ,the ground-plan is trapezoidal1 and the walls rise vertically for a few feet1 and are then rounded off into an arch4 ,the front wall1 looking toward the lower end of the row1 is pierced with holes near the ground1 and others are made in the back wall at about three feet above the ground1 so as to open directly upon the floor of the next kiln above4 ,the draught in this way rushes through the entire row toward the chimneys behind the largest and uppermost kiln4 ,the fuel is thrown directly into the kiln1 and not into a fireplace4 ,it is arranged along the lower side in a narrow space divided from the rest of the kiln by fire-clay slabs set upright4 ,the fire begins in a furnace attached to the lowest kiln4 ,the hot air rushes through the air-holes into the next kiln1 which is thus heated before its own firing begins1 and so on throughout the entire range1 the kilns furthest up the line having thus to stand the highest temperature4 ,each one has the benefit of the heat of all the lower ones4 ,the ,japanese do not make any extensive use of seggars4 ,to keep the pieces free from dust or falling particles of the vault1 the inside of each kiln is glazed before the firing begins4 ,the pieces are placed one above another upon fire-clay stands4 ,the small kilns for the preliminary firing are in the potter's yard1 but the kilns above described belong to the community1 and are rented to the manufacturers4 ,illustration3 ,fig4 #bg4--;,hard ,pottery ,kiln4 ,illustration3 ,fig4 #bh4--,porcelain ,kiln4 ,the kilns in use in ,america and ,europe vary very much in shape4 ,m4 ,brongniart gives representations of three--that for common pottery 7,fig4 #bf71 that for hard pottery 7,fig4 #bg71 and that for porcelain 7,fig4 #bh74 ,those used in ,england often take the shape of a low1 vaulted chamber1 with the fire at one end1 the chimney at the other1 and the firing chamber between4 ,in the ,united ,states1 the usual shape for both earthen-ware and stone-ware is conical1 not unlike a ball-cartridge4 ,the common pottery kiln is divided1 by means of baked plates1 into cells1 in which the wares are placed4 ,the length of time during which they are kept in the furnace varies according to the nature of the ware4 ,it may be twenty-four hours or1 as in the case of fine stone-ware1 several days4 ,for some wares1 seggars are used in place of the open cells2 and the arrangement of the seggars may be seen in the porcelain kiln4 ,when1 in the case of non-vitrifying earthen-ware1 a combination of firing and glazing in one operation is not practicable1 the ware is kept at a white-heat for about thirty-six hours2 and on the kiln cooling1 the pieces then known as 8biscuit0 are removed for glazing4 ,this operation consists of dipping it into the glaze1 composed as previously mentioned1 ground to a powder1 and mixed with water until of the right consistency4 ,the second firing melts the glaze1 and covers the surface with a thin1 transparent coating4 ,the ,italian potters gradually increased the heat for four hours1 and allowed the ware to remain at a white-heat for twelve hours1 and then to cool4 ,porcelain is fired according to its composition4 ,for ,english porcelain1 the first firing lasts about fifty hours2 the second firing1 after the glaze is applied1 lasts about twenty hours or less1 at a lower temperature4 ,soft-paste or artificial ,french porcelain takes from eighty to a hundred hours for the first1 and thirty for the second1 firing4 ,the greatest caution is demanded in placing the pieces in the seggars and in regulating the heat4 ,the chief peculiarity about the making of porcelain is that the glaze fluxes with the paste1 and forms1 with it1 a translucent whole4 ,illustration3 ,fig4 #bi4--;,broome's ,improved ,porcelain or ,parian ,kiln4 ,a1 ash-pit2 ,g1 grate2 ,f ,f1 flues2 ,b ,b1 bags for the flames2 ,d1 door for filling the kiln2 ,e1 damper1 or draught regulator2 ,s ,s ,s1 spy-holes for watching1 or trials while burning4 ,mr4 ,isaac ,broome1 of ,trenton1 has invented a new kiln1 of which an engraving is here given 7,fig4 #bi74 ,an equal distribution and perfect regulation of the heat are the features which commend it to attention4 ,very little more need be said here about the preparation and application of the glaze1 and that little can be included in what requires to be added about the laying on of the colors4 ,the ,italians worked in the following manner3 ,the biscuit having been dipped in the enamel bath1 was allowed to dry1 and was then painted and again dried4 ,the piece was then dipped in the transparent glaze1 and1 having been for a third time dried1 was ready for the final firing4 ,piccolpasso gives much minute instruction regarding the preparation of the colors and manner of painting1 which must here be omitted4 ,what he says about painting majolica1 or lustred ware1 is1 however1 interesting4 ,the parts to receive the metallic-lustre pigment were sketched in outline1 and left white when the other colors were applied4 ,after the piece was fired the lustre pigments were laid on1 and the piece was again placed in the kiln4 ,for this purpose a special kiln was necessary4 ,it was built with a square fire chamber intersected by two arches1 on which was placed a circular chamber large enough to touch the four sides of the square kiln1 but necessarily leaving the four corners uncovered4 ,this chamber was perforated in all directions1 in order to admit the flames to direct contact with the wares4 ,dry willow branches were used for the first three hours1 and then dry broom was thrown on the fire1 which was kept up for another hour4 ,the kiln having cooled1 the pieces were removed1 soaked in soap-and-water1 washed1 rubbed dry with flannel1 and then polished with wood-ash and flannel4 ,the object of the process is obvious4 ,the flames being allowed to play directly upon the wares1 the carbon in the smoke decomposed the salts contained in the metallic oxide1 and the metal was left glittering and iridescent upon the surface4 ,the ,japanese porcelain painted under the glaze with the oxide of cobalt has been already described4 ,other qualities are painted over the glaze with colored enamels made from glass 7or silica1 litharge1 and nitre7 and white-lead4 ,the coloring oxides are gold for carmine1 copper1 antimony1 manganese1 red oxide of iron1 and oxide of cobalt4 ,these are mixed and applied directly by the painter without any previous preparation1 so that the colors do not show themselves until brought out by the fire4 ,the method of decoration is peculiar4 ,the design is first sketched in black lines1 with strokes for the shades4 ,when the enamel colors are opaque1 they are laid on thinly2 when translucent or resembling colored glass1 so that the design appears under1 they are laid on more thickly4 ,occasionally a white opaque enamel--but containing no admixture of tin--is first applied1 and the colors are laid upon it4 ,stone-ware is very seldom glazed by a 8dip40 ,the usual method is to combine the firing and glazing4 ,when the ware has been exposed to the maximum heat for the necessary time1 salt is thrown into the kiln4 ,the heat vaporizes the salt1 and of its constituent parts one1 the chlorine1 escapes2 while the other1 the soda1 is1 on coming in contact with the silex in the red-hot ware1 formed into a silicate of soda1 a perfectly transparent and intensely hard glaze4 ,in regard to the colors1 the only ones now known which will bear the first firing--couleurs de grand feu--and are therefore put on before glazing1 are blue from cobalt1 browns from iron1 manganese1 and chromate of iron1 green from chrome1 and yellows from titanium and uranium4 ,between these and the more delicate couleurs de moufle1 or enamel colors1 are violets1 reds1 and browns from manganese1 copper1 and iron1 which are designated as couleurs au demi grand feu4 ,beyond these1 the colors used in decorating hard or natural porcelain are laid on the glaze1 to which they adhere without incorporating themselves4 ,the great difficulties attending the manufacture of porcelain may now be estimated4 ,the piece must pass through the kiln as many times as there are colors requiring different temperatures4 ,too much heat will blot out the delicate colors1 too little will leave them dull4 ,those on artificial or soft porcelain sink into the glaze1 and thus present a softness and creamy delicacy never seen on any other kind of ware4 ,the results are generally a sufficient reward for the difficulty of the process4 ,this is altogether exceptional in the case of pate tendre4 ,as its alkaline ingredients volatilize at a certain heat1 the fire must be stopped before that temperature is reached4 ,the glaze1 also alkaline1 is then applied in the form of dust1 and not1 as with hard porcelain1 in the form of a dip4 ,the second firing melts the glaze4 ,if the heat be too strong1 the alkalies will fly off2 if too weak1 the surface will be uneven4 ,for a third time the same danger is incurred1 when the firing for fixing the colors takes place4 ,,book ,,ii4--,,the ,,orient4 ,,chapter ,i4 ,,egypt4 ,the ,east the ,cradle of ,art4--,the ,antiquity of ,egypt3 ,its ,claim to ,notice in every ,branch of ,inquiry4--,the ,fountains of ,oriental and ,greek ,art4--,the ,nile ,clay4--,egypt's ,early ,maturity4--,limitation of ,material4--,effect of ,religion upon ,art4--,two ,periods in ,art ,history4--,ancient ,religion4--,various ,symbols4--,,unglazed ,,pottery--,sun-dried3 ,bricks4--,moulds1 ,stamps1 etc4--,vessels4--,baked ,ware3 ,its ,early ,date4--,color of ,vessels and ,bricks4--,coffins4--,cones4--,figures4- -,sepulchral ,vases4--,amphor and other ,vessels4--,decoration4--,grco-,egyptian ,pottery4--,,glazed ,,ware1 miscalled ,porcelain3 ,its ,nature1 and how ,colored4--,wall ,tiles4--,inlaying of ,mummy ,cases4--,personal ,ornaments4--,images4--,beads1 etc4--,vases4--,bowls4--,glazed ,schist4--,stanniferous ,enamel4 ,to the ,orient we look for the birthplace of man1 and in it we also find the cradle of ,art4 ,how it spread eastward to ,china and westward to ,egypt1 we may not be able1 with precise accuracy1 to tell2 but this we know1 that in and between these two countries the ceramic art had been carried to a lofty eminence long before ,europe had awakened from barbaric slumber4 ,western history was1 in fact1 scarcely beginning1 when ,eastern civilization was in one direction fading1 and in another was tottering to its fall4 ,in beginning with ,egypt1 the most ancient relics of primitive art pass first in review4 ,to that wonderful country1 long hidden under a thick cloud of mystery1 we must1 in fact1 first turn1 no matter what may be the subject demanding investigation4 ,it had reached antiquity before the oldest countries of the ,west were born4 ,in the ceramic art1 it appears as the centre from which radiated the two great branches1 many centuries afterward converging in ,southern ,europe4 ,on the one hand is the silicious-glazed pottery1 which1 after moving eastward1 reached ,europe in a slightly altered form2 on the other is the glazed and unglazed terra-cotta1 which the ,greeks took up and carried forward to a new and higher perfection4 ,egypt thus appears as the fountain-head of ancient art4 ,the progress it made toward comparative perfection will be hereafter referred to4 ,meantime it may be pointed out1 that1 while fortunate in one respect1 ,egypt was unfortunate in another4 ,the banks of the ,nile gave a never-failing supply of pure and plastic clay1 admirably suited to all the purposes of the potter4 ,when the periodical inundations took place1 they left a deposit of exceptionally pure silt extending from the banks of the river to the furthest margin of the flood4 ,the material was thus ready to the potter's hand4 ,the counter disadvantage was the absence of the materials required for the finest ware1 or their presence in such form as scarcely to suggest their combination4 ,the ,egyptians appear to have carried their ceramic art to a full development at a very remote stage of their history1 or1 in other words1 they soon arrived at the point beyond which they never passed4 ,the limitation laid upon them was that of material4 ,the result of this is shown by the other directions in which their art branched off4 ,it seemed impossible to accomplish anything in clay to vie with the precious metals and stones4 ,for purposes of ornament1 therefore1 clay was discarded4 ,it was worked by slaves 7,fig4 #cj71 and fashioned into domestic vessels and bricks2 and when the nearest approach to porcelain was made1 then only do we meet with ornamental works1 or those of a more strictly artistic character4 ,their religion also appears to have deadened their ambition to reach a higher excellence4 ,there were two periods in their art history4 ,in studying the works belonging to the first1 the observer will frequently be impressed by the desire evinced to follow the forms offered by nature for imitation4 ,such is the most striking characteristic of what may be called the first school4 ,it aimed at the reproduction of natural forms in the most literal manner4 ,afterward1 when the emblematic school took its rise1 the forms were still those of nature1 with a religious or spiritual significance superadded4 ,the idea is evidently fatal to art1 that it can climb to nothing higher than the figure symbolical of a god4 ,in their efforts toward the production of what was graceful and beautiful1 the ,egyptians are not1 however1 to be despised4 ,before foreign influences made themselves felt1 the ,egyptian forms were simple1 and frequently displayed ideas of beauty which1 if ruder than those of the ,greeks1 are independent4 ,the ,egyptians were necessarily original4 ,they had no predecessors whose works they could copy2 and in appealing to nature for models1 they took the only course open to them4 ,from their originality the ,greeks borrowed and improved upon their models1 and it is in this view of its being a starting-point for subsequent art that ,egyptian pottery demands careful study4 ,illustration3 ,fig4 #cj4--;,foreign ,captives making ,bricks in ,egypt4 #a1 ,man returning from carrying load2 #b1 #g1 and #aj carry the clay1 after it has been dug by #i1 #aa1 #ab1 and #ac1 and throw it down at #g and j1 for the brickmakers1 #h and #af2 #d and #e carry them away to the drying-place or furnace2 #c and #f are taskmasters2 #ad and #ae are carrying water from the tank1 h4 ,at c and a are inscriptions to the effect that the bricks were so made for the ,temple of ,amun-,ra1 at ,thebes4 ,it is indispensable1 in order to understand the highest forms of the art in ,egypt1 that something should be known of its religion4 ,in that strange land we find an answer--possibly the first--to the question1 8,the sun1 the moon1 the stars1 the seas1 the hills1 and the plains-- ,are not these1 ,o soul1 the vision of ,him who reigns80 ,according to ,bunsen1 8the mythological system proceeded from #8the concealed god1' ,ammon1 to the creating god4 ,the latter appears first of all as the generative power of nature in the ,phallic god ,khem1 who is afterward merged into ,ammon-ra4 ,then sprung up the idea of a creative power in ,kneph4 ,he forms the limbs of ,osiris 7the primitive soul7 in contradistinction to ,ptah1 who1 as the strictly demiurgic principle1 forms the visible world4 ,neith is the creative principle as nature represented under a female form4 ,finally her son1 ,ra ,helios1 appears as the last of the series in the character of father and nourisher of terrestrial things4 ,it is he whom an ancient monument represents as the demiurgic principle creating the mundane egg40 ,at the head of this ,pantheon stands ,ammon1 the concealed and invisible4 ,the other figures are personifications of his attributes1 and appear as separate and individual gods4 ,in order to make the theogony intelligible to the people1 these gods are represented by symbols4 ,there is thus a regular gradation from the symbol to the divine attribute1 and thence to the ,unknown ,greatest4 ,it is the sublimity of paganism1 presenting us with one god carrying on the infinite works of the universe by means of his various attributes4 ,the symbols were chosen from nature1 and are generally expressive1 if not always dignified4 ,firstly1 as to the symbols proper1 the lotus and scarabus may be mentioned as of most frequent occurrence4 ,the former1 the sacred flower1 is often met with in connection with the figures of the divinities1 and symbolizes the beneficence of nature's revivifying powers1 water and heat4 ,the scarabus 7,fig4 #ca7 is the symbol of creation1 and when represented with out-spread wings1 of immortality4 ,it may appear singular that a loathsome insect should thus have been honored1 but the explanation is simple4 ,it is to be found in the habits of the insect itself4 ,placing its egg in a ball1 it buried the latter in the sand1 where it was hatched by the rays of the sun1 and the ball opening with the breaking of the egg1 the young insect appeared4 ,it was to the ,egyptian a perfect symbol of creation1 and hence of the creative god ,phtha4 ,when found with outstretched wings1 it is an ornament of the dead1 and symbolizes the apparent circuit of the sun setting at night to rise in the morning4 ,thus the sun of life sets in death to reappear in immortality1 as the scarabus1 under the influence of its divine warmth1 breaks from its egg into insect life4 ,the sun was the symbol of ,ra1 the sun-god1 8the father and nourisher of terrestrial things40 ,in representing the gods1 the figures selected were to a great extent arbitrary4 ,the ,egyptians honored themselves by discovering that in the humblest form of nature there was something worthy of honor4 ,they accordingly took the plants and animals of their land and wove them into their religion1 by adopting a system of natural symbols too intricate to be here given in detail4 ,the following may1 however1 be found useful3 ,illustration3 ,fig4 #ca4--,scarabus4 ,dark-blue ,glazed ,pottery4 7,way ,coll41 ,boston ,museum of ,fine ,arts47 ,the vulture was the symbol of divine maternity1 because thought to conceive spontaneously2 and hence ,souvan1 the mother of all1 is represented with a vulture's head4 ,this single instance furnishes a key to the system4 ,the symbol is chosen which most nearly represents the principle1 and thus becomes a part of the embodied form of the deity possessing the principle as his or her peculiar attribute4 ,the dog and jackal were emblems of ,anubis1 the guardian of the tombs1 and the deity presiding over embalmment4 ,the scarabus was the emblem of the demiurgic god ,phtha4 ,the lion was also the emblem of ,phtha and of the goddess ,pasht4 ,cynocephali were emblems of ,chous and ,thoth4 ,throughout the entire system1 the birds1 fishes1 land animals1 and plants of ,egypt1 the hawk1 vulture1 ibis1 uri snakes1 the cat1 pig1 cow1 and so on1 are all used as symbols4 ,it will be sufficient now to glance at the converse1 and note the forms under which the deities are represented4 ,ra1 the sun-god1 appears with the head of a hawk2 ,athor1 the ,egyptian ,venus1 with horns and ears of a cow2 ,anubis with head of a jackal2 ,thoth with head of an ibis2 ,amun-ra1 a man with solar disk on head1 and plumed2 ,mut1 the mother goddess1 crowned2 ,chous1 sou of ,amun-ra and ,mut1 with moon disk1 occasionally hawk-headed2 ,phtha with scarabus on head1 sometimes with two heads1 one of which is that of a hawk2 ,pasht1 ,bast1 and ,tafne are all lion-headed goddesses2 ,her has a lion's head2 ,taur appears as a hippopotamus2 ,osiris sits enthroned with the cap of truth1 and holds a staff and scourge2 ,isis1 like the ,roman ,luna or ,diana1 appears in two forms1 sitting as a terrestrial goddess1 suckling ,horus or kneeling1 or sitting in her celestial character1 with disk and horns1 nursing her son ,horus4 ,illustration3 ,fig4 #cb4--;,egyptian ,gods4 7,way ,coll41 ,boston ,museum of ,fine ,arts47 ,we are now in a position to give names to the group 7,fig4 #cb71 each piece in which is of the blue or green glazed pottery to be noticed hereafter4 ,it may be said1 however1 that no engraving could give an idea of the exquisite finish of these pieces1 especially of the two in the middle4 ,the lower central figure is the plumed ,amun4 ,it is turquoise-blue1 and is one and three-quarter inches in height4 ,the upper central figure is the lion-headed ,pasht1 surmounted by the solar disk and the asp4 ,to the left is ibis-headed ,thoth1 a flat figure intended to be sewn into a mummy covering4 ,on the right are ,isis and ,nepthys1 with ,horus between them4 ,from the combination of symbols1 the study of the mythology of the ,egyptians as found illustrated on their pottery is of deep interest1 and of great importance both to the ceramist and the student of the science of religion4 ,the ceramic productions of ,egypt are divisible into two great classes1 unglazed and glazed4 ,illustration3 ,fig4 #cc4--;,earthen-ware ,vessels found at ,thebes4 ,,unglazed ,,pottery4--,this may again be divided into the unbaked1 or sun-dried1 and baked4 ,of these the former is unquestionably the more ancient1 and ,egypt is one of the three countries whose sun-dried pottery has lasted until the present time4 ,unbaked bricks are the oldest examples4 ,some of those discovered recall the bondage and wrongs of the ,israelites under the 8new king over ,egypt which knew not ,joseph40 ,the command of ,pharaoh will be remembered3 8,ye shall no more give the people straw to make brick as heretofore2 let them go and gather straw for themselves40 ,the straw was used to bind them together4 ,they were moulded generally in a rectangular shape1 and were extensively used in the construction of pyramids of various ages4 ,they vary in size in different edifices1 and are marked according to their composition or destined use4 ,in the former case1 the marks were used merely to distinguish the quality2 in the latter1 the marks indicate either the individual's tomb in the construction of which they were to be employed1 or the king in whose reign they were made for public buildings4 ,the whole process can be studied in the engraving 7,fig4 #cj74 ,the stamp for bricks was not used until the fifteenth century before the ,christian era4 ,the vessels of unbaked clay which have been preserved are few in number1 and are either religious in character1 or devoted to sepulchral uses4 ,the ornamentation is of the simplest kind4 ,illustration3 ,fig4 #cd4--,red ,pottery ,cone4 7,trumbull-,prime ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,illustration3 ,fig4 #ce4--;,fish-shaped ,vase of ,red ,terra-cotta4 ,egyptian4 7,british ,museum47 ,egypt was exceptionally favored by nature for advancing in the potter's art4 ,the ,nile mud was abundant and plastic1 and was suitable for either moulding or throwing4 ,specimens of baked earthen-ware 7,fig4 #cc7 have accordingly been found belonging to a very remote period4 ,they represent the second step in the manufacture1 which was reached nearly three thousand years before our era4 ,from the tombs of that period have been exhumed vessels of various kinds1 such as were employed by the ,egyptians in their households2 and taking these as a starting-point1 the art can be traced to its decline under imported ideas and foreign domination4 ,this ware is mostly of a dull red color1 verging at times toward purple or yellow1 according to the temperature at which it was baked4 ,the baked bricks were of the same red color4 ,they were used1 apparently1 for purposes for which the less lasting unbaked bricks were not suitable1 but were not generally employed4 ,of the same material coffins1 although rare1 have also been found4 ,many of the objects connected with the ,egyptian customs regarding the burial of the dead were made of this clay4 ,among these were the cones 7,fig4 #cd71 with inscriptions in hieroglyphics stamped on the base1 and giving the name of the deceased4 ,they indicate the resting-places of many civil and ecclesiastical functionaries--clerks or scribes1 priests1 chamberlains1 soldiers1 and seldom of women4 ,they appear to have fallen into desuetude in the sixth century before our era4 ,figures have also been found in the sepulchres of a later period4 ,the vases for holding the entrails of the embalmed dead were of the same ware1 and bring up for notice a very singular custom4 ,the viscera were divided into four parts1 and deposited in separate jars having the shapes of the genii of the ,egyptian ,hades1 ,amset1 ,hapi1 ,tuautmutf1 and ,kebhsnuf4 ,the ibis mummy pots belong to the same class4 ,they were used for holding the embalmed body of the sacred bird1 and are very frequently of a conical shape1 with a slightly convex lid4 ,of domestic vases in this ware1 the shapes and uses are very numerous4 ,great numbers have been found in the tombs1 varying as much in size as in purpose4 ,the latter may often be divined from the shape of the vessel3 thus those for liquids are wide-mouthed for convenience in drawing the contents2 those for bread and flesh-meats are wider and more shallow4 ,ointment pots and oil jars are also fashioned in view of their respective purposes4 ,another kind of unglazed ware is of a light gray color1 and was common to ,egypt and some of the countries of ,asia4 ,amphor have been found of this material1 with long bodies ornamented with horizontal grooves4 ,of these the larger ones appear to have been intended for liquids1 and the smaller ones1 some of which are very diminutive1 for solids4 ,the bases of the former are pointed1 while those of the latter are occasionally rounded4 ,the handles are both small and large1 and the necks open or contracted1 according to their use4 ,these are well deserving of notice for the sake of comparison with the amphor of the ,greeks2 and for the same reason reference may be made to the vessels with three handles1 which were in all probability the prototypes of the ,greek hydrai1 and to others with only one handle1 which were also reproduced in ,greece4 ,the former are very frequently oval-bodied1 and the position of the handle is arbitrary4 ,the latter were jugs of various shapes1 with pointed bases4 ,the further we come down1 the more distinct become the proofs of ,egypt's having supplied models to the ,grecian potters4 ,it would be impossible to specify all the shapes1 but reference may be made to those with handle arching the top from side to side1 and of so small a size that they are thought to have been used by children as toys4 ,illustration3 ,fig4 #cf4--;,egyptian ,red-polished ,terra-cotta4 ,the larger vessels1 which answered all the purposes of a modern meat-safe1 have no handle1 and have the usual pointed base for fixing them upright in the floor of the cellar4 ,they taper gradually from the base upward1 until their greatest girth is reached1 when they curve more suddenly inward to a short neck4 ,from these the forms vary through the intermediate shapes of oval jars1 bottles with long necks1 and narrow oil vases1 to wide bowls or dishes and plates4 ,reference was made in the introduction to the multitudinous purposes to which clay vessels were put by the ,egyptians4 ,they used their ware in many ways which to us appear very primitive and strange--for storing all manner of eatables and drinkables1 for cooking and smelting4 ,in fact1 whatever one may think of their ideas of beauty in pottery1 there can be no doubt that they took a very wide view of its infinite usefulness4 ,illustration3 ,fig4 #cg4--;,egyptian ,red-polished ,terra-cotta ,bottle4 7,british ,mus47 ,decoration of a simple kind is occasionally found on both domestic and sepulchral vessels4 ,colored bands were the usual ornament1 and very rarely the entire body was painted with a ground color upon which bands were laid1 and the whole was then varnished4 ,it is rarely that a leaf or lotus flower is found4 ,the use of varnish points to a step in advance4 ,it has not yet been determined whether it is really varnish or a glaze applied by firing1 but in either case it is found upon the finer and harder kinds of ware4 ,the body color is black1 brown1 or red1 of different shades 7,fig4 #cf74 ,to this class belong the single and double cruses1 generally of pale red paste1 but sometimes black1 used apparently for holding oil or ointment4 ,the best examples of polished ware are red4 ,they show both ornamentation of a higher order and more artistic shapes than the others4 ,the shape of one of these vases resembles the goddess ,isis suckling ,horus1 in the attitude previously mentioned2 another is in the form of a woman playing upon a stringed instrument 7,fig4 #cg72 a third is shaped like a fish2 and many domestic vessels1 cups1 jugs1 and vases are of the same material4 ,the ,grco-,egyptian pottery forms a distinct class1 differing in paste1 color1 and decoration4 ,the outside shows varying shades of gray and red1 and the ornamentation consists of lines and animal and floral forms1 in colors capable of standing the kiln4 ,at the same period was introduced the custom of making writing tablets of this ware4 ,illustration3 ,fig4 #ch4--;,glazed ,pottery ,vase4 ,egyptian4 ,illustration3 ,fig4 #ci4--;,egyptian ,scarabi used as ,signets4 ,average1 inch in length4 ,pale and dark green4 7,way ,coll41 ,boston ,museum of ,fine ,arts47 ,illustration3 ,fig4 #dj4--;,egyptian ,pectoral ,tablets4 7,way ,coll41 ,boston ,museum of ,fine ,arts47 ,,glazed ,,ware4--,leaving the unglazed and polished wares1 there yet falls to be considered that with an undoubted glaze1 to which belong the most artistic works of the ,egyptian potters4 ,this is the ware which has been miscalled porcelain 7,fig4 #ch72 and as the unglazed ware was never employed for purely ornamental purposes1 so we find the glazed seldom used for domestic vessels4 ,contrary to what might be expected1 specimens have been found as old as the ,sixth ,dynasty1 or nearly two thousand years before the ,christian era4 ,the ware is not at all close in texture1 and the silicious glaze was colored by metallic oxides1 of the properties of which the ,egyptians had an intimate knowledge4 ,chief among the colors thus produced are the blue and green1 exemplified in some of the finest relics of ,egyptian art4 ,their beauty is occasionally very remarkable1 and led to their being highly valued both by the ,egyptians and others1 and to the ware itself being applied to special purposes of ornamentation4 ,it is found1 for example1 in the form of tiles as a wall decoration1 and as a material for inlaying4 ,tiles with figures in relief1 having parts such as the hair1 beard1 eyes1 or extremities inlaid with glazed ware1 are among the most curious specimens discovered4 ,detached beards are not unlike spirally ribbed hose4 ,coffins1 or mummy cases1 are similarly inlaid4 ,the forms the glazed pottery assumes1 when employed for this purpose and for figures to be attached to other substances1 are very numerous4 ,the moulded ornaments and amulets of both the living and the dead were most frequently of the same material4 ,these take the shape of finger and ear rings 7,fig4 #ci71 small images of the gods and of their symbols1 and various other ornaments1 such as bracelets1 necklaces1 and hairpins4 ,the nature of the paste leads to the belief that these were more generally devoted to sepulchral purposes1 with a religious significance1 than to any other4 ,all the minute beads1 in a net-work of which the dead were often encased1 and also the pectoral or breastplates1 were of this material 7,fig4 #dj74 ,in the lower specimen1 ,ra is represented by the scarab4 ,in the barge1 on either side1 are ,isis and ,nepthys4 ,this tablet bears the inscription1 8,he that is worthy goes over in the barge of ,ra40 ,of the upper specimen only one-half is preserved1 showing the figure of ,isis4 ,in the hollow centre has been a scarab1 probably of jasper1 and in the borders colored stones or glass have been set4 ,the lower border consists of a series of lotus flowers1 and the wavy lines represent the water in which they grow4 ,above was the winged disk of the sun4 ,figures of the gods and goddesses and their emblems1 and sacred animals and plants1 which were deposited with the dead1 afford some of the most exquisite examples of ,egyptian glazed pottery4 ,the images have either a perforated upright support behind1 or are otherwise perforated for attachment to the necklaces of the mummies4 ,the scarabus is very often met with on the breastplates4 ,all these symbols and images were employed for the supposed benefit of the dead1 either to save them from evil1 or as a direct means of bringing good1 and can only be understood through an acquaintance with mythology4 ,rings of various colors appear properly to belong to the same category of ornaments of the dead4 ,other sepulchral figures were deposited with the deceased1 besides those of the protecting gods4 ,these were supposed to aid the departed in his labors in the future state1 and are invariably small representations of a mummied figure1 partially covered with hieroglyphics4 ,like many of the other figures and objects1 they are generally of the beautiful ,egyptian blue4 ,in the example 7,fig4 #da7 given on the following page1 the figure of a bird with human head1 appears upon the breast4 ,it is an emblem of the soul leaving or returning to the body4 ,the more usual form is that seen in the central figure in the engraving 7,fig4 #db71 with long beard1 a pickaxe and hoe in either hand1 and having a cord in the right hand which is crossed to the left1 and allows the cord to pass over the left shoulder4 ,at the end of this cord is a bag or basket1 which is faintly discernible on the shoulder of the figure on the right4 ,the hieroglyphics are passages from the ,ritual1 in compliance with which these figures were made4 ,balls1 draughtsmen1 and toys were also made of glazed pottery4 ,all the figures and ornaments to which reference has been made were turned out of moulds1 the friability of the paste not permitting its being thrown4 ,illustration3 ,fig4 #da4--;,egyptian ,mummy ,figure4 ,style1 ,x,i,xth ,dynasty4 7,way ,coll41 ,boston ,museum of ,fine ,arts47 ,for the same reason the glazed vases are diminutive1 but often very beautiful1 and intended for purely ornamental purposes4 ,they are of different shapes and sizes1 generally a few inches in height1 and some of them illustrate the peculiar ideas entertained by the ,egyptians of personal beauty4 ,one of their customs was that of darkening the eyes with a black powder1 sometimes held in a small case resembling a series of reeds4 ,the toilet is otherwise represented by a variety of boxes1 jars1 bottles1 small vases1 and oil flasks4 ,the latter are unique1 and sometimes elegant in shape1 and supply good examples of the greenish glazed-ware to which reference has been made4 ,many of the bowls evidently used by the wealthy are of a finer and closer paste1 and bear very characteristic ornamentation of flowers1 fish1 hieroglyphics1 or of lines only4 ,their uses can only be conjectured from their shapes4 ,the inscriptions sometimes point to their owners1 and at others to the place of fabrication4 ,the ,egyptians also resorted to a process of glazing vases1 figures1 rings1 and other articles for which pottery was usually employed1 made of a variety of hard schists4 ,these1 however1 as not being properly potter's ware1 are here passed over4 ,it will thus be seen that the ,egyptians did not carry the art to a very high point4 ,they were1 however1 successful in creating a foreign demand for the productions of their potteries4 ,from discoveries made in ,eastern ,greece1 ,nineveh1 and elsewhere1 it would appear that the fine pottery ornaments of ,egypt were in considerable repute in neighboring countries2 and1 as we shall hereafter see1 ,egypt contributed its full share to the furtherance of the art by supplying suggestions and models4 ,illustration3 ,fig4 #db4--;,egyptian ,mummy ,figures4 ,blue or ,greenish-blue ,enamelled ,pottery4 7,way ,coll41 ,boston ,museum of ,fine ,arts47 ,one important matter remains to be disposed of4 ,it has long been a subject of doubt whether or not ,egypt possessed the secret of stanniferous enamel4 ,it has been already intimated that the discovery of the use of tin for a pottery enamel is due to either that country or ,assyria4 ,the honor may probably be ascribed to ,egypt4 ,in the loan collection of the ,metropolitan ,museum of ,new ,york is a fragment 7,fig4 #dc7 of a vase exhibited in the ,egyptian section1 and referable to a very remote antiquity1 covered with what is apparently tin enamel1 bearing purple decorations4 ,should this be the case1 then this solitary fragment will settle the matter1 and we must believe that the ,egyptians possessed this secret of the art four thousand years ago4 ,in that event1 the ,assyrians probably acquired it from ,egypt4 ,the fact supplies us with the means of arriving at a very clear idea of the grand antiquity of that civilization under which a valuable art was practised1 to which ,europe was a stranger for more than three thousand five hundred years afterward4 ,illustration3 ,fig4 #dc4--;,fragment with ,white ,enamel4 7,trumbull-,prime ,coll41 ,n4 ,y4 ,metrop4 ,museum47 ,it is1 as we have seen1 long since the art purely its own reached its culmination4 ,the ,egypt of the nineteenth century in this respect scarcely suggests that of the ,pyramids4 ,if we were to take that country as it appeared at the ,philadelphia ,exhibition1 we would hardly be prepared to look upon its ceramic products as those of a country in which the art has been practised for four thousand years4 ,a few pieces exhibited were of light1 slate-colored body1 unglazed1 and so brittle that dozens were broken in transit4 ,the ornamentation was laid on the bare surface1 and was1 as a rule1 bright to the verge of gaudiness4 ,the greater portion of the painting was the work of an ,italian artist resident in ,cairo4 ,some of the red terra-cotta was more satisfactory2 but all that can be said in favor of either kind is that it was1 in its way1 characteristically ,egyptian4 ,one specimen of pale green 8porcelain0 was sent by the ,museum at ,cairo4 ,the last is mentioned because it represented the farthest point which the ,egyptians reached on the way toward a true porcelain4 ,,chapter ,,ii4 ,,assyria ,,and ,,babylonia4 ,possible ,priority to ,egyptian ,pottery4--,similarity between ,assyrian and ,egyptian4--,the ,course followed by both ,arts4--,unbaked ,bricks4--,baked ,bricks4--,writing ,tablets4--,seals4--,vases4--,terra-cott as4--,porcelain4--,glazing and ,enamelling4--,tin4--,colored ,enamels4--,babylonian ,bricks4--,glazes4 ,illustration3 ,fig4 #dd4--,pottery found in the ,tombs above the ,palaces of ,nimroud4 ,although we have taken ,egypt as our starting-point1 there may have been a pottery antecedent to that we have considered4 ,looking farther east for the cradle of the human race1 knowledge and art may have spread east and west from the ,euphrates1 the great river of ,babylon4 ,egypt having been first inhabited by settlers wandering from the province of which that city became the capital1 who found in the ,nile a river resembling1 in many respects1 that which they had left1 these colonists may have carried with them some knowledge of the uses of clay4 ,however this may be1 it is beyond question that the oldest pottery of which the age is known is ,egyptian1 and that the knowledge acquired from the ,east was returned with interest4 ,illustration3 ,fig4 #de4--,terra-cotta ,assyrian ,venus4 ,illustration3 ,fig4 #df4--;,assyrian ,cylinder1 inscribed with the ,records of a ,king's ,reign4 7,british ,museum47 ,illustration3 ,fig4 #dg4--;,inscribed ,seal4 7,assyrian47 ,illustration3 ,fig4 #dh4--,seal of ,sabaco and ,sennacherib4 ,illustration3 ,fig4 #di4--;,impression of ,sabaco's ,seal1 enlarged4 ,illustration3 ,fig4 #ej4--;,back of ,assyrian ,seal1 showing ,marks of ,fingers4 ,illustration3 ,fig4 #ea4--;,fragment in ,porcelain 7874 7,nimroud47 ,illustration3 ,fig4 #eb4--;,box in ,porcelain 7874 7,nimroud47 ,illustration3 ,fig4 #ec4--;,enamelled ,brick4 7,louvre47 ,assyria and ,babylonia are almost necessarily considered in conjunction4 ,the latter having been a province of ,assyria prior to its assertion of independence1 we anticipate1 what is actually the case1 a close similarity between the ceramic productions of the two countries4 ,in tracing the history of their pottery1 we not only discover many points of resemblance between it and that of ,egypt1 but advance along an exactly parallel line4 ,from sun-dried bricks we pass to burnt bricks1 thence to unglazed pottery possessed of an artistic character1 thence again to glazed specimens and enamel4 ,in both countries unbaked bricks were made use of in the construction of mound-like foundations for buildings4 ,walls1 houses1 and tombs were built of similar materials4 ,in ,assyria1 bricks were sometimes faced with marble1 either externally1 for the sake of strength1 or to give greater beauty to an interior4 ,some were gilded and others colored4 ,small figures of both baked and unbaked clay1 and of a religious character1 were also made by the ,assyrians 7,fig4 #de74 ,from the stamped and baked bricks much has been learned of ,assyrian history and topography1 the sites of cities and names of kings having been thus discovered or substantiated4 ,by the same people writing tablets of rectangular1 cylindrical1 or prismatic shapes were very commonly made of terra-cotta 7,fig4 #df74 ,they form a very curious remnant of ancient literature1 which1 thanks to the indestructibility of the material upon which it was written1 is still open to the study of the historian4 ,all kinds of records have thus been preserved--religious1 legal1 and astronomical4 ,the ,assyrians and ,egyptians both used seals 7,figs4 #dg1 #dh1 #di1 and #ej7 of baked and unbaked clay1 in the same way that wax seals are still occasionally appended or attached to documents4 ,illustration3 ,fig4 #ed4--;,babylonian ,baked ,brick1 with ,nebuchadnezzar's ,name4 ,twelve inches square1 three inches thick4 ,illustration3 ,fig4 #ee4--,the ,mnjellib1 or ,kasr4 ,showing brickwork4 ,many of the vases discovered in the ruined cities of ,assyria are clearly to be attributed to foreign occupants1 and are therefore of comparatively late date4 ,to this class belong many of the cinerary urns exhumed from the tombs4 ,ancient and really ,assyrian vessels have been discovered of a pale brown clay 7,fig4 #dd71 unglazed1 and of various shapes1 but seldom painted4 ,it is1 however1 difficult1 in many cases1 to discover the nationality of the potter or the age of the piece4 ,of terra-cotta figures of the gods1 several have been found1 although these must have existed in far greater numbers4 ,porcelain1 or fine glazed pottery 7,figs4 #ea1 #eb71 is rarely met with1 and the specimens found are inferior to the ,egyptian4 ,the several uses of the ware appear to have been the same in the two countries4 ,for a knowledge of glazing and enamelling1 the ,assyrians were in all likelihood indebted to the ,egyptians4 ,bricks subjected to these processes1 and ornamented with flowers1 leaves1 and animals1 were employed in decorating interiors and even in building walls 7,fig4 #ec74 ,these bricks reveal the fact that the ,assyrians were aware of the peculiar suitableness of tin for making a white enamel4 ,the other enamels employed were yellow1 brown1 blue1 and green1 and were produced from metals almost identical with those employed by the ,egyptians4 ,illustration3 ,fig4 #ef4--,terra-cotta ,tablet1 from ,babylon4 7,british ,museum47 ,like the ,assyrian and ,egyptian1 the ,babylonian bricks1 whether unbaked or baked1 were moulded1 and the latter were stamped4 ,hundreds of these 7,fig4 #ed7 bear the stamp of ,nebuchadnezzar1 the sites where they were found indicating with tolerable exactness the bounds of his kingdom4 ,the extensive use of bricks by the ,babylonians may be taken as characteristic of a people inhabiting the country where the ,tower of ,babel was built 7,fig4 #ee74 ,in many respects the vessels found in ,babylonia resemble those of ,assyria1 so closely1 in fact1 that they need not here be separately treated4 ,as in the latter country1 the ,babylonians used terra-cotta writing tablets4 ,several terra-cotta bas-reliefs have been discovered1 of one of the more remarkable examples of which1 now in the ,british ,museum1 we give the preceding engraving 7,fig4 #ef74 ,this tablet was found near ,babylon4 ,the dog is of the huge ,thibet breed1 and both figures have been modelled4 ,the small size of the pieces would almost preclude their use as ornaments2 and ,dr4 ,birch ventures the conjecture that they may have been an artist's studies for larger works4 ,the fine paste is the same as that used for the writing cylinders4 ,illustration3 ,fig4 #eg4--,ram in ,baked ,clay1 from ,niffer4 ,in regard to the earthen-ware vessels and figures1 the same difficulty in determining their age is encountered here that was met with in ,assyria4 ,they have been taken from the mounds in large quantities4 ,to this class belongs the ram 7,fig4 #eg7 found at ,niffer1 on the supposed site of ancient ,babylon4 ,illustration3 ,fig4 #eh4--;,glazed ,coffins1 from ,warka4 ,the ,babylonian glazes resemble the ,assyrian1 and it may be particularly mentioned that the oxide of tin was employed in making enamel4 ,these glazes are found upon both bricks and vases1 and were applied extensively to architectural decoration4 ,at ,warka1 identified with the ancient ,ur of the ,chaldees1 thousands of coffins made of glazed ware have been exhumed1 variously decorated with figures4 ,of these one specimen is given 7,fig4 #eh74 ,,chapter ,,iii4 ,,jud,a4 ,art ,derived from ,egypt4--,never ,reached any ,eminence4--,preference for ,metals4--,frequent ,allusions in ,scripture4--,bought ,earthen-ware from ,phnicia and ,egypt4--,home ,manufacture4--,decoration4--,necessity for ,distinguishing between ,home and ,foreign ,wares4 ,illustration3 ,fig4 #ei4--;,earthen-ware ,jars and ,water-pots4 ,we now turn westward to ,juda1 in order that1 before penetrating farther into ,asia and to the extreme ,east1 we may glance at a country showing in its ceramic remains unmistakable signs of ,egyptian teaching1 but exercising in its turn no recognizable influence upon the art which from all sides of it was diffused over ,southern ,europe4 ,the art never reached any eminence among the ,jews4 ,they preferred the richer beauty of the precious metals4 ,potters did1 no doubt1 exist among them in considerable numbers1 and were acquainted with the different processes of throwing1 firing1 and glazing2 but the formation of such a guild as that of which ,scripture speaks is not of itself a proof that the occupation was held in high esteem4 ,the few relics which can be ascribed to a purely ,jewish origin might be passed over as immaterial to observers of the progress of the art1 were it not that everything pertaining to the land once called that of ,promise1 and now designated by all ,christendom as ,holy1 possesses an interest altogether independent of its artistic merit4 ,illustration3 ,fig4 #fj4--,terra-cotta ,lamps and ,oil ,vessels4 ,for such earthen-ware vessels as they required1 the ,jews appear to have applied on the one hand to the ,phnicians1 and on the other to the ,egyptians4 ,the manufacture among themselves was restricted to domestic articles4 ,these resemble the ,egyptian in both style and finish1 the body being of a somewhat coarse paste1 and the glaze of that peculiar kind which is hardly distinguishable from varnish or mechanical polish4 ,a fragment now in the ,louvre1 of blue-glazed earthen-ware1 resembling the finer ware of ,egypt1 and found in ,juda1 further substantiates the close similarity between the pottery of the ,jordan and that of the ,nile4 ,in ornamentation1 however1 the ,israelites have some claim to originality and independence4 ,associating the lotus1 papyrus1 and the symbols of ,egypt with idolatry1 the ,jewish potters substituted grapes1 leaves1 and pomegranates4 ,in the description of the building of the ,temple1 in the ,first ,book of ,kings1 the decoration within the oracle of 8carved figures of cherubim and palm-trees and open flowers10 was repeated on the walls and doors2 and on the chapiters of the pillars made by ,hiram of ,tyre were long rows of pomegranates4 ,a similar style of ornamentation was adopted by the potters4 ,we have already seen that both ,egyptian and ,phnician wares were imported into the country1 and in addition to these there have been found at ,jerusalem and elsewhere several examples of the red ,roman1 or ,samian ware4 ,,chapter ,,iv4 ,,india ,,and ,,central ,,asia4 ,mystery ,surrounding ,people4--,history of its ,art in great measure ,unknown4--,questions of its ,existence and ,originality4--,how they ,arose4--,the ,brahmins4--,geographical ,position4--,views of ,early ,travellers4--,later ,investigations4--,more ,ancient ,pottery4--,clay ,used4--,knowledge of ,glazing3 ,its ,application to ,architecture4--,glazed ,bricks4--,terra-cotta4--,chronological ,arrangement4--,porcelain3 ,its ,decoration4--,use of ,gold4--,siam4 ,the antiquity claimed for the ,hindoos as a people cannot1 unfortunately1 be elucidated either by the help of such chronicles as the granite records of ,egypt1 the terra-cotta tablets of ,babylon1 or the writings of ,china4 ,the history of ,indian art has been surrounded by a more or less impenetrable mystery4 ,two questions accordingly arise as to its ceramic productions3 firstly1 ,did ,india possess any knowledge of the plastic art8 secondly--that question having been answered in the affirmative--,was it original or borrowed8 ,these doubts1 in all probability1 arose from the success of the ,brahminical endeavors to invest every branch of ,hindoo knowledge with a veil of secrecy1 and from the geographical position of ,hindostan4 ,occupying a peninsula about half-way on the route by sea between ,eastern and ,western ,asia1 ,africa1 and ,europe1 it became the recognized mart for the exchange of mercantile commodities4 ,european traders found in it a convenient halting-place1 even before they fully realized its actual commercial importance4 ,similarly1 on the north1 it intercepted a portion of the overland traffic1 and ultimately became the centre toward which gravitated the productions of ,persia and ,arabia on the west1 and of ,china and ,japan on the east4 ,travellers who did not stop to examine things very closely1 accordingly declared ,india a stranger to ceramic art4 ,recognizing its importance as an exchange1 from the abundance of imports from abroad1 they did not pierce the commercial conditions which hid its productiveness and originality4 ,later researches have shown not only that ,india was not dependent upon other countries1 but that it had developed an exceptional skill in the application of porcelain to the embellishment of architecture4 ,as if completely to subvert the statements of the first visitors to ,hindostan1 ,china1 the great seat of the porcelain manufacture1 has acknowledged its indebtedness to that country1 and the extent to which it has imitated its styles4 ,there is no reason for supposing that a country which had early shown a wonderful capacity for reaching the highest forms of architectural magnificence1 and for executing work of the nicest delicacy in the precious metals and gems1 lent to ,china alone its ideas of ceramic beauty4 ,the absence of thorough investigation on the one hand1 and the presence of a tendency to take refuge in secrecy in regard to both methods and results1 rather than to court observation on the other1 may1 however1 have had their effect in lessening the influence ,india might otherwise have exercised on the art4 ,that she borrowed and adapted styles originating in both ,persia and ,japan1 after her marts had been flooded with imports from these countries1 there is every reason for believing1 even when she preserved styles sufficiently distinctive to enable us to distinguish the foreign from the native work4 ,of the more ancient forms of pottery1 specimens exist which are upward of two thousand years old4 ,the clay varies from red to a gray color1 and the ornamentation1 when used1 is simple and chaste4 ,a funeral urn of this class has a round body without decoration1 short1 thick neck1 projecting lip1 and is accompanied by a lid4 ,another1 of the same red clay1 instead of the rounded base of the former1 has a wide1 flat bottom4 ,a band is drawn round the widest part of the body1 from which it curves rapidly inward to the neck1 and on this upper part1 between the greatest circumference and the neck1 a simple ornament is laid4 ,although rather clumsy in appearance1 this urn does not lack a certain primitive symmetry4 ,like the other ancient nations of which we have already treated1 ,india was intimately acquainted with the processes of enamelling and glazing1 and1 better than that1 brought a cultivated taste to bear upon their employment in both architecture and the decoration of pottery4 ,glazed bricks1 of many colors1 were used with great effect in the building of temples and other edifices4 ,they are of much harder and finer material than the bricks of either ,egypt or ,babylonia4 ,the application of colors and glaze to terra-cotta was productive of the most astonishing and beautiful effects4 ,the specimens preserved of a monumental character substantiate the right of the ,indian potters to a very high rank4 ,not only is the coloring of their terra-cotta friezes brilliant1 but the floral and animal forms1 introduced either for their symbolical significance or by way of ornament1 are masterpieces of art4 ,arranging these products chronologically1 the wares belonging to the second or third century before our era will take precedence4 ,the buildings in which glazed bricks were used bring us down to from five hundred to upward of a thousand years later4 ,after them come the specimens of glazed terra-cotta4 ,subsequently a kind of faience was made which has been very generally ascribed to ,persia1 but which may1 from the internal evidence supplied by a comparison with purely ,indian work1 be safely attributed to ,india4 ,lastly1 there is the faience of the present time1 so intimately allied with the more ancient in both ornamentation and the prevailing shapes1 as to be confidently pronounced its legitimate successor4 ,flowers and ornaments1 incised or in relief1 and grounds of blue1 green1 or yellow1 are designed and mingled in the most artistic and effective manner4 ,the porcelain of ,india has been ascribed1 on the one hand1 to ,persia1 and1 on the other1 to ,china or ,japan1 while a closer examination would have revealed the fact that1 though having many qualities in common with them1 it is yet radically distinct4 ,it seems probable that in several processes which the ,indian artist borrowed1 he followed ,japan1 without allowing himself slavishly to copy4 ,the art of ,india as represented in porcelain manifests itself in a high technical skill1 in the most exquisite delicacy1 and in a close attention to all the minuti of detail4 ,indian figure-painting owes to these three qualities its superiority alike over those of ,persia and of the extreme ,east4 ,in the beauty consisting of delicacy and careful precision of finish1 neither country makes even an approach to an equality with it4 ,this truth is one1 however1 which can only be fully understood by actual comparison4 ,a similarly painstaking care and conscientious literalness of interpretation characterize the floral ornamentation of ,indian porcelain4 ,even when we find traces of ,eastern inspiration in the ,hindoo deep-blue or green1 the ,indian artist asserts his superiority in working out details4 ,in many cases we detect more refined perception combined with a greater technical skill4 ,a deep bowl has floral decoration in green1 blue1 and red1 on a white ground1 the flowers being alternately red and blue4 ,another has a ground of pale green1 divided into sections by arches of gold1 immediately under the outward curving lip4 ,upon this are laid larger sections of a rich red color1 and filled with flowers4 ,the contrasts are strong1 and the effect is magnificent4 ,in one respect the ,indian artists are particularly skilful1 and that is in the use of gold4 ,it is employed generally with reserve1 and always with rich effect4 ,illustration3 ,fig4 #fa4--,washington's 8,indian0 ,porcelain ,vases4 ,deep blue and gold4 ,a specimen of ,indian porcelain 7,fig4 #fa71 of exceptional interest to ,americans1 as having once belonged to ,george ,washington1 formed part of the collection at ,arlington ,house4 ,it consists of a set of three vases1 presented to ,washington by ,mr4 ,samuel ,vaughan1 of ,london4 ,their value1 for our present purpose1 is somewhat lessened by the fact that1 though made in ,india1 the vases were painted in ,london4 ,in ,siam1 a style common to that country with ,india is prevalent1 and is the result of imitating cloisonn enamel in porcelain4 ,the practice has had one result in both countries4 ,it has led to a comparison of the native porcelain with native work in metal1 and the originality of the decoration of the former has thus been substantiated and its source explained4 ,illustration3 ,fig4 #fb4--;,group of ,chinese ,porcelain4 7,from the ,avery ,coll47 ,,chapter ,v4 ,,china4 ,art ,different from that of ,europe or ,america4--,how it must be ,viewed4--,religion4--,legend4--,hoang-t i the ,inventor of ,pottery4--,the ,leading ,points of ,religious ,system4--,personified ,principles4--,lao-tsen1 ,confucius1 and ,buddha4--,kuan-in4--,pousa or ,pou-tai4--,dragons4--,dog of ,fo4--,ky-lin4--,sacred ,horse4--,fong-hoang4--,symbols4--,meani ng of ,colors and ,shapes4 ,as we approach ,china1 we must prepare ourselves for the consideration of its ceramic products1 by once and for all giving up the attempt to judge them by ,european or ,american standards4 ,whether or not art may have travelled to ,china eastward from the cradle of the human race1 it certainly crystallized in ,china into distinctive forms4 ,this fact must be constantly kept in mind1 if we would succeed in appreciating at its true value the art of the ,celestial ,empire4 ,as in criticising a book1 it is less essential to measure the difference between one's own ideas and those of the author1 than to look at the subject from the author's stand-point1 and to examine the result from the inside1 so1 in estimating art1 it is equally essential to enter into the artist's views1 and to study not only the ideal he means to portray or the real he tries to imitate1 but also what he considers essential to imitation and portrayal1 and the intelligence to which he addresses himself4 ,illustration3 ,fig4 #fc4--;,cheou-lao1 ,god of ,longevity4 ,we have seen that the ,egyptians honored the gods through their works4 ,the ,chinese present us with a religion based1 like that of the ,greeks1 ,scandinavians1 and many other nations1 upon hero-worship4 ,we recede from mankind backward to the time when heroes and gods are commingled1 and reach the horizon where humanity and divinity are one4 ,it is claimed for the ,chinese that they are the only possessors of a correct1 or at least an exact1 chronology1 but even it does not substantiate the existence of the first of human creatures1 who is said to have lived well-nigh a hundred millions of years before the ,christian era4 ,fou-,hi was the first man of whom we can take cognizance1 and he lived ,b4,c4 #cdfh4 ,nearly eight hundred years afterward1 ,hoang-ti invented pottery and was translated1 and the beginning of the manufacture may reasonably be fixed at that date4 ,he did many other useful things besides inventing pottery2 but what is now to be chiefly noted is that he was raised to the ,chinese heaven for his beneficence4 ,behind this simple and almost universal hero-worship was a religion compounded of pantheism and a peculiar kind of spiritualism4 ,chang-ti bears some resemblance to the ,egyptian concealed god ,ammon1 and those who choose may find similar counterparts to the creative and productive principles of the ,chinese theogony4 ,these were called the 8yang0 and the 8yn10 and appear to be the active and passive principles personified in ,ti and ,che1 the presiding powers of heaven and earth4 ,in pottery1 they frequently appear in connection with the ,pa-kwa1 or eight diagrams of ,fo or ,buddha1 a series of combinations of three lines by which nature's changes were represented4 ,thus on each side of a square vase are the yang and yn1 with one of the diagrams above and one below4 ,on another piece of porcelain the yang and yn occupy the centre1 round which1 in a circle1 the diagrams are arranged4 ,with such a foundation ,chinese religion is divisible into three component parts--that based upon the teachings of ,lao-tseu1 that of ,confucius1 and ,buddhism4 ,lao-tseu and the legend of his birth are especially interesting to the student of ,chinese ceramics4 ,the story goes that1 after a pregnancy of eighty-one years his mother brought him into the world1 while she was a wanderer in the country4 ,when born1 his hair was as white as that of an old man1 and hence his name1 ,lao-tseu1 the old man-child4 ,when he grew up1 he became a recluse1 and spent years in the study of abstract religion1 out of which studies grew the 8,tao-te-king10 an exposition of his views of religion and morality4 ,his followers deified him1 and in course of time he was regarded as identical with ,chang-ti4 ,in this form the potters represent him1 and also as the ,god of ,longevity4 ,he is called alternatively ,lao-tseu and ,cheou-lao4 ,as the ,god of ,longevity he is represented 7,fig4 #fc7 with long white beard and lofty1 conical1 bald head4 ,his face wears a broad smile1 and in his hand is the fruit of the fantao1 a fabulous tree symbolical of long life1 because it was said to bloom only once in three thousand years1 and to bear fruit a thousand years afterward4 ,as ,chang-ti1 the supreme god1 he is riding or leaning upon a deer1 is dressed in yellow1 and around him are clusters of the immortalizing agaric1 ling-tchy4 ,confucius1 or ,koung-tseu1 who followed ,lao-tseu1 was a conservative philosopher1 who led his countrymen back to old forms and ancestral hero-worship4 ,he appears as the representative of ,buddhism alternatively with ,fo or ,buddha1 and as such holds a roll of manuscript or a sceptre in his hand4 ,kuan-in 7,fig4 #fd7 was first taken to be the ,chinese ,venus4 ,she is represented in various attitudes--standing with downcast eyes1 or sitting1 and holding either a child or a rosary4 ,illustration3 ,fig4 #fd4--,kuan-in4 7,s4 ,p4 ,avery ,coll47 ,pousa1 or ,pou-tai1 the ,god of ,contentment1 is also styled the potter's god4 ,how he came to be the latter1 or to be a god at all1 is explained by a good story4 ,the emperor for the time being demanded porcelain1 the fabrication of which was represented to him as an impossibility4 ,this information only served to whet his appetite2 and to gratify his imperial whim1 the workmen were oppressed by their overseers1 and driven by threats and blows to make all kinds of sacrifices and exertions to reach the unattainable4 ,at length one of them gave up the struggle1 and in despair threw himself into the furnace4 ,when the contents of the kiln were taken out1 they were found to be all that the emperor desired1 and the rigor from which the potters had suffered was abated4 ,the workmen apparently concluded that such a result was due to some property unknown to alchemy in the body of their comrade4 ,gratitude led them to respect his memory1 and in due course he became a hero and a god4 ,images of him abound in the workshops of ,king-teh-chin4 ,full of sensuality and good-humor1 his face wears the laugh of contentment1 and his heavy1 corpulent body is supported by the wineskin upon which he leans4 ,without resorting to the explanation to be found in the story1 one can readily understand why such a god as ,pou-tai should commend himself to the slavish and impoverished potter4 ,in every collection of ,chinese ware will be seen certain forms made use of for decorative purposes1 and which have also a symbolical significance requiring explanation4 ,without going into the question of the origin of the wonderful dragons of the ,celestials1 their presence1 in various degrees of hideousness1 on vases and elsewhere1 cannot fail to attract attention and suggest inquiry4 ,they are many-shaped1 as the devils which beset the good ,st4 ,anthony4 ,there are the ,long1 dragon of heaven2 the ,kan1 dragon of the mountain2 ,li1 dragon of the sea1 and many others1 scaled1 winged1 horned1 and hornless4 ,under the form of a dragon many of the immortals are represented1 and it only appears in our mundane sphere on some great occasion1 when1 for instance1 ,hoang-ti was called upon to join the powers above4 ,as emblems1 the dragons require attention1 since their significance varies with the number of their claws4 ,that with five claws is seen upon the imperial standard1 and is the emblem of the emperor and princes of the first and second class4 ,the four-clawed dragon is the emblem of princes of the third and fourth rank4 ,the ,japanese dragon is a tripedal representative of the species4 ,chinese princes of the fifth rank and mandarins have the four-clawed serpent1 ,mang4 ,illustration3 ,fig4 #fe4--,the ,dog of ,fo4 ,another figure very often seen upon ,chinese vases1 and now1 alas6 on some ,european vases also1 is the ,dog of ,fo 7,fig4 #fe74 ,it frequently does duty as a handle1 but occasionally it forms an ornament1 either by itself or sporting with another of the species4 ,in the latter cases its lion-like appearance degenerates into a hideous ugliness thoroughly ,chinese1 and illustrates the peculiar tendency of that people to bestow upon their fantastic monsters a massive breadth of jaw and cavernous oral capacity1 such as we find in their dragons and in the ,ky-lin next to be noticed4 ,the ,dog of ,fo is the ,buddhic guardian of temples and altars4 ,illustration3 ,fig4 #ff4--,vase1 surmounted by ,ky-lin4 ,flowers in ,relief4 7,a4 ,belmont ,coll47 ,the ,ky-lin 7,fig4 #ff7 is one of the most forbidding chimeras ever chosen as an omen of good4 ,its scaly body1 its wide mouth fully armed with formidable teeth1 its dragon-like head and hoofed feet1 make up a monster as horrible in aspect as it is gentle in disposition4 ,illustration3 ,fig4 #fg4--,the ,sacred ,horse4 ,the ,sacred ,horse 7,fig4 #fg7 is preserved by the ,chinese among their symbols1 because by the marks on the skin of a horse which suddenly rose from the river1 the philosopher ,fo was inspired with his diagramic solution of the methods of nature4 ,illustration3 ,fig4 #fh4--,the ,fong-hoang4 ,the ,fong-hoang 7,figs4 #fh and #fi71 the immortal bird1 harbinger of good1 very often resembles a peacock on the wing4 ,when represented in front1 its arching neck is turned to one side1 and the long tail feathers are fantastically drawn high over its body4 ,formerly it was the imperial emblem2 but on the adoption of the dragon it was relegated to the empress1 whose emblem it became4 ,the symbols of longevity are the white stag1 the axis deer1 the bat1 and the crane2 of filial piety1 the stork2 of happy marriage1 the mandarin duck4 ,the months are represented as follows3 ,january1 tiger ,february1 rabbit2 ,march1 dragon2 ,april1 serpent2 ,may1 horse2 ,june1 hare2 ,july1 ape2 ,august1 hen2 ,september1 dog2 ,october1 wild-boar2 ,november1 rat2 ,december1 ox4 ,illustration3 ,fig4 #fi4--,vase with ,fong-hoang4 7,robert ,hoe1 ,jr41 ,coll47 ,in ,china1 almost every usage is regulated by a specific rule2 and we are not astonished1 therefore1 to find that colors and shapes in porcelain and pottery are distinctive of the rank of the possessor1 and have1 besides1 a symbolical signification4 ,thus one dynasty1 the ,tsin 7,a4,d4 #bfe71 took blue as its imperial color2 the ,soui 7#eha-fah7 took green2 the ,thang 7#fah-ijg7 took white2 the ,ming1 green2 the ,tai-thsing1 yellow4 ,the colors thus frequently give a clue to the age of pieces4 ,the first dynasty began ,b4,c4 #bbje2 the twenty-first1 or ,ming1 ,a4,d4 #acfh2 and the twenty-second1 or ,tai-,thsing1 in #afaf4 ,apart from the dynastic significance of colors1 they enter largely into the complex system of ,chinese symbolism4 ,thus the points of the compass and the elements are represented as follows3 ,red ,fire ,south4 ,black ,water ,north4 ,green ,wood ,east4 ,white ,metal ,west4 ,the earth was figured by a square1 fire by a circle1 water by a dragon1 mountains by a deer4 ,the form of a vase is also of value in determining its use4 ,besides the complimentary manner already alluded to1 in which vases were employed1 they were bestowed as rewards upon deserving public functionaries1 and passed between friends as tokens of good wishes4 ,they also occupied a prominent place in religious rites4 ,we may now proceed to a division of ,chinese wares into pottery and porcelain4 ,,pottery4 ,when ,first ,made4--,cladon4--,crackle4--,how ,made4--,porcelain ,crackle4--,decorations on ,crackle4--,household ,vessels4--,stone-ware4--,licouli4--,tow er of ,nankin4--,pipe-clay4--,boccaro4--,color s and ,decoration of ,pottery4--,colors on ,crackle4 ,although we may not accept without question the statement that pottery was first invented either by the ,emperor ,hoang-ti1 or during his reign by ,kouen-ou1 it may at least be taken for granted that pottery preceded porcelain4 ,to define the character of the earliest ware is not unattended with difficulty4 ,one fact which had a great influence upon ,chinese art may here be referred to4 ,so soon as pottery was invented1 it was taken under government supervision4 ,subsequently1 when porcelain was discovered1 the manufacture for many years made very little progress4 ,it was not until it came under imperial protection and patronage that it rose to its greatest height4 ,it will be seen hereafter that in ,continental ,europe also the best works in ceramic art were1 as a rule1 produced under the fostering care of the sovereign power4 ,the oldest ,chinese pottery is very hard1 opaque1 closely akin to stone-ware1 and covered with a partially translucent enamel4 ,the latter called ,cladon1 and made by mixing the colors with the glaze1 varies from the old1 and now very rare1 sea-green to a brown-gray4 ,the term cladon was originally restricted to the sea-green variety1 but was ultimately applied to all wares1 of whatever color1 made in the same manner4 ,the most ancient specimens are of the coarse body above referred to4 ,occasionally they are decorated with incisions in the paste under the glaze1 or with studs and other reliefs1 or with flowered designs 7cladon fleuri71 and are called by the ,chinese ,tchoui4 ,there is also a cladon of a deeper green than that last referred to1 which1 with that of the gray varieties1 is very often covered with an inextricable net-work of cracks4 ,this is the kind known as crackle4 ,the process which the ,chinese succeeded in bringing to the most exact precision in regard to the size of the cracks is not thoroughly understood4 ,several theories have been advanced to explain it4 ,examination shows that the paste or body of the ware and the glaze differed in consistency1 the one being more or less expansive than the other4 ,to perform the operation successfully1 the vessel is while hot1 plunged into cold water1 or brought suddenly into contact with cold air1 when the glaze is at once broken up into the much admired net-work of minute fissures4 ,from this it would appear that the desired effect is caused by the shrinkage of the glaze on being suddenly exposed to cold4 ,another explanation is that there are two layers of paste of different composition1 and that the cracks appear in the outer one4 ,when the piece is glazed1 the cracks are covered over1 and the surface made perfectly smooth1 unless the cracks are very coarse and large1 in which case they are perceptible to the touch4 ,through the cracks the fused paste or inner core appeared1 and made them more distinctly visible2 or1 to reach the same effect1 ochre1 ink1 or other coloring material was rubbed into the cracks4 ,to produce them with the absolute precision to which the ,chinese attained1 they must have thoroughly studied the composition of the paste and glaze employed1 as we frequently find different kinds of crackle on the same vase4 ,steatite was sometimes mixed with the glaze1 and had the same effect as a sudden immersion4 ,it would naturally follow that no such ornamentation could be applied to porcelain1 the paste and glaze being too closely allied in composition4 ,to surmount this difficulty1 the glaze was combined with materials destructive of its close affinity with the kaolinic paste4 ,a simultaneous shrinkage being thus made impossible1 the glaze cracked4 ,although both ,chinese and foreigners place a high value upon good specimens of crackle1 admiration of such a style of ornament involves a decided perversion of taste4 ,it is safe to say that nine persons out of ten would1 if left to exert their own uninfluenced judgment1 condemn a crackle vase as devoid of all pretension to ornament4 ,it is when we find that the deformity is the result of design1 that the piece is a curiosity of workmanship1 and represents the mechanical ingenuity of the potter1 that it becomes an object of interest and a desirable possession4 ,crackle-ware has been made by the ,chinese since the ,song ,dynasty1 which extended from ,a4,d4 #ifj to #abgi1 and probably from a much earlier date4 ,ornamentation is sometimes laid above the glaze4 ,one very old style of decoration in relief upon the crackle 7,fig4 #gj7 consists of medallions and bands of a brown paste1 of which imitations1 having lions' heads holding rings in the centre of the medallions1 are abundant4 ,pottery is used by the ,chinese in the making of household vessels and utensils of all kinds--as extensively1 in fact1 as by the ,egyptians4 ,they have earthen-ware reservoirs and basins1 lamps1 cooking-pots1 water-filterers1 teapots1 and toys4 ,ornamental vases are also made of earthen-ware1 and some specimens show that the ,chinese lavished upon their comparatively humble wares--according to our ideas--ornamentation as beautiful and elaborate as that upon porcelain4 ,illustration3 ,fig4 #gj4--,rice-colored ,crackle1 with ,brown ,zones4 7,s4 ,p4 ,avery ,coll41 ,n4 ,y4 ,metrop4 ,museum47 ,their stone-ware1 covered with porcelain1 presents us with some of their most wonderful works4 ,this ware is made into jars1 seats1 cisterns1 and many other utensils and objects4 ,it is said to have been in attempting to make plaques of this kind that ,pousa or ,pou-tai met with his tragic end as before told4 ,the plaques1 ,licou-li1 or glazed tiles1 are devoted to the embellishment of imperial and religious edifices1 and by the brilliancy of their many colors1 yellow1 blue1 green1 red1 and violet1 produce a dazzling and gorgeous effect4 ,the famous porcelain tower of ,nankin 7,fig4 #ga71 or1 as it is alternatively called by the ,chinese1 ,tower of the ,licou-li1 or ,poa-en-ssi1 the ,convent of ,gratitude1 was covered with tiles of the above description4 ,this building has been repeatedly destroyed and rebuilt4 ,the original consisted of three stories1 and was erected ,b4,c4 #hcc4 ,having been demolished1 it was rebuilt ,a4,d4 #cga-cgc4 ,it was again destroyed1 and again rebuilt by one of the ,ming emperors1 who1 after nineteen years' work1 finished it in #adca4 ,once more it was demolished during the insurrection of the ,taepings2 and although travellers--including some ,americans--have within the past twenty years been fortunate enough to secure a few fragments as relics 7,fig4 #gb71 nothing now remains to mark its site4 ,it was this last tower which was known as the ,convent of ,gratitude4 ,it consisted of nine stories1 and was three hundred and fifty-three feet in height4 ,it was covered with enamelled bricks of red1 white1 blue1 brown1 and green colors2 but whether the previous towers were so decorated is not known1 so that the ,tower of ,nankin cannot be brought forward as proving the architectural use of enamelled stone-ware at a very remote age4 ,illustration3 ,fig4 #ga4--,tower of ,nankin4 ,a material which is neither stone-ware nor porcelain1 but resembles very fine pipe-clay1 is used in making opium pipes4 ,the bowl is enamelled1 and decorated with flowers or other forms1 and is not unfrequently almost perfect as a work of art4 ,the ,chinese boccaro remains one of the finest specimens of a grs known to ceramists1 and far above any of the stone-wares of ,europe4 ,some specimens are as perfect in their beauty as jewels4 ,the paste is sometimes brown of a reddish tinge1 sometimes a gray faintly colored with yellow4 ,it is made into single pieces and services1 occasionally of fantastic design4 ,when covered with colored enamels1 the boccaro is at once so delicate and brilliant as to be likened to nothing but a gem4 ,illustration3 ,fig4 #gb4--;,enamelled ,bricks from the ,tower of ,nankin4 7,n4 ,y4 ,metropolitan ,museum47 ,at a very early period the ,chinese attained to that wonderful mastery of the secrets of color which made them the envy of the artists of all subsequent time1 and has led to the adoption of certain of their colors as universal standards of beauty and excellence4 ,combined with the certainty of their operations in crackle1 their skill in color led to many remarkable effects in wares1 the precise nature of which cannot be defined4 ,upon a rich golden crackle1 white-and-blue figures are occasionally imposed 7,fig4 #gc74 ,in some cases the enamels used for this super-ornamentation are so transparent that the cracks can be seen through them4 ,possibly the most curious kind is that in which the vase is encircled by bands of crackle1 some coarse and irregular1 alternating with others fine and regular1 and divided by stamped zones of brown ferruginous paste4 ,both ,japanese and ,chinese place a very high value upon the ancient specimens1 the priority in point of time being accorded to the light blue4 ,besides the colors already mentioned1 turquoise-blue1 yellow1 and a bright red are found upon crackle1 to the first of which a special value is attached4 ,the fine crackle1 called by the ,french truit1 is most frequently applied to vases of pale and olive-green not otherwise decorated4 ,one cannot look at the exquisite coloring of some of the rare old pieces1 without being led to the conclusion that the ,chinese placed a value upon their ceramic productions not more than commensurate with the artistic skill developed among them4 ,illustration3 ,fig4 #gc4--;,crackle ,vase1 with ,crabs in ,blue4 #g in4 high4 7,j4 ,c4 ,rankle ,coll47 ,illustration3 ,fig4 #gd4--;,chinese ,porcelain ,lantern4 7,s4 ,p4 ,avery ,coll47 ,,porcelain4 ,when ,invented4--,king-teh-chin4--,all ,classed as ,hard1 ,exceptions4--,old ,porcelains4--,kouan-ki4--,blue-and-whit e4--,persian ,styles4--,turquoise and other ,blues4--,leading ,events of ,ming ,dynasty4--,egg-shell4--,tai-thsing ,dynasty4--,mandarin ,vases4--,families4--,old ,white4--,jade4--,purple and ,violet4--,liver ,red4--,imperial ,yellow4--,chinese ,ideas of ,painting4--,souffl4--,grains of ,rice4--,articulated and ,reticulated ,vases4--,cup of ,tantalus4 ,porcelain having been invented in the province of ,ho-nan1 during the ,han ,dynasty1 between the years ,b4,c4 #ahe and ,a4,d4 #hh1 was manufactured for upward of fifteen hundred years before it was generally known in ,europe4 ,for about five or six hundred years the industry made comparatively little progress1 but after ,a4,d4 #ehc it advanced with great rapidity4 ,in that year the imperial patronage was bestowed upon ,king-teh-chin1 a city in the district of ,fauling1 and province of ,kiang-si4 ,there were here at one time1 in #agag1 three thousand furnaces4 ,it is said by some recent authorities that all the kilns and potteries were destroyed by the ,taepings1 and that the entire city was reduced to ruins4 ,according to the official catalogue of the ,chinese department at the ,centennial ,exhibition1 the city must have been rebuilt4 ,both the largest quantity and finest quality of porcelain are said still to be made at the imperial potteries at ,king-teh-chin1 and out of upward of seventeen hundred and fifty pieces exhibited1 all were from that city1 with the exception of ten from ,ningpo1 ,nankin1 and ,pekin4 ,some of the others1 although painted at and sent from ,canton1 were manufactured at ,king-teh-chin4 ,all ,chinese porcelain has been classed as hard4 ,the only kind about which any doubt has been entertained is the white1 variously ornamented in relief4 ,to this ought1 however1 to be added certain rare but superb specimens which come from ,china as well as from ,persia4 ,the process by which they were manufactured is not known1 but it seems clear that they belong to the same family as the pate tendre of ,france1 that is to say1 that their vitrification is due to an alkaline frit1 and that the glaze is also alkaline4 ,of the dynastic colors the azure-blue adopted by the ,tcheou1 in #ide1 is the most celebrated4 ,it was very highly valued1 and after the secret of making it passed out of sight1 which it did at a very early date1 it was never rediscovered4 ,it is known as ,tch'a porcelain1 and in color resembled the 8blue of the sky after rain40 ,under the ,song ,dynasty four very valuable kinds of porcelain were made4 ,the first of these was the ,jou-yao1 a very fine blue1 produced at ,jou-tcheon1 where crackle porcelain was also made in great perfection2 the second 7#aajg-aaag7 was the famous ,kouan-yao1 or porcelain for magistrates1 of two shades of blue1 with a slightly reddish tint2 the third takes its name from the ,tchang family of potters1 and was pale blue and rice-colored crackle2 the fourth1 the ,ting-yao1 was of different colors--red1 white1 brown1 and black1 and was of great value4 ,these1 with the ,tcheou blue1 are the five ancient qualities held in highest estimation4 ,there were many other kinds1 too numerous to be here given in detail1 including the 8porcelain of concealed color10 so called because designed for imperial use1 and others of varying tints of violet1 brown1 purple1 and blue4 ,at ,king-teh-chin jade-colored porcelain was made before the tenth century1 and a hundred years later the entire empire was interested in the manufacture4 ,with a mere reference1 in the mean time1 to the blue-and-white porcelain of the ,youen ,dynasty1 we pass to that of the ,ming1 to which some of the porcelain most highly prized by collectors belongs4 ,when1 in #acfi1 a factory was started at ,king-teh-chin to supply the imperial wants exclusively--an event not to be confounded with the foundation of the ,king-teh-chin manufactory1 which took place during the ,song ,dynasty1 three hundred and fifty years previously--the vases of blue camaeu1 called ,kouan-ki1 or magistrate's vases1 were made in that city4 ,these valuable works were probably intended to follow as nearly as possible the more ancient ,tcheou porcelain1 which had reached so great a value that even fragments of it were employed like precious stones4 ,it will be observed that the earlier magistrates' porcelain was made under the ,song1 and the explanation is given that the ,ming ,kouan-ki were so called to distinguish the porcelain made at the royal factory from those made for vulgar use4 ,it may be added that the old turquoise blue was made from copper1 and the sky-blue from cobalt4 ,the blue-and-white 8,nankin0 is a comparatively modern ware made at ,king-teh-chin4 ,it takes its name from the place of export4 ,it is1 in the strict application of the term1 not older than the beginning of the sixteenth century1 when the ,chinese began to use imported cobalt2 but as now employed1 it includes all ,chinese porcelain with blue-and-white decoration4 ,the folly of such an unmeaning subdivision finds its reward in the confusion of the student4 ,the blue-and-white is not only the oldest of all ,chinese decoration in colors1 but is found upon some of the most interesting and valuable works4 ,illustration3 ,fig4 #ge4--,pearl4 ,illustration3 ,fig4 #gf4--,sonorous ,stone4 ,illustration3 ,fig4 #gg4--,tablet of ,honor4 ,illustration3 ,fig4 #gh4--,sacred ,axe4 ,illustration3 ,fig4 #gi4--;,celosia4 ,illustration3 ,fig4 #hj4--,treasures of ,writing4 ,illustration3 ,fig4 #ha4--,outang4 ,illustration3 ,fig4 #hb4--;,a ,shell4 ,the best pieces1 whether ancient or modern1 are distinguished by the purity of the white and the clearness of the blue4 ,to this class belong the ,kouan-ki already referred to as having been made soon after the middle of the fourteenth century at ,king-teh-chin4 ,these productions frequently bear certain honorific marks1 from which their destination can be inferred4 ,the leading symbols are eight in number2 and when1 as is very often the case1 they have a ribbon attached1 the pieces are designed for sacred use4 ,thus the pearl 7,fig4 #ge7 marks pieces destined for poets or literati1 and is the symbol of talent4 ,it varies slightly in form1 being in some cases very small1 with a conical top1 and in others resembling a flattened sphere4 ,the 8sonorous stone0 7,fig4 #gf7 is for judges or magistrates1 and was hung above their door or at the temple gates1 to be struck by those seeking an audience4 ,pieces with this mark were1 therefore1 exclusively for the use of judges4 ,the ,kouei1 or tablet of honor 7,fig4 #gg71 is the symbol of office4 ,it was given by the emperor to his noble functionaries1 who were required to hold it when discharging the duties of their office1 and during an audience4 ,the sacred axe 7,fig4 #gh7 is the mark of warriors4 ,the cockscomb 7,fig4 #gi7 is the symbol of longevity4 ,the 8sacred things0 or 8treasures of writing0 7,fig4 #hj7 are the emblems of the learned1 and consist of paper1 pencil or brush1 ink and pumice-stone4 ,the outang 7,fig4 #ha7 is a leaf1 the significance of which is not understood4 ,it is frequently found on the bottom of pieces4 ,the meaning of the univalve shell 7,fig4 #hb7 is also unknown4 ,these marks and many others are found variously disposed upon blue-and-white porcelain4 ,in the illustration 7,fig4 #hc7 the pearl1 the sonorous stone1 and the ,kouei are seen in combination with others1 and the inference is that the piece was intended for a man of letters1 of noble rank1 who also held the office of magistrate4 ,the lace or lambrequin decoration round the border is exceedingly rich and fine1 and shows at once whence the artists of ,rouen borrowed their favorite design4 ,in other pieces the honorific marks are introduced in the design1 or appear upon the neck of vases1 or are so disposed as to constitute the chief ornaments4 ,the latter arrangement is exemplified in a small vase1 also in ,mr4 ,runkle's collection1 where the symbols are suspended one above another4 ,illustration3 ,fig4 #hc4--;,blue-and-white ,plaque1 with ,honorific ,marks4 7,j4 ,c4 ,runkle ,coll47 ,there is in ,mr4 ,avery's collection a ,ming bowl1 or cup of 8the learned10 which closely resembles one described by ,jacquemart4 ,the rim projects slightly1 and in panels reserved in the border are the honorific marks4 ,the author is represented seated at a table1 deep in meditation1 in the very throes of composition4 ,from his forehead issues a scroll which expands into the semblance of a cloud1 wherein are depicted by the artist the scenes of the drama which the poet is composing4 ,this method of representing literary travail is in our time left to the caricaturist2 but it is1 nevertheless1 a vivid way of giving artistic form to the thoughts passing in the brain of 8the learned40 ,illustration3 ,fig4 #hd4--;,blue-and-white4 ,eight ,chinese ,celestials standing on ,clouds4 7,w4 ,l4 ,andrews ,coll47 ,the blue-and-white will amply repay the most careful and critical study4 ,this is absolutely necessary if we would distinguish not only the art which is ,chinese1 but the best of the ,chinese--that emanating from ,king-teh-tchin--from the works of other factories4 ,the influence of the imperial factory is felt throughout the empire4 ,its styles and methods are copied and adopted1 but imperial patronage1 and the resources of a factory carried on under the highest political auspices1 make the work of provincial imitators difficult4 ,then1 again1 the blue-and-white of ,japan is sometimes mistaken for that of ,china1 and it must be confessed that the difference is not always easily detected4 ,close observation1 however1 shows that the white of the ,japanese differs from the ,chinese1 and that the blue is less soft4 ,the white of ,japanese pieces is purer1 and sometimes it is what we understand by the phrase 8dead white20 that is1 it resembles chalk1 and lacks clearness4 ,as a consequence1 the color does not derive from the glaze the softness and transparency of the ,nankin blue1 but appears to lie upon the surface in harder outline and with less depth4 ,besides the ,japanese1 there are qualities of blue from ,india1 ,persia1 and other countries1 which require careful examination to prevent their being confounded with those of ,china4 ,illustration3 ,fig4 #he4--;,blue-and-white ,lancelle ,vase1 ,ming ,dynasty4 7,w4 ,l4 ,andrews ,coll47 ,an exceptional style of decorating blue-and-white ,chinese porcelain is that in which a light buff1 varying at times to a clear brown1 is mingled with the blue4 ,this is seen in bands surrounding the necks of bottles and similarly shaped pieces1 and is also occasionally mingled with the blue on the necks of vases4 ,illustration3 ,fig4 #hf4--;,blue-and-white ,chinese4 7,j4 ,c4 ,runkle ,coll47 ,as to the forms and styles of decoration of blue-and-white porcelain1 they are too varied to permit of classification4 ,some of the finest shapes are to be found in this class1 and also some of the most unique and curious4 ,beakers1 with gracefully expanding necks alternate with clumsy pieces without any claim to beauty of form1 and these1 again1 with such elegant shapes as the ,lancelle 7,fig4 #he74 ,the decoration includes every style known to ,chinese art4 ,on the ,kouan-tse are dragons writhing in tortuous folds among the clouds or in the water1 and flowers profusely scattered without any attempt at orderly disposal4 ,on others are historical scenes1 lang lizen--the long young ladies of ,dutch traders--lace or lambrequin patterns1 and many other designs4 ,the palm-leaf is very effectively used4 ,in a beaker in ,mr4 ,runkle's collection1 the conical leaves are arranged round the body1 whence they rise toward the top and descend toward the bottom1 and thereby give emphasis to the shape as it expands to the lip and base4 ,in such an arrangement the taste of the ,chinese artist is infallible4 ,the disposition of the decoration1 which at first seems stiff and formal1 is not only in harmony with the shape of the beaker1 but is the only one by which its beauty of form could be fully brought out4 ,when historical incidents are the subjects of the painting1 the execution of the figures is admirable4 ,it is in such pieces that we can best appreciate the accuracy of the artist1 and his admirable control of his brush4 ,he understands that a few judicious strokes may have a finer1 and1 by their suggestiveness1 a fuller1 effect than crowded detail and the most delicate shading4 ,they show1 further1 that the art of decorating a vase with human figures consists in judgment as much as in execution4 ,thus1 where the forms are distorted and the unity of the composition destroyed by the shape of the vase and the disposition of the figures1 not only is the decoration unpleasing1 but the artist fails in reaching the effect aimed at4 ,these are faults of which the ,chinese artists are seldom guilty1 and their skill in overcoming the difficulties presented by the curves or angles of the object to be decorated can be better studied in a collection of blue-and-white than among the porcelain of any other family4 ,when it is considered that only one color is employed1 the diversity of the results is wonderful4 ,in many cases this is effected by apparently varying the application of the pigment1 and laying it on more thickly in some places than in others4 ,we have seen this exemplified on a vase where the ornamentation was chiefly floral1 and the flowers were painted so thinly as to give the effect of a distinct and paler shade of color4 ,we have also seen pieces where the differences of shade were so regular and striking as to leave little doubt that two distinct qualities of blue were used4 ,illustration3 ,fig4 #hg4--;,blue-and-white ,chinese1 8,hawthorn0 ,pattern4 7,s4 ,p4 ,avery ,coll41 ,n4 ,y4 ,metrop4 ,museum47 ,when the ,chinese artist condescends to adopt a regular pattern1 his attention is directed to relieving the monotony of repetition by diversity of detail4 ,in the vase 7,fig4 #hf7 there are at least six distinct styles of edging1 and a slight change in the arrangement of the same pattern on the body and neck gives all the variety of two distinct designs4 ,a well-known but rare pattern is that called ,hawthorn 7,fig4 #hg7 by ,europeans1 on the lucus a non lucendo principle1 since the so-called 8hawthorn0 is the blossom of certain fruit-trees better known to the ,celestials4 ,in this the blue is the ground-color1 and in it the decoration1 consisting of sprigs of bud and blossom1 is reserved4 ,the ground is varied with dark blue lines1 as if to simulate crackle1 and the sections are shaded so as to have the appearance of overlapping each other4 ,the irregular lines and changing tints not only relieve the ground of monotony1 but enrich the general effect1 and give the blue additional depth and transparency4 ,the illustration gives a good idea of the freedom with which the spray is disposed1 and the good taste with which its arrangement is adapted to the shape of the vase4 ,the decoration is generally applied to vases and pots of the shape given above4 ,further examples are in the collections of ,mr4 ,robert ,hoe1 ,jr41 and ,mr4 ,w4 ,l4 ,andrews4 ,there are also many smaller pieces1 such as plates1 narrow cylindrical beakers1 and others1 upon which it may be seen4 ,these are represented in the collections of ,mr4 ,francis ,robinson and ,mr4 ,w4 ,t4 ,walters4 ,in such pieces as those last mentioned the ground is less broken up by lines1 and in some cases the white is reserved in a ground of unbroken pale blue4 ,in the second specimen 7,fig4 #hh7 the white blossom is used with a more sparing hand than in the others1 and the eye more readily appreciates the wonderfully beautiful shading of the overlapping sections4 ,the unevenness of surface is also more perceptible to the touch1 and1 to use a familiar illustration1 resembles the overlapping of slates upon a roof4 ,illustration3 ,fig4 #hh4--;,blue-and-white 8,hawthorn0 ,vase4 7,j4 ,c4 ,runkle ,coll47 ,although not belonging to the same family1 we may here refer to a rare vase 7,fig4 #hi71 which supplies us with a remarkably fine specimen of a kindred style of ornamentation4 ,in this case the ground is black1 and the 8hawthorn10 or plum-tree1 sprays1 with white flowers1 are wreathed gracefully over its surface4 ,the green of the leaves would lead us to class it with the ,green family4 ,the piece is1 however1 exceptional1 since black is1 as a rule1 seldom introduced to any great extent in decoration4 ,to what fabric or age shall we attribute it8 ,it is possibly a specimen of the skill of ,thang-kong1 who lived between #agcf and #agie1 and was director of the ,imperial works4 ,thang not only reproduced some of the ancient colors1 such as the dark-blue and red1 but gave full sway to his own inventive genius4 ,among his original works are a purple1 a black enamel1 and a black enamel with white flowers1 which suits the description of the unique specimen referred to4 ,it is1 in any event1 by reason both of its graceful shape and decoration1 deserving of attention4 ,illustration3 ,fig4 #hi4--;,chinese ,porcelain4 ,white 8,hawthorn0 on ,black4 7,s4 ,p4 ,avery ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,to return to the blue-and-white1 there are specimens1 generally plaques1 with flowers resembling asters1 painted in blue 7,fig4 #ij74 ,one has some difficulty in bringing the formal arrangement of these flowers into accord with ,chinese art as we find it elsewhere4 ,the flowers are regularly disposed in the centre of the plaques1 and repeated1 in smaller size1 in a single row round the rim4 ,it seems more than probable that the style is borrowed or slightly modified1 and one is strengthened in such a supposition by the fact that it is seldom1 if ever1 found upon pieces as pure in paste as the average ,chinese porcelain4 ,possibly1 with the intention of following his model more closely1 the ,chinese artist designedly resorted to an inferior body1 such as might have reached ,china from ,persia4 ,there are certain pieces of blue-and-white in which both ,persian forms and ,persian styles of decoration have been followed1 and these introduce the general subject of ,persian influence as felt in ,china4 ,it first manifested itself as far back as the ,siouen-te period 7#adbf7 of the ,ming dynasty1 and is further represented by pieces belonging to the sixteenth and seventeenth centuries4 ,the most easily recognized are those in which the ,persian form is adopted1 although the paste alone would lead one to ascribe them to ,china1 as it is invariably finer than anything known to have come from ,persia4 ,there is in ,mr4 ,runkle's collection a ewer decorated with flowers in light-blue1 resembling that of ,tch'a porcelain1 the famous 8blue of the sky after rain40 ,real examples of this old blue must needs be rare1 since the porcelain1 variously called ,tch'a1 ,tcheou1 and ,tchi-tsong1 was1 like the old white1 valued1 even in fragments1 as highly as jewels4 ,a second from the same collection is given on the following page 7,fig4 #ia74 ,the panels are black1 the flower and border decoration are in pink1 green1 and yellow1 and show the variety and execution distinctive of ,chinese work4 ,there are many pieces of the same class in which the artist has attempted to follow the ,persian styles more closely1 but even a slight examination can leave little doubt of their ,chinese origin4 ,in connection with the blue-and-white decoration may be mentioned the vases of sea-green cladon1 in which panels of white are reserved4 ,on these are figures of men and animals1 landscapes or flowers1 in blue4 ,a favorite form1 and one well suited to this style of decoration1 is a square bottle or vase1 the sides of which enable the artist to paint the design in blue upon the flat4 ,illustration3 ,fig4 #ij4--;,aster ,decoration4 ,blue-and-white4 7,w4 ,l4 ,andrews ,coll47 ,of the other blues which were used as ground colors1 one of the most famous is the turquoise obtained from copper4 ,it has all the clear depth of the stone from which it takes its name1 a liquid transparency elsewhere unequalled4 ,it appears on a great variety of pieces--gods1 kylins1 birds1 dogs1 and vases4 ,the latter are very often graved in the paste1 after designs more or less ornate4 ,in the specimen given 7,fig4 #ib71 which is very finely crackled1 the leaves are bound together by a zone decorated with the ,greek fret4 ,the lapis lazuli blue has a deeper tint1 and is usually decorated with gold4 ,it is used as a ground color1 and fine specimens lead one to question the appropriateness of the name1 as the porcelain so decorated has a brilliancy and depth far in advance of the comparatively dull stone4 ,the color is occasionally employed in ,persian decoration1 and varies in shade4 ,illustration3 ,fig4 #ia4--;,chinese ,porcelain4 ,persian ,style4 7,j4 ,c4 ,runkle ,coll47 ,the mazarine blue is similarly treated1 and is also effectively heightened by a super-ornamentation of gold of different shades4 ,there are many other tints to which it is hard to give even a distinctive name4 ,they illustrate the extreme partiality of the ,chinese for this color1 a partiality which has never wavered for at least sixteen centuries4 ,it has been the means of giving to the world a greater number of beautiful works of art than would otherwise seem to be within the reach of the most skilful manipulation and the most prolific fancy1 when restricted to a single color4 ,the souffl porcelain will be hereafter noticed1 but in the mean time1 to prevent misapprehension1 reference may be made to the bleu fouett1 a style sometimes confounded with the souffl4 ,it is less deep in shade than the lapis lazuli1 and has a mottled appearance4 ,it is used as a ground color1 in which are sections of white1 and on the latter are brilliant designs in red1 green1 and gold4 ,the effect is rich1 and the contrast between the panel painting and the more sombre ground color is very striking4 ,there are also blues splashed over with spots of red and lilac1 and many others1 such as the 8transmutation0 or flashed glaze1 illustrative of the magical dexterity of the ,chinese workman4 ,what on first sight seems the result of an accident in the kiln1 will often prove to be that of a carefully conducted operation and deliberate intention4 ,we may now glance briefly at the various fabrics of the ,ming ,dynasty1 in their chronological order4 ,illustration3 ,fig4 #ib4--,turquoise-blue ,chinese ,porcelain4 ,truit ,crackle4 7,s4 ,p4 ,avery ,coll41 ,new ,york ,metropolitan ,museum47 ,the establishment of an imperial factory at ,king-teh-chin1 as above stated1 marked the beginning of the ,ming1 during which 7#acfh-afdi7 the art rose to its highest level4 ,after the blue ,kouan-ki came vases and vessels of various colors and styles of decoration4 ,between #adjc and #adbd1 egg-shell porcelain1 so called from its remarkable thinness1 was first issued from ,king-teh-chin1 and between #adfe and #adhg reached its greatest excellence and fineness4 ,it was made as thin as paper1 and was so favorably regarded by the emperors that they gave rewards to those making the finest pieces4 ,its gauzy transparent tenuity is effected by grinding it down after glazing4 ,vases1 as well as cups1 etc41 were made of egg-shell1 which at a later date was painted in colors4 ,the fifteenth century saw the greatest triumphs of ,chinese artists4 ,from #adbf to #adce1 the ,siouen-te period1 very brilliant blue1 red1 white1 and veined crackle was made4 ,representations of crickets were a fashionable style of ornamentation4 ,afterward1 between #adfe and #adhg1 although the colors deteriorated1 the beauty of the ornamentation increased toward its artistic extreme4 ,with the sixteenth century1 we have seen that foreign material for ornamentation began to be introduced2 and although many original artists continued to appear1 others restricted themselves almost exclusively to the imitation of ancient wares4 ,tcheou1 who lived between #aefg and #afai1 took particular delight in puzzling collectors by skilful counterfeits of the most famous1 rare1 and valuable old wares4 ,according to a story told by ,julien1 he imitated the ancient ,ting white1 made from three to six hundred years before his time1 so closely1 that he duped the most acute collectors4 ,more than a century later1 between #agce and #agie1 ,thang-kong1 already referred to1 displayed great imitative skill4 ,it is1 however1 evident1 and a matter of regret1 that1 from the beginning of the eighteenth century1 the ceramic art of ,china declined4 ,while the materials employed are still equal to the most ancient1 the ornamentation after that date became1 as a rule1 manifestly inferior4 ,to what extent a more intimate intercourse with foreigners and the more extended demands of trade resulting therefrom may have contributed to such a result1 we need not now inquire4 ,the greater rapidity of execution necessitated by increasing orders from abroad1 and the influence of ,european models1 had no doubt their effect4 ,all the best pieces were retained for native use1 and only the inferior qualities were exported4 ,the estimation in which the ,chinese hold the rarer pieces is further illustrated by the fact that specimens which have found their way to ,europe have been sent back to ,china to be sold1 because there they would realize higher prices4 ,many of the better kinds have never been seen in ,europe2 and when in addition to this it is remembered that1 while skilled in production1 the ,chinese were equally clever in imitation with fraudulent intent1 many other kinds are in all likelihood really unknown beyond the bounds of the ,celestial ,empire4 ,there are1 besides the works of such an artist as ,thang-kong1 exceptional pieces of the ,tai-thsing ,dynasty1 especially those of the ,kien-long period1 during which ,thang-kong lived1 that are in every way admirable4 ,one example of this period 7,fig4 #ic7 has a ground color of light green1 overrun with a graceful floriated design graved in the paste1 and having reserved panels1 in which are a landscape on one side and a tree and bird on the other4 ,in another the ground is a delicate pink1 and the figures are raised4 ,examples might be multiplied to any extent1 which show that1 however faulty the later specimens may be1 there is no lack of variety4 ,the artists resorted to every style of decoration within the reach of their skill1 and some exceedingly beautiful porcelain of various families will be found to belong to the ,kien-long period4 ,illustration3 ,fig4 #ic--,kien-long ,green ,porcelain ,vase4 7,j4 ,c4 ,runkle ,coll47 ,the ,tai-thsing ,dynasty is also marked by the production of the vases called 8,mandarin10 usually1 but in our opinion mistakenly1 ascribed to ,japan4 ,the history of ,china at this time is for our present purpose valuable4 ,so long as the two dynasties were at war1 art was neglected2 and we therefore find that1 for several years prior to the establishment of the ,tartar ,dynasty1 the manufactories gave out no works of note4 ,when the ,tai-thsings were firmly seated on the throne the art received a new impulse4 ,while ,khang-hi reigned 7#affa-agbb71 ,thang-ing-siouen was director of the imperial factory1 and made two yellows1 a green and blue4 ,he was succeeded in #agbb by ,nien1 who was equally successful1 and in #agcf was associated with the artist ,thang-kong before mentioned4 ,after ,kien-long1 the fourth of the ,tartar ,dynasty1 the art went rapidly downward4 ,it will be observed from these few facts that when the decline of ,chinese art is spoken of as beginning with the eighteenth century1 allowance must be made for the check experienced under ,kien-long 7#agcf-agie74 ,when he ascended the throne there were1 according to ,m4 ,julien1 fifty-seven manufactories of porcelain in ,china1 of which seven besides that of ,king-teh-chin were in the province of ,kiang-si4 ,whatever condition art may have been in1 there was plainly no stagnation in production4 ,and now as to the mandarin vases1 which strictly reflect the history of ,china3 the word 8mandarin0 is applied to all the public functionaries of ,china1 and1 in the decoration of porcelain1 includes all the figures with toque and vest seen on the vases of this period4 ,when the ,tartar ,dynasty came in1 one of the first imperial acts was to issue an order that certain new customs should be adhered to1 and old ones renounced4 ,though politic1 in tending to erase even the remembrance of the dethroned ,mings1 the act was in certain particulars a cruelty to the conservative ,chinese4 ,it involved in their eyes degradation to the level of the victorious ,tartar2 and rather than conform to the order requiring the head to be shaved1 many were willing that it should be cut off4 ,conformity came in time1 and the pigtail was an accepted necessity4 ,changes in costume were also gradually effected4 ,of these the most marked features are the rolled-up cap or toque and the short coat4 ,to distinguish the nine orders of public officers1 the most minute regulations were issued4 ,these affected chiefly the button on the toque1 the squares on the front and back of the coat1 and the decoration of the belt4 ,the mandarin vases upon which these costumes are seen1 are thick in the paste and frequently uneven on the surface4 ,the hexagonal form1 as well as the general features of the decoration1 were followed and made familiar to ,europeans by the potters of ,delft4 ,the decoration is so varied that the group is divided by ,jacquemart into six sections4 ,the chief colors are pink1 lilac1 green1 iron red1 ,indian ink1 gold and black4 ,the painting is not executed after the usual ,chinese fashion1 and the faces in particular are finished with a minute care suggestive of an influence not felt before this period4 ,what concerns us chiefly at present is the reason given by ,jacquemart for assigning the entire group to ,japanese workmanship4 ,he says3 8,the special character of this costume marks out perfectly the group of porcelain upon which it is to be found4 ,it offers1 besides1 the advantage of rendering incontestable the ,japanese origin of these porcelains4 ,the artists of the ,celestial ,empire have never represented mandarins in their lacquer-work1 carved wood or ivories1 vases1 bronzes1 hard or soft stones2 no authentic nien-hao piece has depicted anything besides the heroes of ancient times and the subjects of ancient history4 ,it was left to neighboring nations1 at the same time inquisitive and commercial1 to multiply upon the vases this execrated costume1 imposed only after a time by force40 ,illustration3 ,fig4 #id4--;,chinese ,ming ,vases4 ,white ,ground4 ,in medallions1 green and brown characters and figures4 ,darker part red and white1 with green flowers4 7,geo4 ,r4 ,hall ,coll41 ,boston ,museum of ,fine ,arts47 ,this appears rather a slight reason for giving the entire group to ,japan4 ,let us look back to history4 ,from the ,wan-li period of the ,ming 7#afai7 to the final fall of the dynasty in #afdg1 or from the irruption of the ,tartars in #afaf down to #affb1 the ,khang-hi period of the ,tai-thsings1 we know of no porcelain having been made2 but in that period1 as we have seen1 the industry revived4 ,it is then that we again find a director at ,king-teh-chin1 and seventy years later ,thang-kong was reviving the bright red and devising the gold ornamentation on black which we find on the mandarin vases4 ,jacquemart suggests 8some years0 after #afaf as the date when the ,tartar costume was applied to vases4 ,it is probable that it was at least from fifty to seventy years after that date1 and that the best specimens belong to the ,kien-long period1 which began in #agcf4 ,after #affb the imperial factory was apparently as much under the ,emperor's control as it had been under the ,mings2 in which case he could1 it is presumed1 order such paintings and figures in such costumes as he pleased4 ,we know1 further1 that in #afih two foreign artists--an ,italian and a ,frenchman--were at the palace giving the ,chinese several new ideas about art1 especially1 as we shall see1 about perspective4 ,this may1 in part1 account for the miniature appearance of the face paintings on the mandarin vases4 ,there is1 moreover1 no ostensible reason for assigning to the ,japanese the origination of a style of decoration at variance with everything else we know of the early traditions of their art1 although they followed it afterward4 ,we might rather look to ,india4 ,we know1 at least1 that during the ,kien-long period the ,chinese incurred and acknowledged certain debts to ,india1 and it is in the same country that we find the best miniature painting of the ,east4 ,such a supposition would also account for the unusual type presented by some of the mandarins with long pointed beards4 ,illustration3 ,fig4 #ie4--,ming ,vase4 ,historical ,subject4 7,j4 ,c4 ,runkle ,coll47 ,an apparently fanciful grouping of ,chinese porcelain originated with ,albert ,jacquemart and ,edmond ,le ,blant4 ,they divide it into four families1 the ,archaic1 the ,chrysanthemo-,ponian1 the ,green1 and the ,rose3 ,cladon1 ,crackle1 ,white1 ,blue1 ,turquoise-blue1 ,violet1 ,bronze1 and ,lacquer are classed as exceptional4 ,the ,chrysanthemo-,ponian is so called from the prevalence of chrysanthemums and ponies on the ground1 and the ,green and ,rose from the predominating colors4 ,a large proportion of the household ornaments of ,china1 garden vases1 and table-wares belong to the first of these classes4 ,blues1 red1 and gold mingle with each other1 and are relieved by green1 and sometimes black4 ,red and blue grounds will be found with designs in white1 green1 and yellow2 or a rich gold will be overspread with green1 pale buff1 and white2 or the ground itself will be white1 on which are designs in black1 filled with gorgeous flowers4 ,these are the works of artists whose skill and ingenuity are almost as limitless as their fancy4 ,there is no law but the harmony demanded by a florid taste1 no aim but effect4 ,illustration3 ,fig4 #if4--;,green ,family4 ,ming ,dynasty4 7,f4 ,robinson ,coll47 ,green was the imperial color under the ,ming ,dynasty 7#acfh71 and the greater portion of the ornamentation of this family has either a religious or a political significance4 ,the bright copper-green lies perfectly transparent upon the pure white paste4 ,we have already seen the eight immortals riding upon clouds1 in a piece of blue-and-white1 and the design is repeatedly met upon pieces of the ,green family4 ,it is here1 in short1 that we have the best opportunity of studying the religious system and symbols of ,china4 ,dragons are represented with diabolical ferocity2 cranes1 kylins1 fong-hoangs1 are intermingled with floral designs1 in which are asters and other flowers1 and insects4 ,on the sacrificial cups of this family1 dragons with forked tails climb the handles1 or hang head downward from the lip1 while a hideous dragon-head is introduced in the sides4 ,from these grotesque and terrible figures we turn to the pieces of a historical character4 ,the scenes depicted are chiefly taken from the early history of ,china1 which was as prolific a source of ideas to the ,chinese artist as classical history and legend to the poets of ,europe4 ,vases of this character are also deserving of study1 as illustrating to a farther extent than was done in the ,introduction that aspect of the potter's art in which it appears as the handmaid and illuminator of history4 ,the ,chinese artist is rarely seen to better advantage than when painting vases of this family4 ,with a rich palette comprising the prevailing green1 blues of every shade1 violet1 red1 yellow1 gold1 and black1 he produces effects of the most charming beauty4 ,when green is used as a ground color1 as in the case of the ,kien-long vase referred to 7,fig4 #ic71 either it covers the entire surface1 or reserves are left for the landscape or trees4 ,in the former case the fruit1 flowers1 and leaves lie upon the bright-green enamel4 ,to the pieces in which green is mingled with yellow and blue upon a white ground1 producing the effect of variegated marble1 the ,chinese give the name of ,ouan-lou-hoang4 ,illustration3 ,fig4 #ig4--;,chinese ,plate4 ,rose ,family4 ,sixteenth ,century 7874 7,mrs4 ,j4 ,v4 ,l4 ,pruyn ,coll47 ,the ,rose family 7,fig4 #ig7 is distinguished by the prevalence of the color to which it owes its name--a pale red applied over the glaze4 ,it comprises what may most emphatically be called the decorative porcelain of ,china4 ,the body is the perfection of ,chinese paste1 and the decoration partakes to the full of the vast wealth of ,chinese color4 ,with regard to form1 this family represents the most perfect pieces in the art of ,china4 ,with the exception of the old white and the modern decorated with blue1 the ,tho-tai-khi1 8porcelain without embryo10 or egg-shell1 belongs almost exclusively to this family1 which is admirably represented in ,mr4 ,w4 ,l4 ,andrews's collection4 ,in such pieces we fully apprehend the beauty of the 8rose-back0 decoration4 ,the ruby color is laid upon the back of the edge or rim of plates and saucers1 and shines through the thin paste with the softness of the pink lining of a shell4 ,it would be impossible to specify all the methods of decorating the egg-shell belonging to the ,rose family4 ,we see borders of pink and raised white enamel1 others traced as delicately as the finest lace1 and still others with reservations filled with bouquets4 ,the decoration sometimes takes the form of exquisite paintings of birds1 insects1 and flowers2 and when scenes with figures are introduced1 they are of a totally different character from the religious and historical subjects found in the ,green family4 ,they are drawn in part from literature1 and in part from the home life of the people4 ,there is in ,mr4 ,avery's collection at the ,metropolitan ,museum1 a plate having a rose border with raised flowers1 and other objects in reserved sections4 ,in the centre is a young girl surprised1 as she walks the garden at night1 by her lover1 who1 having thrown his shoes in advance1 is mounting the wall4 ,m4 ,jacquemart informs us that the incident is taken from the 8,si-siang-ki10 or1 ,history of the ,pavilion of the ,west1 a lyric drama composed by ,wang-chi-fou about ,a4,d4 #aaaj4 ,a frequent design is a home scene1 in which a lady sits near a table attended by two children1 and with one or two vases standing round4 ,these glimpses of domestic life afford some little insight into the usages of the people1 the courtesies of society1 and the occupation and pastimes of the young4 ,when the pieces are larger in size1 the subjects are taken from court life1 and very rarely from religion4 ,when strong contrasts are resorted to--as by coloring the inside green and the outside rose--the effect is no less pleasing4 ,the combinations are almost confusing in their multiplicity1 and in the essential differences of their character4 ,one piece may have flowers and various household articles 7,fig4 #ii7 upon a white ground1 or rose may mingle with turquoise and maroon in the border4 ,nothing is too bold for the ,chinese artist1 and no effect appears to be unattainable or untried4 ,he is equally at home painting on white enamel a delicate border1 or rivalling the rich hues of a gaudy butterfly in a life-like imitation of the fluttering insect4 ,illustration3 ,fig4 #ih4--;,chinese ,rose ,family4 7,robert ,hoe1 ,jr41 ,coll47 ,before leaving the ,rose family1 let us glance at a few of the pieces ascribed to ,japan1 and which ought to be restored to ,china4 ,to illustrate the difficulty of assigning them1 with positive certainty1 to either country1 the plate given on page #adc may be referred to 7,fig4 #ajj74 ,mr4 ,andrews considers his piece ,japanese1 and his opinion is supported by the fact that other specimens1 also claimed for ,japan1 have the same subject painted in the centre4 ,when a photograph of the piece was submitted to the ,hon4 ,jushie ,yoshida ,kiyonari1 the ,japanese ,minister at ,washington1 he replied3 8,it seems to me certain that the subject1 as well as the style of the painting1 are strictly ,chinese2 and this much ,i would say1 if ,i had the piece in my possession1 ,i could not but consider it as a good ,chinese specimen40 ,illustration3 ,fig4 #ii4--;,chinese ,bowl4 ,rich ,decoration1 chiefly ,yellow and ,rose4 ,height1 #aa in42 circumference1 #e ft4 #h in4 7,mrs4 ,john ,v4 ,l4 ,pruyn ,coll47 ,when ,jacquemart tries to find an origin for the ,chinese ,rose family1 he says3 8,does it issue from the accidental discovery of the red of ,cassius8 ,is it contemporary with other porcelains8 ,does it come from a particular centre8 ,we think its creation is to be attributed to the wish of imitating the admirable porcelain of ,japan40 ,the same writer1 in treating of what he calls 8artistic0 porcelain of the ,japanese ,rose family1 says3 8,if we required to seek the cause of these modifications and of the particular style of artistic porcelain1 we should find it in a desire of rivalling the ,chinese porcelain of the ,rose family40 ,in other words1 the ,japanese ,rose suggested the ,chinese ,rose1 and the ,chinese ,rose suggested the ,japanese ,rose--a stage at which the discussion becomes neither lucid nor satisfactory4 ,the circumstances leading to the confounding of ,chinese and ,japanese porcelain arose chiefly from trade4 ,the ,japanese are said to have gone to ,king-teh-chin1 even in early times1 to buy porcelain4 ,according to ,duhalde1 the ,chinese repaid the compliment by loading their vessels with ,japanese porcelain on returning from that country4 ,this is corroborated by the missionaries at ,pekin1 who state that the people there highly prized the ,japanese porcelain1 which was1 in consequence1 both rare and dear4 ,they even used it in preference to their own in making presents to the emperor and grandees4 ,de ,pere states that when the ,emperor wished to send a present of porcelain to ,peter the ,great1 he chose that of ,japan1 where1 says the writer1 the people surpass those of ,china in all the arts and industries4 ,we know1 moreover1 that the ,japanese import ,chinese egg-shell for decoration1 that the ,chinese have borrowed the designs of the ,japanese1 and that the ,japanese have borrowed those of ,china4 ,the most skilful imitators in the world1 living next door to each other1 complimented each other's skill by mutual imitation4 ,there are two chronological points that may help us to throw some light into this confusion1 which writers have succeeded in making twice confounded4 ,illustration3 ,fig4 #ajj4--,rose-back ,egg-shell4 7,w4 ,l4 ,andrews ,coll47 ,there can be no doubt that the porcelain of the ,rose family was at its best about the end of the fifteenth century and beginning of the sixteenth4 ,jacquemart1 therefore1 argues that the ,japanese imitations would date from the first half of the sixteenth century1 and the vitreous enamelled pieces would go back1 at least1 to the fifteenth4 ,he labors under a very serious mistake1 which evidently takes its rise in the assumption that the ware made by the ,japanese in the seventh century was translucent pottery1 or that ,kato-siro-ouye-mon1 in the thirteenth century1 had acquired the art of making porcelain4 ,we shall handle this subject more in detail when treating of ,japan2 but meanwhile let it be noted that the ,japanese themselves call the thirteenth century ware stone-ware1 and that there is no reason for believing that porcelain was made in ,japan until near the middle of the sixteenth century1 or about the date assigned by ,jacquemart to the so-called ,japanese imitations of the ,rose family of ,china4 ,if this be admitted1 it must be supposed that ,japan began by imitating some of the choicest works of ,china1 and those presenting the greatest difficulty to a beginner not perfectly sure of his practice4 ,the necessary result of this1 so far as ,m4 ,jacquemart is concerned1 would be to transfer what he calls artistic porcelain to ,china4 ,in any event1 it is clear that all representatives of that family which can be ascribed to a date earlier than the latter part of the sixteenth or the beginning of the seventeenth century are ,chinese4 ,many years must have elapsed before the ,japanese could1 with ,shonsui's assistance1 attain to such perfection in working a new material that their ware could be mistaken for that of their teachers4 ,the difficulties of collectors are thus restricted to pieces which are comparatively modern4 ,nothing is more natural than that1 when the manufacture was temporarily paralyzed in ,china by the disturbances attending the change from the ,ming to the ,tartar dynasty1 for several years prior to #affb the ,japanese should have bestirred themselves to supply the demand created by the regular trade in ,china4 ,it is of this period1 and down to the beginning of the eighteenth century1 that the missionaries write when they speak of the demand for ,japanese porcelain4 ,it must have been early in the eighteenth century1 also1 that the imperial present of ,japanese porcelain was sent to ,russia4 ,japanese art was rising as that of ,china declined2 and so far from suggesting the ,rose decoration to ,china1 the ,japanese ,rose was merely striving to take its place1 when the original was passing away4 ,the ,japanese found the ,chinese patronage valuable1 and therefore they tried to please their customers by perpetuating the styles of decoration with which they were familiar4 ,their imitative skill makes the task of distinguishing the two fabrics one of considerable difficulty1 even with the limitations in point of time to which we have alluded4 ,the distinctive characteristics of ,japanese porcelain will be referred to in their proper place under ,japan2 but1 in the mean time1 it is evident that many of the supposed ,japanese pieces1 with domestic scenes1 or with fan-shaped reservations in wide borders of geometrical patterns1 and containing brilliantly feathered birds1 are ,chinese4 ,we have now glanced at the three leading families1 even while disposed to call in question the utility of the arrangement4 ,a classification of the above kind has the one great objection1 that the exceptions are so numerous as to leave the rule inapplicable to a vast number of the most interesting specimens4 ,and1 further1 no perfect arrangement is practicable4 ,the ,chinese have always been imitators4 ,the potters and artists of the thirteenth century imitated those of the tenth2 those of the fourteenth imitated their predecessors of the thirteenth1 and so on4 ,any attempt at a chronological arrangement1 with any pretensions to absolute truth1 is1 for this and other reasons1 out of the question4 ,the classification by families1 besides its necessary deficiencies1 gives no assistance to one studying and trying to master the principles of ,chinese art4 ,to such an one1 therefore1 the only course is to take every specimen at its artistic worth4 ,he may find a large proportion of table-ware of the ,chrysanthemo-ponian family1 but he will also find much that is not of that family4 ,he may find much of the ,green family1 especially under the ,ming ,dynasty1 with a political or a religious significance1 but he will also fail in discovering any such meaning in many of its representatives4 ,he will find chrysanthemums on members of the ,green family1 and ponies on members of the ,rose4 ,in short1 the better plan is1 as we have said1 to admire what is admirable1 and to be too curious neither about chronology nor the relationship of color4 ,otherwise1 in the latter case1 he will come upon incongruities4 ,the weak and the beautiful will be placed side by side1 as in the human family a dwarf may be full brother to an ,adonis4 ,from what has been said it will be inferred that the ,chinese held in the highest admiration the beauty to be found in color alone4 ,in producing it1 they stand at the head of the ceramic artists of the world4 ,the old white porcelain--that is1 porcelain decorated with white1 and not the undecorated ware--is by some considered the most ancient quality1 and is most carefully preserved by the ,chinese4 ,it was decorated with designs either graved in the paste or painted in relief1 or with figures inserted between two lamin of paste4 ,in the latter case the design remained invisible until the cup was filled with liquid4 ,others required to be held up to the light before the design revealed itself4 ,the best white porcelain was made during the ,song ,dynasty 7#ifj-abgh74 ,mention is made of white porcelain manufactured for the ,emperor during the ,wei ,dynasty 7,a4,d4 #bbj-bfd71 and we have already seen that white was the dynastic color of the ,thang ,dynasty 7#fah-ijg71 but little or nothing is directly known of these fabrics4 ,that of the ,song ,dynasty was the ,ting-yao1 already referred to as one of the five great qualities of ancient porcelain4 ,a cup 7,fig4 #aja7 of great beauty1 very thin and transparent1 in the collection of ,mr4 ,j4 ,c4 ,runkle1 gives a good idea of the old white4 ,its purity and brilliancy give a fine effect to the decoration in relief4 ,the latter consists of small sprays of blossoms delicately moulded or carved1 and showing through the clear glaze the finest touches of the modeller or carver4 ,this is one of the methods followed in decorating the ,ting porcelain with flowers1 which were either graved in the paste1 applied in relief1 or painted4 ,the white of the ,yong-lo period 7#adjc-adbd7 of the ,ming ,dynasty was also decorated with engravings in the paste4 ,toward the beginning of the ,ming ,dynasty1 about #achj1 a peculiar quality of white was made upon the same principle as the egg-shell1 i4 e41 by grinding down the paste1 by which means the piece assumed an unctuous1 shining appearance4 ,illustration3 ,fig4 #aja4--,white ,chinese ,porcelain1 with ,blossom in ,relief4 7,j4 ,c4 ,runkle ,coll47 ,with the white there naturally falls to be considered the porcelain compared by writers and by the ,chinese themselves with jade1 the most precious of stones in the eyes of the ,orientals4 ,it is likened in the ,li-ki1 or ,book of ,rites1 to the rainbow solidified and turned into stone2 and in another work occurs the passage1 8,when ,i meditate on that wise man1 his thoughts appear to me like the jade40 ,this applies to the discourse of ,confucius4 ,the philosopher's language is quaint and figurative3 8,it is not10 he says1 8because the jade is rare that it is valued1 but because from all time the sages have compared virtue to jade4 ,in their eyes the polish and brilliant hues of jade represent virtue and humanity4 ,its perfect compactness and extreme hardness indicate exactness of statement2 its angles or corners1 which are not incisive1 however sharp they seem1 are emblematic of justice2 the pearl-like jades suspended from the hat or the girdle1 as if falling1 represent ceremony and politeness2 the pure sound which it emits when struck1 and which suddenly stops1 figures music2 as it is impossible for the ugly shades of color to obscure the handsome ones1 or for the fine colors to cover up the poor ones1 so loyalty is prefigured2 the cracks which exist in the interior of the stone1 and can be seen from the outside1 are figurative of sincerity2 its iridescent lustre1 similar to that of the rainbow1 is symbolic of the permanent2 its wonderful substance1 extracted from mountains or from rivers1 represents the earth2 when cut as knei or chon1 without other embellishment1 it indicates virtue2 and the high value attached to it by the whole world1 without exception1 is figurative of truth40 ,it is further used throughout ,chinese literature as a simile for the highest qualities of virtue and purity4 ,the stone is called yu by the ,chinese1 and is obtained from ,tai-thong1 in the province of ,chenn-si1 and in larger quantities from ,khotan1 where an entire mountain is said to be composed of it4 ,it has been held in the highest estimation among the ,chinese from ancient times1 and notwithstanding its extreme hardness1 it is made into the most beautiful and curious objects1 such as vases1 cups1 incense-burners1 flasks2 and even instruments of music4 ,these facts will enable us to appreciate the comparison so often drawn between porcelain and jade4 ,thus1 the ,thang white made by ,ho is said to have been 8brilliant as jade10 and a contemporary was making vases of artificial jade4 ,again1 in the ,song ,dynasty1 a red porcelain was made at ,ting-tcheou1 decorated with flowers1 graved1 painted1 or in relief1 and said to resemble 8sculptured red jade40 ,coming down to the ,siouen-te period of the ,ming ,dynasty 7#adbf-adce71 we again meet with cups 8as white and brilliant as jade10 with their surfaces slightly punctured4 ,these appear to have been imitated in the ,wan-li period 7#aege-afai71 when beautiful cups of the whiteness of jade figure in the altar services of the ,emperor4 ,the same description will apply to the porcelain of both periods4 ,the glaze is likened to 8a layer of congealed fat10 and has a pure ivory-like appearance and a soft unctuous touch1 more nearly resembling that of ,french pate tendre than any other modern ware4 ,this feeling is heightened rather than diminished by the slight roughness1 or rather1 irregularity of the surface1 such as might be caused by sinking minute grains in the glaze4 ,let us now see how far these comparisons with jade are warranted by the stone itself4 ,let it first be noted that many travellers bring from ,canton a green and dark-green quality of chalcedony1 under the impression that the wily merchants have given them genuine jade4 ,there are also certain kinds of felspar1 called nephrite1 which have been mistakenly called jade4 ,the genuine yu varies in color from an ivory white to a dark green4 ,it is very hard1 very heavy1 and fine in grain4 ,even after it is polished it has the appearance of wax1 and the impression made upon the eye is confirmed by the smooth1 greasy touch4 ,the exceptional colors are red1 black1 orange1 citron yellow1 turquoise and a deeper blue4 ,the white variety called1 par excellence1 ,oriental jade1 reflects a pure milky light nearly resembling that of the opal4 ,japan and ,india supply a quality of white with the faintest possible tinge of green4 ,another very beautiful variety is the 8imperial jade10 or emerald green1 which is occasionally found mixed with white1 like the colors in agate4 ,the value attached to jade was so great1 that in ,china a special officer was appointed to take charge of the jade used in the personal decoration of the emperor1 who wore several pieces attached to his girdle4 ,every description of jewel was made of jade1 including those worn in the hair4 ,from these facts1 and those previously narrated1 it is evident that to compare porcelain with jade is to compliment it in terms beyond which ,chinese language cannot go4 ,nothing higher or more laudatory can be said of it1 and we can thus form some idea of the extreme beauty of the almost opalescent white porcelain of the ,siouen-te and ,wan-li periods4 ,the admiration of the ,chinese for this stone in colors now unknown may possibly also have inspired them to attempt its imitation in many of the finest colors which claim our admiration4 ,the passage quoted from ,confucius further suggests that even crackle may have originated in trying to reproduce in pottery and porcelain the cracked variety of jade4 ,equal to the turquoise in purity is the violet obtained from the oxide of manganese4 ,two artists 7father and daughter7 named ,chou1 made very beautiful porcelain of this color during the ,song ,dynasty4 ,specimens are now very rare1 their brilliancy and richness leading collectors to grasp with avidity at any opportunity of becoming possessors of a good example4 ,illustration3 ,fig4 #ajb4--;,chinese ,five-fingered ,rosadon4 ,blood color1 shading from crimson to scarlet4 ,upper rim1 cloudy white4 7,g4 ,w4 ,wales ,coll41 ,boston ,museum of ,fine ,arts47 ,the aubergine1 or purple egg-plant violet1 was also made under the ,song1 and is one of the celebrated productions of ,kiun1 in the province of ,ho-nan4 ,this is1 however1 inferior in beauty to the manganese violet4 ,there is a third tint1 of great softness and beauty4 ,the violet is often used in conjunction with turquoise blue1 as in a crackle teapot in the ,avery collection in the shape of the peach of longevity1 in which the body is violet1 and the spout and decorating leaves1 which are in relief1 are in turquoise blue4 ,the colors are also found intermingled in such groups as the ,dogs of ,fo sporting4 ,very curious effects are produced by shading the violet on either hand to blue and red4 ,in pieces of this character the blue will be found on the base1 and the color changes as it ascends1 becoming a rich violet on the body and red on the top4 ,the violet is treated in a manner precisely similar to the turquoise1 the pieces being frequently decorated with incised designs4 ,the shaded violet specimens alluded to remind us of others1 in a rich liver-red1 where the color becomes paler as it ascends4 ,thus1 in the five-fingered rosadon 7,fig4 #ajb7 the base is a deep crimson1 which turns to scarlet on the body1 and finishes on the tips of the fingers in a cloudy white4 ,this color1 like the aubergine violet1 and a bright red were found upon some of the works made at ,kiun in the tenth century2 nor must we forget the pieces like 8red jade0 made at ,ting-tcheon about the same period4 ,it does not appear to have been used at ,king-teh-chin until the ,yong-lo period1 early in the fifteenth century4 ,the bright red was reproduced by ,thang-kong1 the artist already mentioned1 in the eighteenth century4 ,it is difficult to follow the ,chinese in the handling of colors so nearly akin1 and yet differently treated1 and producing effects so varied4 ,the liver-red often appears as a true cladon upon pieces closely resembling in paste the hard opaque body of the old sea-green4 ,these have rarely any decoration1 and resemble in this respect many small objects1 such as narrow-necked bottles1 to which a bright red lends a color that in vivid brilliancy and clearness involuntarily recalls the comparison of the ,ting porcelain with red jade4 ,illustration3 ,fig4 #ajc4--;,chinese ,yellow2 ,green ,decoration4 7,sutton ,coll47 ,of the yellow called 8,imperial10 from its being the color adopted by the ,tai-thsing ,dynasty1 little is known4 ,the shades vary from a deep orange to a light straw color1 but that called ,imperial is said to be the citron yellow4 ,mr4 ,marryat says that he has seen genuine specimens in only two collections--the late ,mr4 ,beckford's and the ,japan palace at ,dresden4 ,he adds1 that imitations have been made at ,canton and exported4 ,mr4 ,s4 ,p4 ,avery1 of ,new ,york1 has a number of pieces of different tints--chrome1 citron1 lemon1 pale and deep yellow1 some of which are very curious in both form and decoration4 ,the different shades are also well illustrated in ,mr4 ,w4 ,t4 ,walters's collection4 ,illustration3 ,fig4 #ajd4--;,grains of ,rice4 7,s4 ,p4 ,avery ,coll47 ,the ,chinese have ideas of painting peculiar to themselves4 ,they have little regard for perspective1 and in ancient times had none whatever4 ,even so late as the seventeenth century perspective was at direct variance with the rules guiding their art4 ,we can1 for example1 see vases--particularly those of the ,ming ,dynasty--in which the personages in a scene appear to be piled directly one above another1 or mount stairs1 like upright ladders1 in order to reach other personages evidently some distance off1 but as much in the foreground of the picture as those nearer at hand4 ,coming down less than half a century later1 there is a change4 ,in the ,kien-long vase before given the view recedes1 and the far-off hills are partially shrouded in shadowy vapor1 which adds to the dimness of distance4 ,the perspective is perfect4 ,the change is1 no doubt1 due to ,european intercourse4 ,we may1 therefore1 in cases of doubt derive from this feature a hint of the age of certain pieces4 ,but how account for the older usage8 ,it is said that1 when shown the effect of perspective1 the ,chinese argued against it4 ,there is not1 and cannot be1 distance on a flat surface1 they said2 therefore perspective is contrary to nature4 ,they did not see that their art should take cognizance of the delusions of vision1 and represent things as they appear1 not as they are4 ,to explain this farther1 we have only to look at the ,chinese practice in decorating porcelain4 ,the painting is regarded as a purely mechanical process1 and the same piece may pass through seventy or eighty different hands1 each artist contributing his specialty to the general result1 and knowing little or nothing of the subject as a whole4 ,can we wonder1 then1 that he did not learn to appreciate perspective1 if he painted his figures without any idea of their relation to each other or to the rest of the composition8 ,the most remarkable feature of the case is1 that in this prejudice against perspective1 and supposed constancy to nature1 the ,chinese artists take up an attitude altogether different from that in which they usually appear4 ,everywhere they give a free rein to fancy4 ,they are perfectly unconscious of anomaly1 or incongruity in1 for instance1 painting a stag yellow or a horse green4 ,they paint birds1 butterflies1 flowers1 in hues which nature never wore4 ,their taste for that harmony of tints which is the perfection of surface decoration demands the abnormal colors1 and they never hesitate about using them4 ,their variety is as wonderful as the wealth of their resources4 ,one may turn from a vase1 representing the exercise of the most fearless and riotous fancy1 to another in which the details are as realistic as the lizards of ,palissy4 ,or1 again1 a vase which looks as though it might have been cut out of a precious stone1 with no decoration but its inimitable color1 may stand side by side with another covered with flowers so tenderly treated and delicately colored1 that one is inclined to pronounce the painstaking ,celestial the prince of artists4 ,illustration3 ,fig4 #aje4--;,chinese ,reticulated ,vase4 7,s4 ,p4 ,avery ,coll41 ,n4 ,y4 ,metrop4 ,museum47 ,conceits in shape or design and victory over technical difficulties are his delight4 ,the souffl decoration is characteristic4 ,the color is inserted in a tube having one end covered with fine gauze1 and when blown upon the piece to be decorated1 falls in minute air-bells1 which break into little circles4 ,red and blue are thus applied upon a pale grayish-blue1 and the effect is beautiful and entirely unique4 ,when1 as frequently happens1 the bubbles do not break1 the result is hardly less attractive1 the color running into the ground and giving it the appearance of jasper4 ,another method of decorating porcelain1 is that called 8grains of rice work0 7,fig4 #ajd71 and is of ,persian origin4 ,the design is cut through the thin paste1 and on the piece being dipped in the glaze1 the latter fills up or covers over the interstices1 leaving the design distinctly traceable and perfectly transparent4 ,among the curiosities of workmanship the most notable are the reticulated and articulated vases and the 8surprise hydraulique10 or ,cup of ,tantalus4 ,the outside of the reticulated vase 7,fig4 #aje7 is perforated in different patterns and covers the inner vase without touching it1 except at the neck and possibly also the bottom4 ,ornaments are often attached to the outside of the open-work4 ,more wonderful than the vases are the services of the same kind1 in which the outer and inner parts come so closely together as to render the baking of the pieces extremely difficult and uncertain4 ,the articulated1 or jointed1 vases represent a similar victory over the difficulties of workmanship4 ,the vase is cut into two sections1 which1 although separate1 cannot be taken apart4 ,the 8,cup of ,tantalus0 is so constructed that when raised to the lips the expectant drinker finds himself deluged with the contents4 ,it is a ,chinese practical joke1 played by means of a syphon concealed in the interior of the vessel4 ,our enumeration may conclude with this specimen of manual dexterity4 ,illustration3 ,fig4 #ajf4--,oriental ,porcelain4 ,brought to ,albany by ,captain ,dean about #aggg4 7,mrs4 ,j4 ,v4 ,l4 ,pruyn ,coll47 ,to an ,american or ,european taking a wide view of the ceramics of the ,chinese1 while it is evident that they have produced a vast amount of very beautiful work1 the question will no doubt present itself1 whether they do not sometimes confound ingenuity with genius1 and value the mechanical more highly than the artistic4 ,that they were skilful and rejoiced in exercising their skill is evident2 but no one can look without admiration upon their exquisite coloring and flower decoration4 ,if one could find anywhere a complete collection of ,chinese pottery1 stone-ware1 and porcelain1 it would be found to contain nearly everything admirable in ceramics1 although occasionally hard to appreciate or understand4 ,it would be found to illustrate the entire art history of a people patient1 laborious1 keen to observe1 and swift to imitate1 and whom1 curiously enough1 many of us would rather hear from through the china merchant or collector1 than meet in more direct intercourse4 ,,chapter ,,vi4 ,,corea4 ,geographical ,position4--,successive ,conquests4--,its ,independent ,art4--,confused ,opinions regarding it4--,its ,porcelain4--,decoration4 ,illustration3 ,fig4 #ajg4--,old ,corean ,earthen-ware ,five-handled ,jar4 ,yellow on ,green4 7,a4 ,a4 ,vautine ,co47 ,to the north-east of ,china1 across the ,yellow ,sea1 and adjoining the ,chinese province of ,shengking1 lies the peninsula of ,corea4 ,situated between ,china and ,japan1 it was alternately under the domination of its more powerful neighbors1 and has given1 in its ceramic productions1 abundant evidences of their sway4 ,at first its works were attributed to ,japan1 from which country they were carried to ,europe4 ,further inquiry led to the discovery that ,corea had an independent artistic existence1 and that1 while borrowing from either side of it1 it imparted to both ,china and ,japan the secrets it had mastered in the art of painting porcelain4 ,the confusion regarding ,corean ceramics is entirely due to the commercial intercourse between it and its neighbors1 whose styles it adopted and occasionally mingled4 ,its wares were also sent into their markets4 ,it long ago ceased to produce any kind of porcelain4 ,describing some specimens of ,corean porcelain1 ,julliot1 a dealer of the last century1 speaks of 8the fine grain of its beautiful white paste1 the attractive lightness and softness of its dead red1 the velvet of its bright-green and dark sky-blue colors40 ,the decoration consists of conventional forms1 either floral or animal4 ,the peacock1 pheasant1 and dragon are met with4 ,the colors are limited to red1 black1 gold1 and pale shades of green and yellow1 and the glaze is less vitreous than either the ,japanese or ,chinese4 ,the ,coreans adapted the decoration to the destination of the work4 ,the pieces with ,japanese ornamentation were intended for the markets of ,japan1 those with ,chinese for ,china4 ,on some of the pieces the styles are mixed1 ,chinese figures being accompanied by ,japanese marks1 or vice versa4 ,many of the pieces display very fine workmanship and simplicity of design4 ,finding their way to ,europe in the cargoes of ,dutch traders1 they were highly valued by collectors1 and for a long time served as models to both ,french and ,german artists4 ,their simple style and the chaste employment of a few colors rendered them peculiarly liable to kindle the emulation of unpracticed ,european decorators4 ,illustration3 ,fig4 #ajh4--;,corean ,porcelain4 7,w4 ,l4 ,andrews ,coll47 ,illustration3 ,fig4 #aji4--;,corean ,porcelain2 ,persian ,decoration4 ,illustration3 ,yebis4 ,shiou-ro4 ,bis-jamon4 ,benten4 ,tossi-toku4 ,daikoku4 ,hotei4 ,fig4 #aaj4--,picnic of the ,household ,gods of ,japan4 ,,chapter ,,vii4 ,,japan4 ,how to ,study ,japanese ,art3 ,its ,origin4--,its ,revived ,independence4--,nomino-,soukoune4--,shi rozayemon4--,raku4--,when ,porcelain was ,first ,made4--,shonsui4--,form of ,government4--,the ,gods4--,symbols4--8,land of ,great ,peace40--,foreign ,relations4--,general ,features of ,art4--,chinese and ,japanese ,porcelains4 ,on coming to the land of ,nippon1 8source of the sun10 known to the outside world as ,japan1 we must still keep in mind the warning with which we entered ,china4 ,japanese art is of ,chinese origin1 but was modified as it developed4 ,it adapted itself to ,japanese tastes1 and to the ideas of a people quick to imitate1 but possessing a marked national individuality upon which to modify their imitations4 ,when ,chinese art began to fall under foreign influence and to renounce its own national characteristics1 the more conservative ,japanese offered a greater resistance to the overwhelming influx of ideas from abroad4 ,that which had been the strength of ,chinese artists now became their weakness4 ,foreign models gave them new subjects upon which to exercise their marvellous mechanical skill and imitative dexterity1 and their artistic nationality was in a measure lost4 ,the ,japanese appeared doomed to a similar fate4 ,western aggressiveness made its impression1 and ,europe seemed to have led the extreme ,east captive4 ,the death of an art distinctively ,japanese was predicted by some1 and by others it was said to have already taken place4 ,these are the views of extremists4 ,it is just possible that the ,japanese derived a hint of what their own imitations were likely to be considered by the more fastidious ,europeans1 from their own opinion of ,european imitations of the decorations of ,china and ,japan4 ,for it must not be imagined that the imitation was all perpetrated on one side4 ,it is no unusual thing for the frequenter of dealers' emporiums to find a ,european vase surmounted by the ,dog of ,fo1 or decorated by birds nowhere visible except to the imagination of a ,celestial artist4 ,art cannot exist in slavery4 ,the ,european borrowed1 and made himself ridiculous2 the ,japanese imitated1 and with servility found degradation4 ,from his temporary aberration it is to be hoped he will thoroughly rouse himself4 ,the contact with ,europe which led him to follow after strange gods was not without its lessons4 ,in later times he has shown some capacity for studying and profiting by them4 ,it is the ,japanese side of ,japanese art that foreigners admire1 and not the produce of a foolish combination of the ,oriental with the ,european4 ,it is idle1 in view of what may be a lasting return to native models1 to bemoan their desertion4 ,the ,japanese have already shown a capacity for appreciating their neighbors' faults and their own merits at a proper value4 ,comparison is leading them to adopt a standard of criticism2 and if they will only persist in cherishing their own good traditions1 and in giving play to their distinctively national genius1 it will certainly be better for their art1 and probably for their commerce also4 ,at the ,vienna ,exhibition they made the discovery that the imitation of the ,european had better be abandoned4 ,at ,philadelphia they gave proofs of an almost complete emancipation from foreign domination in ceramic art4 ,there is1 moreover1 abundant reason for the entertainment of such a hope in the evident enlightenment pervading the councils of the ,mikado4 ,the following is the language of a ,japanese writer1 and it shows that the press reflects an intelligence which even that of ,america or ,great ,britain cannot afford to contemn3 8,the ,americans and ,europeans are enlightened people1 and do not without cause call us semi-civilized4 ,but what is the meaning of civilization8 ,it surely is not limited to the possession of fine houses1 fine dresses1 and to sumptuous living4 ,it is not confined to a flourishing state of its manufactures or machinery4 ,it means an advance in knowledge and politics1 a reverence for religion1 the proper estimation of good character1 and the observance of good customs40 ,the press which can convey such truths as these is not likely to neglect the national evidences of civilization furnished by the arts and manufactures4 ,if it will not allow its readers to look for the signs of civilization upon the outside of foreign institutions1 it is as little likely to overlook the best elements at home1 whether in religious reverence1 good customs1 or in art4 ,to begin with the rise of the art in ,japan1 although legend would carry us back to the era of ,oanamuchi-no-mikoto1 and the inventor ,oosei-tsumi1 long before history begins1 we may content ourselves with a less hoary antiquity4 ,it is said that in the sixth century before ,christ certain kinds of pottery were ordered by the ,emperor ,jinmu for religious purposes4 ,the next five hundred years give no additional knowledge1 but in ,b4,c4 #bi we learn that in the province of ,id-soumi there lived a certain worker in stone and pottery called ,nomino-,soukoune4 ,the custom at that time was for slaves to be buried with their dead masters1 presumably that the latter might have some one to wait upon them in the next world4 ,when ,nomino-,soukoune heard of the death of the ,empress1 he quickly made some images of stone or earthen-ware1 and1 taking them to the ,emperor1 induced him to bury them with the ,empress as substitutes for her favorite attendants4 ,the cruel rite was thereafter abolished1 and the potter and sculptor1 as a reward and distinction1 was allowed to take for his surname ,haji1 the artist in clay4 ,two years later1 ,b4,c4 #bg1 a ,corean prince1 a son of the ,king of ,sin-sa1 landed in 8,the ,land of ,great ,peace10 and settled in the province of ,omi1 where his followers founded a potters' guild4 ,it is said that both ,haji and the visitors from ,corea made porcelain4 ,but this is extremely improbable1 as it was only about the same period that porcelain was invented in ,china1 and all the evidence goes to show that the knowledge of making a translucent ware passed from ,china to ,japan4 ,it is1 therefore1 not at all likely that a secret jealously guarded by the ,chinese should at once have passed to a neighboring country4 ,after the above date the accounts open to us become slightly contradictory4 ,a maker of tiles is said to have come from ,corea1 about the year #eij1 to ,japan1 to teach his business2 that about sixty years later the experiment of tiling a temple roof was first tried1 and that the pagoda of a temple in ,yamato was built of brick4 ,these assertions point to a relatively backward state of ceramic art in ,japan as compared with ,china2 and if tiles and bricks were still novelties in the former country1 we are quite prepared to hear that it was only in the year #gbd that the monk or priest ,giyoki introduced the potters' wheel4 ,this same individual apparently figures in another account1 under the name ,gyoguy1 as a ,corean priest of ,buddha1 who spread the knowledge of making 8porcelain40 ,in the ninth century the number of factories had greatly increased2 but native skill does not appear to have developed to any great extent1 although an imperial official superintended the trade4 ,toward the earlier part of the thirteenth century1 ,kato ,shirozayemon1 not being content with the rude works he was turning out1 called ,koutsi fakata1 pieces with worn orifice1 undertook the journey to ,china1 in the company of a priest named ,fogen1 to acquire1 if possible1 additional skill4 ,in this he was successful1 and on his return settled at ,seto1 in the province of ,owari1 now celebrated for its porcelain4 ,several authors speak of the earlier wares of ,japan as porcelain2 and ,jacquemart says that ,kato ,shirozayemon returned with all the secrets of the art4 ,the question occurs1 ,is it likely1 that1 if ,japan was at the beginning of our era acquainted to any extent with making porcelain1 it would1 after experimenting for twelve centuries1 be so dependent upon ,chinese teaching as to make ,kato ,shiro's journey necessary8 ,the probability is the other way4 ,more than that1 even the last named traveller cannot1 without question1 be conceded to have mastered the secret of making porcelain4 ,the ,japanese say that he only made stone-ware4 ,evidence to the same effect is deducible from a ,japanese custom4 ,tea was not introduced from ,china until the beginning of the thirteenth century1 about the time of ,kato ,shiro's journey4 ,in or about #adej1 the ,shiogun1 or ,tycoon1 instituted the 8,tea-parties0 called ,cha-no-yu4 ,toward the end of the sixteenth century1 under ,hide-yoshi1 the ceremonial was improved4 ,the guests drank out of a bowl of common pottery4 ,these bowls were sometimes imported from ,siam and other countries1 and vessels of 8raku0 were made for the same purpose4 ,this 8raku0 was a ware introduced by a ,corean called ,ameya1 about the beginning of the sixteenth century4 ,it is said that his descendants of the eleventh generation still pursue the trade in ,kioto4 ,raku is nothing more than a lead-glazed earthen-ware 7,fig4 #aaa72 and if porcelain was known even at that late date1 it is hard to understand why the ,tycoon should have honored ,ameya with a gold seal for introducing the comparatively coarse raku4 ,it is equally hard to understand why raku should have been preferred to porcelain for this special ceremonial4 ,the fact that raku bowls are still used at the ,cha-no-yu is probably to be credited to the regard for a custom instituted by a ,tycoon4 ,illustration3 ,fig4 #aaa4--,raku ,bowl2 ,green and ,gold4 7,a4 ,a4 ,vantine ,co47 ,it may1 further1 be pointed out that the existing samples of the ware made by ,giyoki1 or ,gyoguy1 in the seventh or eighth century1 and now in the temple of ,todaiji1 ,yamato1 are said to be earthen-ware4 ,upon the whole1 it is most probable that the secrets acquired by ,kato ,shirozayemon did not carry him farther than the making of stone-ware1 and that real porcelain was not made in ,japan until between the years #aecj and #aedj1 or about fifty years prior to the date of the discovery of artificial porcelain in ,europe4 ,about that time ,goro-dayu ,shonsui1 a native of ,ise1 went to ,china1 and1 on returning from a lengthened investigation1 settled in ,hizen1 and instituted the manufacture of porcelain4 ,so thoroughly had he mastered the processes of ,china1 that he succeeded in producing all the wares which to-day give ,hizen its pre-eminence1 viz43 ,sometsuki1 porcelain decorated with blue paintings under the glaze2 crackle2 cladon ware2 red ,akai ware2 and 8,nishikide0 porcelain1 decorated with vitrifiable colors upon the glaze4 ,japan incurred1 however1 still further debts to ,corea4 ,in #aeib a number of ,corean porcelain makers were taken to ,japan1 and their descendants still live in ,arita4 ,about the same time the ,prince of ,satsuma invaded ,corea1 and took several families engaged in the porcelain industry back with him4 ,to these settlers ,japan is indebted for its well-known ,satsuma ware4 ,through all these different channels ,japan derived its knowledge of ceramic processes from ,china and ,corea1 and was enabled not only to equal1 but in many respects to surpass1 both its teachers4 ,illustration3 ,fig4 #aab4--,kiri-mon4 ,illustration3 ,fig4 #aac4--;,guik-mon4 ,it is unnecessary for our purpose to enter fully into an examination of the government of ,japan4 ,the central power is the ,mikado1 descendant of the gods1 political and ecclesiastical head of the government4 ,the ,tycoon was the executive head1 but was expelled a few years ago4 ,what is here to be chiefly observed is1 that in the ,mikado centres the loyalty of his people1 a loyalty based upon tradition and sanctified by religion4 ,the ,mikado's arms are twofold1 the 7,fig4 #aab7 ,kiri-mon--official1 and the 7,fig4 #aac7 ,guik-mon--personal1 the former being the flower and leaves of the ,paullownia imperialis1 the latter that of the chrysanthemum4 ,the ,tycoon's arms 7,fig4 #aad7 consisted of three mallow leaves4 ,illustration3 ,fig4 #aad4--;,arms of the ,tycoon4 ,the religion of ,japan1 apart from its symbolism1 has little appreciable influence upon its pottery1 possibly on account of the comparatively late and rapid growth of the ceramic art4 ,the original religion was ,kamism or ,shintoism1 the worship of ancestors4 ,this is the religion upheld by the ,mikados4 ,upon it ,buddhism was in-grafted1 and supported by the ,tycoons4 ,the two harmonized well1 thanks to ,japanese toleration1 but their combination presents many a curious puzzle4 ,the ,japanese cosmogony is simple4 ,heaven and earth were evolved out of chaos1 and then the presence of controlling power being necessary1 the gods came4 ,at first there were only three1 but afterward seven generations of gods and goddesses succeeded each other1 and from the last pair of these came ,sin-mon1 the founder of ,japan4 ,the seven household gods concern us more in looking at ,japanese ceramics4 ,these represent the physical wants of the people1 and correspond with the ,chinese god of longevity and his compeers4 ,the first1 ,ben-zai-ten-njo1 or ,benten1 is the ,madonna of ,japan1 the ideal matron2 ,quamon1 queen of heaven1 appears to be the ideal of happiness2 ,yebis is a jovial marine god1 the food provider1 and is generally represented with long legs1 claws1 drapery of marine origin1 and riding on a dolphin4 ,hotei1 a portly1 complacent deity1 is the very picture and god of contentment4 ,a totally different being1 short1 thick1 and almost lost in his clothes and under the burden of his wealth1 is ,daikoku1 the god of riches4 ,shion-ro1 with long beard1 placid face1 and towering cranium1 is the god of longevity4 ,he leans upon a staff1 and is attended by either a tortoise or a stork4 ,he is evidently a relative of the ,chinese ,cheou-lao4 ,tossi-toku1 with staff and fawn1 is the dispenser of knowledge4 ,the last and least esteemed of the seven is the strong1 armor-clad ,bis-ja-mon1 god of glory4 ,who shall say that there is not philosophy in a religion which thus holds up military glory almost to contempt1 and discriminates between riches and contentment8 ,besides the gods here mentioned there is a host of demons which need not be enumerated1 and which1 with the household deities1 are met with under the most fantastic forms and in the most ridiculous situations1 for1 according to ,japanese ideas1 ridicule did not necessarily involve impiety4 ,illustration3 ,fig4 #aae4--;,japanese ,porcelain ,bowl4 ,diameter1 #c ft4 #g in4 7,corcoran ,art ,gallery47 ,the symbols of ,japan are nearly all taken from ,china4 ,the imperial dragon1 though having only three claws1 is closely allied to the four and five clawed dragons of ,china4 ,the ,ky-lin and ,dog of ,fo both reappear1 and the ,fong-hoang1 or ,foo1 again presents itself with added elegance of form and supreme beauty of plumage4 ,another bird1 resembling an eagle1 deserves its title of imperial from its majesty of gait and expression1 and seems in perfect keeping with its accompanying noble emblems4 ,the sacred tortoise has a long feathery and fan-like tail1 and appears in numberless compositions4 ,the crane1 turtle1 pine1 and bamboo are the emblems of longevity4 ,in view of all that ,japan owes to ,china and ,corea--a great part of its religion1 its knowledge of art processes1 and its symbols1 one would expect to find little that is original in its ceramics4 ,there is1 on the other hand1 often visible a decided individuality and independence4 ,japan absorbed and transmuted1 while apparently engrossed in copying4 ,the process of assimilation1 of bringing the foreign suggestion into subjection to native principles1 took time2 but even while ,japan was in its pupilage1 its national character was asserting itself4 ,its history and position show alike the favorable conditions under which its art grew up4 ,after the aboriginal ,ainos had been once subdued by their ,asiatic conquerors1 history substantiates the claim of ,japan to the title of 8,the ,land of ,great ,peace40 ,it is true that revolution has of late years changed the form of government by the removal of the ,tycoon2 but from the beginning of the historical period1 ,b4,c4 #ffj1 to the civil wars which preceded the establishment of the ,tycoons nearly three hundred years ago1 there was no war of any consequence4 ,after that event1 and down to the return of the executive authority into the hands of the ,mikado1 there was another long peace4 ,the ,japanese1 be it again observed1 cared little for their god of glory1 ,bis-ja-mon4 ,isolation and freedom from the disturbing consequences of war gave the ,japanese an opportunity of cultivating the arts of peace with a constantly increasing show of independence1 even when the art was based upon a foreign foundation4 ,in viewing their earliest ceramic productions1 there is some difficulty in distinguishing them from those of ,china and ,corea1 and this difficulty is increased when we find upon their vases scenes from the court life of ,china1 and a great deal of borrowed ornamentation4 ,in both countries it is said that the ceramic art rose to its highest point in the sixteenth century1 and then1 we are told1 declined4 ,this date may1 in the case of ,japan1 be safely advanced to the seventeenth or eighteenth century4 ,japan was even then not independent of its teachers1 and suffered from the influences adverse to art which affected them4 ,the ,portuguese were the first nation to trade with ,japan1 and were expelled in #afcg4 ,the tolerant ,japanese1 who were willing to make room for any religion containing the seeds of good1 could brook neither intolerance nor interference with their civil government4 ,portuguese intrigue accordingly led to expulsion and the massacre of forty thousand converts to ,christianity4 ,specimens of 8,christian0 porcelain1 made apparently by the ,chinese for the persecuted of ,japan1 are still in existence1 and may be seen in many ,american collections4 ,after the ,portuguese came the ,dutch4 ,had the latter restricted themselves to trading in porcelain1 it would have been better for ,japanese art4 ,instead of doing so1 they tried to imitate the native wares1 and1 which was far worse1 commissioned the native artists to adopt ,european styles and to attempt to gratify the whims of ,european taste and fashion4 ,we cannot wonder that art declined1 but are rather led to be surprised that the decline was not more speedy and permanent4 ,the points of difference between the porcelain of ,china and ,japan may be briefly stated after the general features of ,japanese art have been examined4 ,it is to the ,american a peculiar art4 ,it does not touch our admiration like the ,greek for the truthful working out of its ideal forms1 nor for the ideals themselves4 ,it does not imbue us with a sense of the mysterious like that of ,egypt4 ,we can all admire its wonderful coloring and its perfection of finish2 but besides these there is a fascination in the exuberant fancy1 richness of invention1 and happy blending of tints4 ,the ,japanese are true to nature1 far more so than the ,chinese2 but they do not copy nature in every detail4 ,in their best work we will often find that1 with a peculiar delicacy1 the artist merely indicates what an ,american or ,european artist would feel it incumbent upon him to represent4 ,the former holds our attention by leaving it to the imagination to make his work complete4 ,this will suggest what is actually the case--that1 as a rule1 form is secondary to color4 ,japanese porcelain and pottery differ from those of ,china in the following general respects3 perspective is permissible in painting2 as a rule1 there is greater simplicity of design1 and the ornamentation is more chaste and less profuse2 and1 as already noticed1 nature is more closely followed4 ,to explain the greater purity and refinement of ,japanese art1 there are three points to be noticed4 ,while the ,chinese degraded art by degrading the artists1 the best and noblest ,japanese were themselves artists4 ,princes are said to have engaged in lacquer-work4 ,the ,chinese lowered ceramic art into a merely mechanical pursuit1 by dividing the different parts of the ornamentation among several workmen4 ,artistic conception was almost lost sight of where mechanical finish was thus painfully sought4 ,the ,japanese give us the creations of individual men1 who bring their own marvellous industrial skill to the expression of their own ideas4 ,the third advantage which they possessed was that already incidentally referred to1 viz41 the prevalence of hereditary occupations4 ,it has been seen that descendants1 of the eleventh generation1 of ,coreans who settled in ,japan as workers in stone-ware are now engaged in the same pursuit4 ,the transmission of technical knowledge was thus amply provided for4 ,possessing such advantages and tendencies1 the ,japanese surpassed the ,chinese in several respects4 ,that they do so to-day1 the ,centennial ,exhibition1 even making a due allowance for the superior organization of the ,japanese section as a government representation1 placed beyond all question or cavil4 ,this truth is one to which ceramists1 undeceived by the exaltation of ,china and the treatment of ,japan as a mere offshoot1 should not be strangers4 ,in lacquer-work the ,japanese have always been superior1 and at the ,exhibition one of the best specimens in the ,chinese section was from ,japan4 ,the lacquer was so laid on that the ornamentation on the underlying porcelain disclosed itself1 and animal forms in red and gold decorated the lacquer4 ,similar acknowledgments of the excellence of ,japanese porcelain have been otherwise made4 ,the ,chinese sometimes copy ,japanese decoration4 ,further evidence is not wanting1 and has been referred to under ,china1 of the rarity and high value of ,japanese porcelain in ,china4 ,in any event1 the time for servile imitation has passed with all that was worth imitating4 ,instead of devoting themselves1 as the ,chinese have done for two hundred years1 to vain attempts at rivalling the attainments of their ancestors1 the ,japanese have shown an inclination to return to their old and renounced standards as bases from which to reach a new originality4 ,they are1 in one word1 progressive in the best sense4 ,instead of nineteenth century representations of the works of the seventeenth1 it may reasonably be hoped that the present day will disclose an art at once national and its own4 ,,pottery4 ,geographical ,distribution4--,classification4--,satsu ma4--,difficult ,ware4--,saki ,cups4--,imitations of ,satsuma4--,kioto4--,awata4--,awadji4--, banko4--,kiusiu4--,karatsu4--,suma4 ,illustration3 ,fig4 #aaf4--,satsuma ,vase4 ,dragon in ,red and ,gold4 ,height1 #af in4 7,boston ,museum of ,fine ,arts47 ,the ceramic industry of ,japan is chiefly1 if not entirely1 confined to the southern half of the empire4 ,a line drawn from ,tokio 7,yeddo7 to ,kaga is its northern limit1 and between that line and ,satsuma1 one of the two most southerly provinces of the island of ,kiusiu1 the manufacture is pretty evenly distributed4 ,the great centres are ,kiusiu1 in which are ,hizen and ,satsuma2 ,kioto1 round which are clustered the prominent names of ,awadji1 ,hiogo1 ,idsumi1 and ,nara2 ,owari and ,mino2 ,kaga1 including ,kutani1 ,yamashiro1 and in the adjoining province of ,echizen1 the village of ,ota2 and1 lastly1 ,tokio1 including ,yokohama4 ,from these five centres come nearly all the wares which have of late years become so familiar in the ,american markets4 ,these wares are now known exclusively by the name of the place of manufacture or the inventor4 ,whatever rule may have been followed in the past1 it is now therefore evident1 that hereafter ,japanese pottery and porcelain must be treated after a method precisely similar to that followed in discussing the wares of ,france or of ,england1 where1 instead of families1 we have ,svres1 ,limoges1 ,palissy1 ,worcester1 ,derby1 and ,wedgwood4 ,illustration3 ,fig4 #aag4--,satsuma ,vase4 7,a4 ,belmont ,coll47 ,the ,japanese have an endless variety of earthen-ware made for household use4 ,of this class some pieces are left unglazed1 and others have a very fusible plumbeous glaze1 under which painted decorations are sometimes to be seen4 ,of their semi-porcellaneous1 highly refractory potteries1 the two best known in ,america are the ,satsuma and ,awata4 ,the former 7,fig4 #aaf7 is so called from the province of that name1 in the south of the island of ,kiusiu1 where it has been made at or near ,kagoshima for nearly three hundred years4 ,the latter is made in one of the suburbs of ,kioto1 in ,central ,japan4 ,the clay is kaolinic1 and the glaze felspathic1 but not of the purity of porcelain2 and1 as a consequence1 they do not fuse to the same extent4 ,the body and glaze not being perfectly homogeneous1 the latter presents a fine net-work of cracks4 ,the beautiful and soft buff color of the ,satsuma ware is its first characteristic4 ,the ornamentation generally consists of birds and flowers delicately outlined and colored4 ,the chrysanthemum1 the ponia1 pheasants1 and peacocks are especially abundant4 ,this ware is extensively used in the making of tea-sets1 charming alike in form and color4 ,so light are the pieces that it is difficult to persuade one's self that they are not porcelain4 ,the shapes are quaint1 and suggestive of flower-cups and leaves4 ,one style of decoration may be taken as typical4 ,the delicious creamy buff paste1 covered with crackle glaze1 is sprinkled with gold1 after a manner in which the ,japanese have no equals4 ,on this rich but delicate ground are many-colored flowers1 birds1 or insects1 which harmonize admirably with the shape of the cups4 ,in ,america so much beauty could be possessed only by the rich4 ,in ,japan almost any one may be its owner4 ,a feature distinctive of ,japanese art is1 that it attempts to reach every grade1 high as well as low2 and that art1 being valued for its own sake1 and not purely for its commercial value1 is brought to the embellishment of the lowly object as well as of the intrinsically rich4 ,illustration3 ,fig4 #aah4--,satsuma ,vase4 ,very ,fine ,crackle4 ,decoration3 leaves brown1 veined with gold4 ,height1 #ae in4 7,r4 ,h4 ,pruyn ,coll47 ,another product of ,satsuma is called 8difficult ware10 from the extreme nicety of the operation performed in making it4 ,in this the body is coarser than in that last mentioned4 ,the ground is similarly prepared1 and upon it are laid in relief flowers and birds of fine porcellaneous paste4 ,the technical difficulties attending the production of such ware are obvious4 ,by what ingenuity does the ,japanese artist overcome the difference between decorating material and body8 ,a precisely similar style of decoration is employed on many household vessels of earthen-ware or majolica4 ,in these very fine effects are secured by the choice of a sombre ground1 from which the porcelain flowers and animals stand out in clear and bold relief4 ,the best ,satsuma ware and crackle are perfect marvels of color4 ,the decoration bears a general resemblance to that already described1 but is finer4 ,the cracks are scarcely visible1 the gold is more cloud-like and fleeting1 and the floral ornamentation is more tropically luxuriant4 ,in the higher qualities of crackle1 the paste and glaze differ widely in composition1 in order that deeper and more distinct cracks may be produced2 and tangled in the web are wreaths of green1 purple1 crimson1 and blue flowers mingled with gold4 ,a totally different style of decoration is seen on many cylindrical vases1 and shows that the ,japanese artists have a clear perception of the subtle harmony existing between form and ornament4 ,in these1 to be in sympathy with the simple shape1 the designs are bolder1 and the colors are laid on with a freer hand4 ,illustration3 ,fig4 #aai4--,satsuma ,vase4 ,height1 #g in4 7,j4 ,w4 ,paige ,coll41 ,boston ,museum of ,fine ,arts47 ,the ,satsuma paste varies in tint from buff to a cold and dark shade of brown2 but the decoration of the latter is1 as a rule1 decidedly inferior4 ,the shapes are manifold1 and are generally characterized by simplicity and elegance4 ,when the potter turns to intricate designs1 his skill in manipulating the clay seems almost boundless4 ,this feature is more remarkable in the older pieces than in those of more recent date1 and is well illustrated in the vase on page #afg 7,fig4 #aag71 where a series of thin loose rings gives the piece an appearance altogether unique4 ,the vase from ,mr4 ,robert ,h4 ,pruyn's collection 7,fig4 #aah7 is presumably from the ,prince's workshop1 and is an excellent example of the refinement of ,japanese taste4 ,full effect is given to the admirable workmanship displayed in the basket-work moulding1 which is relieved1 but not concealed1 by the ivy decoration4 ,a more prevalent style is exemplified by the vase 7,fig4 #aai7 in the ,boston ,museum of ,fine ,arts4 ,the flowers appear to grow from the base to the neck1 where a single flower and a few green leaves are left to finish the bouquet4 ,the piece is a rare specimen both in regard to fineness of paste and the delicate treatment of the flower decoration4 ,it belongs to the large class which is illustrative of the ,japanese preference of flowers before figures1 and of the careful fidelity with which the former are treated4 ,they lead one to think that in the ,japanese workshop the 8,feast of ,flowers0 knew no end4 ,a singular example of ,satsuma ware--so singular both in body and ornamentation as almost inevitably to suggest a doubt of its coming from the same workshop--is the ,sutton vase 7,fig4 #abj74 ,the decoration is in high relief1 and stands out strongly against the brown ground4 ,there are many fine examples of designs executed in relief4 ,these assume the forms of turtles1 fishes1 frogs1 lizards1 and crabs1 carefully modelled and truthfully colored4 ,on pieces of a religious character the gods of the ,japanese pantheon are moulded in bold relief4 ,the same idea is occasionally carried out to a fuller extent by moulding the piece itself after a natural form4 ,thus we find trays shaped like leaves1 cups like lotus leaves1 teapots like melons1 and one remarkable specimen in the form of an elephant1 with a saddle brilliantly painted on grounds of red and gold4 ,illustration3 ,fig4 #abj4--,satsuma ,faience4 ,buff and ,gold2 ,decoration in ,relief4 7,j4 ,f4 ,sutton ,coll47 ,the religious vessels are very often elaborately decorated4 ,incense jars have figures of the gods2 the turtle1 symbolical of longevity2 and medallions of flowers surrounded by borders of green1 crimson1 and gold2 or we may find the gods ,shiou-ro and ,tossi-toku1 of longevity and wisdom1 in a landscape2 or combats between gods and demons2 or a mixed assemblage of priests and gods4 ,when the figures of the gods are painted on the inside1 the value of the piece may be estimated by the delicacy of the figure-painting4 ,hotei1 the god of contentment1 and ,yebis1 are thus figured on the inside of bowls2 and sometimes there are priests and women2 or gods and dragons may be seen on the inside and priests on the outside4 ,satsuma ware is also found in round1 oval1 or leaf-like plaques1 on which are religious and other subjects4 ,more frequently in ,kaga or ,kutani porcelain1 but sometimes also in ,satsuma ware1 will be found what are called 8,saki0 cups4 ,saki1 or ,sake1 is the chief alcoholic drink of ,japan1 and is made from rice4 ,it is drunk hot at meals from the cups known by its name4 ,the size of these pieces precludes excessive decoration1 and the artist concentrates his efforts upon fineness of execution and finish4 ,satsuma ware is imitated at ,kioto1 ,yokohama1 and elsewhere2 and there is little doubt that pieces from these and other centres make their appearance in ,america under the adopted and better known name4 ,there are no safeguards against deception but the character of the dealer and the good taste and judgment of the collector4 ,illustration3 ,fig4 #aba4--,kioto ,faience ,censer4 7,a4 ,a4 ,vantine ,co47 ,the ,kioto pottery is scarcely inferior to the ,satsuma4 ,in the specimen given below 7,fig4 #abb7 the creamy ground is covered with a kaleidoscopic mingling of colors--yellow and purple chrysanthemums and cloudy masses of gold--and in the foreground is a cock with brilliant plumage4 ,other specimens are seen in ,figs4 #aba and #abc4 ,awata ware is made at ,kioto1 and is of more recent origin than the ,satsuma1 from which it differs chiefly in the more pronounced tint of its prevailing yellow color4 ,from the latter characteristic it has been called 8egg pottery40 ,in the older pieces the style of decoration is entirely different from the ,satsuma4 ,the colors used were few in number and neutral in tone4 ,more recently the artists of ,kioto have resorted to imitations of ,satsuma and porcelain decorations1 and of ,european styles4 ,illustration3 ,fig4 #abb4--,kioto ,vase4 ,very ,brilliant ,colors4 ,height1 #ah in4 7,boston ,museum of ,fine ,arts47 ,awadji1 an island lying between ,shikoku and ,hiogo on the main-land1 produces a ware closely allied to the ,satsuma4 ,the glaze is similar1 and the kaolinic paste is made from ground granite found on the island4 ,the body-tint is an extremely soft yellow1 the cracks are usually fine1 and the painting1 outlined in black1 is decided in character4 ,from the same place comes a strong stone-ware1 either with a glaze containing oxide of copper or covered with a slip4 ,the cracks are few in number1 and the prevailing colors are green and russet4 ,the above names1 it will be observed1 are taken from the places of manufacture4 ,the ,banko-yaki is so called from the inventor1 and is made in the province of ,ise4 ,the paste is a strong1 tough brown clay1 on the unglazed surface of which enamel painting is laid4 ,very curious tea-sets1 wonderfully light and thin1 considering the quality of the paste1 are made of this material4 ,they are finished by hand1 and the marks of the potter's fingers are distinctly visible on the clay4 ,these sets are favorites with the tea-drinkers of ,japan4 ,the white clay of ,ise is also used for pieces which come in biscuit4 ,when mingled with brown clay1 the result is a peculiar mottled ware which has been extensively made within the past few years4 ,the ,banko tea-sets are sometimes moulded into imitations of the lotus leaf4 ,illustration3 ,fig4 #abc4--,kioto ,faience4 ,brown1 ,red1 and ,green on ,buff4 7,j4 ,f4 ,sutton ,coll47 ,illustration3 ,fig4 #abd4--,kiusiu ,earthen-ware4 ,blue on ,purple4 ,height1 #ae in4 7,a4 ,a4 ,vantine ,co47 ,the ware called 8,kiusiu0 takes its name from the island already mentioned1 but the exact place of its manufacture is not more specifically stated4 ,the illustration 7,fig4 #abd7 exemplifies a large division of this pottery1 which has designs more or less intricate graved in the paste1 and painted purple or plum and turquoise blue4 ,some of the finer pieces have floral and emblematic incisions1 and upon the mingled blue and plum are chrysanthemums and vines in lacquer4 ,karatsu is a town in the province of ,hizen1 and gives its name to a buff ware1 somewhat resembling in appearance the darker qualities of ,satsuma4 ,it is finely crackled1 and the designs are exceedingly varied4 ,the tenacity of the fine paste is exemplified in the reticulated vase 7,fig4 #abe71 in which frequent changes in the pattern lighten1 by variety1 the sombre character of the piece4 ,it will be observed that the inner surface is also decorated1 and we are thus furnished with another of the frequently recurring evidences of inexhaustible ,oriental patience4 ,all the examples of this ware that we have seen are covered with very minute cracks like those overspreading the ,satsuma4 ,the paintings on tea-jars and incense-pots consist usually of flowers1 insects1 vines1 or bamboos sometimes arranged in panels or medallions4 ,illustration3 ,fig4 #abe4--,karatsu ,vase4 ,reticulated ,buff ,crackle4 7,j4 ,f4 ,sutton ,coll47 ,illustration3 ,fig4 #abf4--,suma ,earthen-ware4 ,blue ,slate ,color2 ,black1 ,red1 and ,reddish-brown ,decoration4 7,a4 ,a4 ,vantine ,co47 ,it is unnecessary to do more than enumerate the wares of ,suma1 or ,soma1 ,nara1 ,ota1 ,idsumi1 and ,kaga1 or ,kutani1 some of which approach translucent porcelain so nearly as to be entitled to be classed with it4 ,the specimen 7,fig4 #abf7 is chosen for illustration for a very simple reason4 ,the body is a common coarse earthen-ware1 manipulated with very moderate skill1 and the color is in no respect remarkable4 ,but in the disposal of the grape-vine decoration1 and the drawing and attitude of the bird1 there is nothing more simple and tasteful to be seen on the finest ,hizen porcelain4 ,in spite of the humble material1 the artist compels our admiration4 ,it is the same wherever we turn4 ,art is for all1 the lowly as well as the rich1 and embellishes every object1 the humble as well as the most costly4 ,there are simple vessels1 teapots1 and cups of clay1 thin as ,banko ware1 and left unglazed1 which for very oddity and perfection of workmanship are worthy of a place in any collection4 ,mr4 ,sutton has two pieces of this character4 ,one is a teapot shaped like a partially folded leaf1 having its sides drawn together to form the spout4 ,the lid is like an elongated shell1 and is thin and light as a leaf4 ,the other is also a teapot1 and resembles a transverse section of the trunk of a tree4 ,in such cases the artist is lost sight of in the workman4 ,the pieces have neither grace of form nor beauty of color1 but they attract us by the evidences they present of human skill contending with difficulty for the mere satisfaction of overcoming it4 ,they are triumphs of dexterity and curiosities of design1 and1 though rare1 are thoroughly representative of a large section of ,japanese ceramic art4 ,in its simplest as well as its most beautiful forms1 nature is the promptress of the ,japanese artist 7,fig4 #abg74 ,we see it in such works as those last described equally with the gorgeous flowers and drooping vine1 and in it have the key to the infinite variety of the art of ,japan4 ,illustration3 ,fig4 #abg4--,satsuma ,vase4 ,decoration1 ,green and ,red4 ,height1 #ac in4 7,robert ,h4 ,pruyn ,coll47 ,,porcelain4 ,leading ,differences between ,japanese and ,chinese4--,sometsuki ,blue4--,ware for ,export4--,gosai1 or ,nishikide4--,arita1 or ,hizen4--,families4--,decoration4--,mode rn ,hizen4--,seidji4--,kioto4--,eraku4--,ka ga4--,portraiture4--,owari4 --,lacquer4--,cloisonn4--,rose ,family4--,early ,styles3 ,indian3 ,dutch ,designs4--,general ,characteristics of ,japanese ,art4 ,in porcelain1 even to a more marked degree than in pottery1 the peculiarities of ,japanese art are noticeable4 ,it brings before us1 in their greatest perfection1 the careful attention to finish1 the harmonizing of the most minute detail with the general design1 the boundless variety of form1 and the general tendency to subordinate the latter to ornamentation and color4 ,the porcelain is less capable of resisting heat than that of the ,chinese4 ,illustration3 ,fig4 #abh4--;,japanese ,porcelain ,plaque4 7,w4 ,l4 ,andrews ,coll47 ,the leading differences between the porcelains of the two countries are that the ,japanese is of a purer white and finer quality1 that its glaze has a bluish tint1 that the ,japanese forms are usually better1 and that the extravagancies of ,chinese decoration are toned down4 ,the chief kinds of porcelain are the ,hizen 7also called ,imari and ,arita71 the ,owari1 ,kioto1 ,mino1 and ,kaga4 ,that made at all these places1 except ,kaga1 belongs chiefly to the kind called ,blue ,sometsuki1 in which the body is decorated before glazing with painting in blue derived from cobalt4 ,this is the leading ware for home consumption4 ,two of the largest and finest specimens that ever reached ,america were the immense vases and basins sent to the ,centennial ,exhibition4 ,reference has been made1 under ,china1 to the difference between the blue-and-white of ,nankin and that of ,japan1 viz41 that the white of the latter is purer and the blue less transparent4 ,this may be accounted for in part by the inferiority of the cobaltiferous ore of ,japan1 a circumstance which has led to the importation of ,chinese material1 and in part by the preparation of the paste4 ,after being thrown or moulded1 dried and turned1 the piece is covered with pure white clay1 and then fired4 ,the blue is afterward laid upon the clay coating1 and the piece is then glazed and fired a second time4 ,by the use of the engobe1 the brilliancy of the blue is thought to be enhanced1 and the purity of the white must certainly be heightened4 ,the glaze is always felspathic1 and is said to be less vitreous than that of ,china4 ,like the ,chinese1 who made a specific ware for the 8,sea-devils0--a euphonious title under which all ,europeans were classed--the ,japanese export from ,hizen the same kind of porcelain as that above described1 but decorated with bright enamel colors on the glaze1 and specially designed for the foreign trade4 ,the preparation and application of the enamels have been described elsewhere4 ,paintings in relief are produced by first laying on the parts to be colored a white enamel of powdered glass and stone1 and white-lead4 ,this ware1 once called 8,gosai10 and now 8,nishikide10 is made at ,arita1 and was taken to ,nagasaki1 and thence to the island of ,desima1 at the time when the old ,dutch traders had their settlement there4 ,it is1 therefore1 this porcelain that the ,dutch first carried to ,europe4 ,that we may have a clear view of the early condition of the industry1 we must bear in mind that it was in ,hizen ,shonsui put in practice the knowledge he had acquired in ,china4 ,it may1 therefore1 be expected that the older specimens will show signs of ,chinese teaching4 ,that such is the case may be inferred from the grouping usually resorted to in dividing ,japanese porcelain into ,chrysanthemo-,ponian and ,rose families4 ,the place of manufacture of many of the pieces belonging to the first of these families is authenticated by the peculiar ,japanese symbols1 such as the ,imperial bird1 the guikmon1 the ,imperial three-clawed dragon1 the crane1 bamboo1 and other emblems of longevity2 and also occasionally by the pieces being decorated with legendary subjects4 ,one of the latter is decorated in part with a water-fall1 and a carp leaping upward4 ,the latter is a symbol borrowed from ,china4 ,mr4 ,griffis says of it3 8,the koi 7carp7 leaping the water-fall is a symbol of aspiration and ambition1 and an augury of renown4 ,the origin of the symbol is ,chinese4 ,in an old book it is said that the sturgeon of the ,yellow ,river make an ascent of the stream in the third moon of each year1 when those which succeed in passing above the rapids of the ,lung ,men become transformed into 7white7 dragons40 ,the same writer relates that when ,kiyomori was on his way to view ,kumano water-fall1 a carp leaped out of the river upon the deck of his state barge1 and gave rise to much rejoicing as an auspicious omen4 ,illustration3 ,fig4 #abi4--,old ,imari ,porcelain4 7,a4 ,a4 ,vantine ,co47 ,illustration3 ,fig4 #acj4--;,japanese ,dish4 ,ground1 ,red and ,blue2 ,figures1 ,green and ,gold4 ,diameter1 #aa in4 7,robert ,h4 ,pruyn ,coll47 ,the paste and glaze of the older examples of ,hizen are inferior to the ,chinese1 the former being thick and comparatively coarse1 as we find it in the accompanying specimen 7,fig4 #abi74 ,such are the early vases of the ,chrysanthemo-,ponian family4 ,they represent1 apparently1 the struggles of workmen attempting to apply recently acquired knowledge to native material3 a further proof that when the ,dutch opened their trade with ,japan the porcelain industry was still in its infancy4 ,that the manufacture improved with great rapidity is evident from such examples as the dish 7,fig4 #acj71 an admirable specimen of early ,gosai1 or ,nishikide4 ,only five colors were employed in its decoration3 black for the outlines2 red1 green1 gold1 and blue1 as we find them on ,mr4 ,pruyn's dish1 where the design in green and gold is laid upon a ground of red and blue4 ,in modern times the porcelain of ,hizen includes some of the best coming from ,japan4 ,to it we owe those exquisite specimens of a double art1 trays and vessels of porcelain1 decorated with flowers and birds in raised enamels1 encased in a cover of bamboo wicker-work4 ,the rich beauty of the coloring of ,hizen porcelain is indescribable4 ,one vase has birds and flowers freely disposed over its surface2 another has reserved panels with birds and chrysanthemums in relief1 and a third has birds and flowers on a ground of gold1 and set in an open border4 ,the desire to imitate objects in shape as well as color animates the porcelain makers of ,hizen equally with the potters of ,satsuma4 ,we find bowls in the form of chrysanthemums1 with the turtle1 emblem of longevity1 on the cover4 ,one of these is decorated with stripes of blue1 red1 green1 and yellow1 and the favorite flowers and insects in enamel colors4 ,the rare and very handsome example of the striped style of decoration here given 7,fig4 #aca7 was obtained at the ,lyons sale1 and is presumed to be ,hizen4 ,the ground is a rich1 clear blue1 and the cranes1 foam of the sea1 and stripes on the neck are in white relief4 ,one is anxious to find the sentiment embodied in such admirable work2 and it is possible that the piece may originally have been meant to convey a wish for long life--by its symbol1 the crane--amidst the mutations of life1 symbolized by the foam of the ever-changing sea4 ,illustration3 ,fig4 #aca4--;,hizen ,vase4 ,blue ,ground2 ,white ,decoration4 ,height1 #ac in4 7,mrs4 ,j4 ,v4 ,l4 ,pruyn ,coll47 ,illustration3 ,fig4 #acb4--;,japanese ,porcelain ,vase4 7,h4 ,c4 ,gibson ,coll47 ,another piece1 about which nothing certain is known1 is the vase 7,fig4 #acb7 from ,mr4 ,gibson's collection4 ,it is a marvel of patient and skilful labor1 and tells its story1 no doubt1 if the means of reading it were only within reach4 ,the lattice of gold hangs as fine as gossamer over the figures1 with sufficient transparency to leave the inside scene distinctly visible4 ,to return to the modern pieces known to be ,hizen1 the bowls above mentioned are supplemented by others shaped like pomegranates1 and profusely decorated1 sometimes both inside and outside1 with flowers1 insignia1 and the imperial bird1 or with vines and flowers in gold and crimson4 ,all family relationship is forgotten in the boundless variety of the designs4 ,a charming illustration of the refined taste of the porcelain manufacturers of ,arita was shown at the ,centennial ,exhibition4 ,it consisted of a set of three small oviform vases of a very delicate blue tint1 and having white dragons for handles4 ,the ware called ,seidji is the ,japanese cladon1 and is decorated after the style seen in ,china1 i4 e41 with designs graved in the paste4 ,it has been made in ,hizen ever since ,shonsui settled in that province 7,a4,d4 #aehj74 ,leaving ,arita1 in the mean time1 there are several other centres demanding notice4 ,the blue ,sometsuki is also made in ,owari and ,kioto4 ,with the latter is associated a distinctive ware called ,eraku1 from its inventor1 in which gold decoration is laid upon a red ground4 ,when ,indian-ink and the colors of the ,nishikide are found on ,kioto porcelain1 it resembles very closely that of ,hizen4 ,green1 blue1 and gold are frequently mingled4 ,as in other ,japanese centres1 the tendency to seek nature1 either for suggestion or imitation1 manifests itself at ,kioto4 ,vases with crabs and shells1 moulded and painted from nature1 remind us of the 8,palissy pottery1 with raised fishes and fruit10 of which ,sir ,r4 ,alcock speaks4 ,illustration3 ,fig4 #acc4--,kaga ,ware4 ,decoration1 ,red and ,gold4 7,a4 ,a4 ,vantine ,co47 ,somewhat similar to ,eraku is the porcelain of ,kaga4 ,one quality 7,fig4 #acc7 of the latter has gold decorations on red or black grounds1 mingled with flowers or birds traced either in red or black1 according to the ground4 ,on another quality the painting outlined in black is executed in enamel colors1 resembling those already described as in use at ,arita4 ,the result is exceedingly rich4 ,one specimen is described by ,mr4 ,jarves 78,art of ,japan071 and is in the possession of ,mr4 ,sutton1 of ,new ,york4 ,on the outside are two men holding a conversation on the bank of a stream4 ,in the inside1 in ,chinese characters--adopted by the ,japanese in the third century--of the minutest size1 is the following explanatory legend3 8,kutzen had already taken his leave1 and was wandering by the side of the river1 in a sorrowful and dejected manner1 when he met a fisherman1 who said1 #8,why do you come here8 ,you are the chief retainer of ,king ,s4' ,then ,kutzen replied1 #8,the men of the world are all alike1 and as impure water1 but ,i am pure2 they are all drunk1 but ,i am sober2 therefore ,i come here4' ,then the fisherman said1 #8,an ancient sage has said1 that if we mix and associate with the men of the world1 we shall become as impure as they are2 if they are all drunk1 we shall be drunk also1 and drink the sediment of their drink2 if they are dirty1 we shall be dirty also1 and stir up the mud4' ,then ,kutzen replied1 #8,it is an ancient saying1 that when we dress our hair1 we necessarily rub the dust off our cap2 when we bathe in hot water1 we necessarily shake the dust off our clothes2 thus1 when our hearts become pure1 we shake off all defilement4 ,i would rather throw myself into the river1 and become food for the fishes1 than to be defiled by thee6' ,then the fisherman went away smiling1 and1 striking the gunwale of his boat1 sang3 #8,so1 when the waters of ,soro are clean1 ,i will wash my cap-strings2 when the waters of ,soro are dirty1 ,i will wash my feet4'0 ,another cup1 also in ,mr4 ,sutton's collection1 of a somewhat similar shape1 i4 e41 narrow and high1 has the inside almost entirely covered with these minute characters4 ,it is well-nigh impossible to trace with the eye those near the bottom1 and an estimate can thus be made of the difficulty of forming them with the brush4 ,the decoration particularly characteristic of ,kaga porcelain is the multiplication of portraits4 ,occasionally we find medallions of flowers set in colored borders1 or fishes on the inside of both vessel and cover1 and vines and flowers on the outside2 but the style most intimately associated with ,kaga is the marvellously minute and highly finished painting of a crowd of faces4 ,we have seen whole tea-sets thus covered with what were said to be portraits of the poets of the ,mikado's empire1 executed with the most perfect finish upon a ground of pure gold4 ,on the inside of one shallow dish there were no fewer than sixty-five portraits1 on a ground of gold1 and on the outside was a landscape set in flowers4 ,a plaque of the same ware had eighty figures1 on a gold ground1 surrounding a medallion with flying birds4 ,the porcelain chosen for these curious and wonderful works is generally thick and of inferior quality1 but the effect of the red and gold grounds1 occasionally alternated with blue1 is unquestionably rich4 ,illustration3 ,fig4 #acd4--,owari ,porcelain1 decorated at ,yeddo4 7,yoshida ,kiyonari ,coll47 ,at ,owari1 the favorite colors would appear to be deep-blue and white1 the former being generally used as a ground1 the latter for ornamentation4 ,the seat of the manufacture is ,seto1 a village near ,nagoya1 the chief town of the province of ,owari4 ,many of the heavy vessels now manufactured at ,seto have no artistic quality to recommend them1 but smaller specimens of great beauty may occasionally be met with4 ,a small vase1 for example1 has the base of deep blue1 the body of a paler shade1 and the upper part deepening into a purplish tint4 ,in some cases the white decoration is in relief4 ,the porcelain and pottery reaching us from ,yeddo 7,fig4 #acd71 or ,tokio1 is largely composed of the different provincial products4 ,they are taken to that city to be decorated1 and it is almost impossible in the great majority of cases to specify the place of manufacture4 ,two remarkable methods of decorating porcelain bring us to lacquer-work and cloisonn enamel4 ,lacquer is a sap or gum drawn by tapping from the ,rhus vernicifera1 a tree cultivated for this special purpose throughout the entire southern half of ,japan4 ,after settling1 the lacquer is mixed with certain coloring and hardening powders1 and strained4 ,the black quality is made by exposing the viscous gum for a few days to the open air1 and then diluting it with water which has been for some time mixed with iron filings4 ,the greater part of the water is then allowed to evaporate1 and the process having been completed1 the lacquer is ready for use4 ,the ornamentation consists either of mother-of-pearl1 ivory1 or metal sunk into the lacquer before it hardens1 or of painting4 ,a pair of tall ,arita vases 7,fig4 #ace7 which were exhibited at the ,centennial ,exhibition are examples of this work4 ,cloisonn enamel on porcelain 7,figs4 #acf and #acg7 is to be regarded chiefly as a curiosity of workmanship1 and as an example of the irresistible tendency discoverable in ,japanese artists to cope with mechanical difficulty1 since the very same effects are produced with greater ease upon a metal base4 ,fine metallic lines divide the surface into spaces or cells shaped according to the details of the design1 and are fixed to the biscuit by means of a fusible glass4 ,the compartments are then filled with vitrifiable enamels4 ,these adhere after firing1 and help in keeping the cells in position4 ,the chief places of manufacture are ,owari1 ,kioto1 ,osaka1 and ,tokio4 ,illustration3 ,fig4 #ace4--,lacquer on ,arita ,porcelain4 ,height1 #h ft4 #h in4 7,corcoran ,art ,gallery47 ,illustration3 ,fig4 #acf4--,tokio ,cloisonn ,enamel4 7,sutton ,coll47 ,the system of classification which has hitherto been followed has been adopted mainly in view of the modern manufactures of ,japan4 ,in looking at its more ancient wares1 the place of manufacture being1 us a rule1 unknown1 the method of assortment usually adopted is that based upon general characteristics and marked features of resemblance4 ,following the ,chinese parallel1 there are1 as we have said1 ,chrysanthemo-,ponian and ,rose families1 but no ,green4 ,the symbols1 whether consisting of flowers or animals1 are the best and safest indications of the origin of the piece4 ,many of the finest specimens belong to the ,rose family1 and it may as well be stated at the outset that1 in spite of the most careful examination1 it is sometimes impossible to ascribe its representatives to a certain origin1 and to discriminate between the works belonging to ,china and those of ,japan4 ,it follows1 that the finer pieces are at least equal to anything ,china has produced4 ,the ,japanese used to say that human bones formed one of the ingredients of the paste1 and a meaning can easily be found for the phrase in the vast amount of labor demanded by its preparation4 ,specimens of the best qualities are as plentiful in ,europe as in ,japan3 perhaps they may become more so1 should the revival now expected not fulfil the hopes entertained regarding it4 ,illustration3 ,fig4 #acg4--,owari ,cloisonn ,enamel4 7,sutton ,coll47 ,illustration3 ,fig4 #ach4--;,japanese ,vase4 ,white1 ,red1 ,rose1 and ,green4 ,blossoms on ,left2 ,white ,enamel ,raised4 ,height1 #f in4 7,robert ,h4 ,pruyn ,coll47 ,jacquemart classes all the fine porcelain of ,japan under the ,rose family1 to which would1 therefore1 belong the vase 7,fig4 #ach7 with white enamel decoration in relief4 ,the subdivision of the family into vitreous and artistic porcelain1 leads us to examine the grounds upon which it is made4 ,the distinction between the two classes is based upon the styles of decoration4 ,in both qualities the paste is very translucent1 and the colors are pure and clear4 ,the decoration of the vitreous is sparing1 and of most careful execution1 as though the artist were desirous of giving full effect to the natural beauty of the ware in its unadorned purity4 ,decorations of this kind gradually merge into more elaborate designs1 in which flowers are strewn in careless grace over the opalescent paste1 or animals are represented in gold and red4 ,in the artistic porcelain the decoration partakes more of the ,chinese intricacy and richness of color4 ,red1 blue1 green1 yellow1 and black mingle in scenes in which appear birds1 figures1 and flowers surrounded by deep and delicately shaded borders4 ,it is inferred1 from the gradually increasing elaboration of the designs1 that the vitreous preceded the artistic1 and that the latter1 while tolerably distinct from the ,chinese ,rose1 is the result of ,chinese influence4 ,by reason of his faulty chronology1 ,m4 ,jacquemart's inference is open to question1 although in the present case he appears to have reached a partial truth4 ,the condition of both ,china and ,japan1 as it can be gleaned from history1 detracts somewhat from the probability of the assumptions of the author mentioned4 ,europeans first landed in ,japan in #aedb--;almost contemporaneously with the earliest manufacture of porcelain--and1 in #aedi1 the first missionaries followed4 ,in about thirty years 7#aeha7 one hundred and fifty thousand converts had been made1 and1 in #aehc1 an embassy was sent to the ,pope by the daimios of ,kiusiu4 ,this is the ,japanese embassy referred to by ,mr4 ,marryat1 as having taken place in #aehd1 on which occasion statuettes of the ,virgin and ,child1 made by the ,chinese for the ,japanese ,christians1 were sent to ,europe4 ,but foreign intrigue and sectarianism soon culminated1 and1 in #aehg1 ,hideyoshi banished all foreign missionaries4 ,the work of proselytism was still carried on in private by the ,jesuits1 and1 in #aeif1 a number of missionaries and converts were crucified at ,nagasaki1 in ,hizen4 ,the history of the next forty years is a narrative of desperate contention between the missionaries and converts on the one side1 and the government on the other4 ,the drama may be said to close with the massacre already referred to1 which took place in #afcg1 when thousands of ,christians were put to the sword1 and thousands more were drowned in the harbor of ,nagasaki4 ,mr4 ,marryat says that the interference of the missionaries with the decoration of porcelain1 by substituting scriptural subjects for the 8ancient orthodox native patterns which had existed from time immemorial10 is supposed to have contributed to the massacre4 ,in connection with this subject the same author quotes from ,d',entrecolles1 who states that a plate with a biblical subject was brought to him1 and that he was told this porcelain was formerly carried to ,japan1 but that none had been made for sixteen or seventeen years2 that apparently the ,christians of ,japan had made use of this manufacture during the persecution1 but that discovery led to a stoppage of the traffic1 and that1 in consequence1 these works had been discontinued at ,king-tehchin4 ,mr4 ,marryat then refers to the ,chinese pieces sent with the ,japanese embassy to ,europe4 ,assuming the statements in these passages to be correct1 it is well to bear in mind that they refer to three distinct fabrics4 ,to arrange them chronologically1 the last mentioned is the porcelain made by ,china for ,japan1 before its own porcelain industry was well established1 or before it had1 at least1 been fully developed4 ,this supports the statement that porcelain was not made in ,japan until shortly before the middle of the sixteenth century4 ,otherwise1 the question will at once occur1 ,why1 if porcelain had been made in ,japan since the thirteenth century1 should ,china be supplying it with religious figures before any steps had been taken in ,japan against the new religion8 ,the first of these measures1 as we have seen1 was the decree of ,hideyoshi1 passed in #aehg4 ,the porcelain first referred to by ,mr4 ,marryat comes second in point of time1 and is the porcelain assumed to have been made in ,japan1 in the beginning of the seventeenth century1 for the ,christian converts4 ,the second is1 chronologically1 the last1 and is the porcelain made in ,china1 about #agee1 for the same people1 secretly adhering to their religion one hundred and twenty years after the supposed extirpation of ,christianity in ,japan4 ,pre d',entrecolles was attached to the ,king-teh-chin mission1 about #aggj4 ,while the religious troubles above detailed were keeping ,japan in a continual ferment1 ,china was disturbed by the incursion of the ,tartars and the usurpation of the ,tai-thsing ,dynasty4 ,in ,japan we have1 therefore1 an undisturbed period of not more than fifty years 7#aedj-aehg7 favorable to the development of that originality which1 according to ,jacquemart1 preceded the imitations of ,chinese work4 ,some singular evidence1 which may be read1 in one sense1 to the same general effect1 has been brought together by ,mr4 ,b4 ,phillips1 in the ,art ,journal1 in an article devoted to the ,medicean porcelain in the ,castellani collection4 ,he says that two ,japanese experts examined the specimen engraved 7,fig4 #bbc71 and pronounced the decoration ,japanese4 ,the style they attributed to ,shonsui1 and said that it was in use toward the middle and close of the sixteenth century4 ,a piece made by ,shonsui bore out the statement1 it having similar decorations1 even to the flutings1 which had been shaded after the same method4 ,if the ,medicean bowl be examined1 simplicity will be found to be the most marked characteristic of the decoration2 and it is clear that it must have been copied from some ,japanese porcelain made not later than #aehj4 ,it may1 therefore1 be accepted as an incontestable fact1 that there was an essentially ,japanese style of decoration1 in the sixteenth century1 applied to the blue ,sometsuki1 the porcelain destined for the home market4 ,this leaves the question of precedence between the vitreous and artistic porcelains of the ,rose family practically unaffected4 ,the probabilities are all against ,m4 ,jacquemart's1 or any other unqualified1 theory of chronological sequence4 ,the natural course is to proceed from copying to originality4 ,japan had acquired the ceramic art from ,china4 ,was it not likely to occupy its attention first with copying the simpler styles of its experienced neighbor1 while feeling after an equally simple originality1 such as the ,italians copied in their turn8 ,from the first it may have had foreign taste to contend with1 although very little is said of a ,portuguese trade in porcelain4 ,then came religious troubles to delay the development of a national art1 and1 before they were over1 the dynastic war in ,china1 causing a suspension of production in that country1 offered an inducement to supply a new market1 and thus again delayed the national development4 ,one historical fact remains to be added3 ,in the 8,ambassades ,mmorables10 published at ,amsterdam in #afhj1 we find allusion made to porcelain sent from the ,dutch trading-post at ,deshima1 which did not sell well1 because it had not flowers enough upon it4 ,this clearly cannot refer to the 8artistic0 porcelain of ,jacquemart1 with its rich borders and crowded flowers4 ,the only inference from all that can be said and legitimately assumed is1 that the ,hizen porcelain of the beginning of the seventeenth century is that which most nearly resembles the ,chinese4 ,to that period1 therefore1 may chiefly be assigned those rich pieces of ,japanese ,rose which have been confounded with the ,chinese4 ,when1 afterward1 the native taste for simplicity was striving to reassert itself1 it was again obstructed by the demands of ,dutch trade1 and the requirements of such connoisseurs as ,wagenaar1 who objected to a paucity of flowers4 ,it follows that many specimens of the vitreous class must have been subsequent to the artistic4 ,from the beginning of the history of ,japanese porcelain external influences were at war with native taste1 and1 in determining the sequence of styles1 the only data open to consultation are the events ostensibly giving rise to them--the demand creating the supply--and the probable condition of the skill required to meet that demand4 ,the porcelain long called 8,indian0 belongs to the same period of ,japanese art1 and was taken home in ship-loads by the ,dutch monopolists of the seventeenth century4 ,the foreigners1 not content with compelling1 by the influence of trade1 a bending of ,japanese styles to their taste1 supplied special designs4 ,these were reproduced by the ,japanese artists with the most exact and faithful precision4 ,a story is told by ,captain ,french1 of ,new ,york1 that when in ,china some years ago1 he saw fit to increase his wardrobe to the extent of a new coat4 ,he had some difficulty with the native artist of the shears1 and ultimately decided to send him an old coat as a pattern4 ,in due time the new garment was finished1 and so closely had the pattern been followed1 that the sleeves were adorned with a couple of patches which had been applied to the old coat to prolong its natural term of service to the end of a protracted voyage4 ,the ,japanese artists were equally unreasoning in their adherence to designs supplied from ,holland4 ,they laid them upon the porcelain in all their crudity and roughness1 and treated imperfections as the tailor did the patches--reproduced them with the most serious and unwavering fidelity to their model4 ,contact with foreign nations has never had any other than a bad effect upon ,japanese art1 excepting1 of course1 its early intercourse with ,china4 ,the genius of the people has been diverted from its natural channel4 ,art has been in a manner subjugated by commerce4 ,hence came gloomy forebodings and threatened ruin4 ,whenever it had an opportunity of seeking free expression it changed its character4 ,instead1 therefore1 of classifying ,japanese porcelain according to the families above mentioned1 a better method might be to divide it into two great groups1 the national and the commercial4 ,a great part of the so-called artistic porcelain of the ,rose family will belong to the latter class4 ,it can only be distinguished from the ,chinese by observing the points already noticed3 the paste1 the glaze1 the greater purity of the enamel colors1 the insignia1 symbols1 and flowers4 ,even these will fail at times1 as the ,chinese1 led away by the improvements effected by the ,japanese in imitating their styles1 did not hesitate to appropriate those of ,japan2 while ,japan1 we are told1 imports ,chinese egg-shell for decoration4 ,apart from these doubtful pieces1 we can see1 in both the old and modern porcelain of ,japan1 national characteristics struggling with many difficulties to reach artistic expression4 ,we find technical skill handling the finest material1 shaping it into graceful form1 and decorating it with carefully compounded colors of the greatest beauty4 ,the true history of ,japanese art is the history of the art we have called national2 all else is but the prostitution of individual genius to commerce4 ,in the former we find simplicity and piety mingled with a humor often quaintly clothed in clay4 ,there is abundant material for research1 for study and close examination4 ,the art of ,japan has many peculiarities1 and will give an observer ideas of artistic beauty and sthetic taste which an ,american or ,european education would never suggest4 ,in it we find1 above all things1 a deep love and admiration of nature4 ,all this is contained in the lines of the ,laureate of the ,potter1 which are charged with the very essence of ,japanese art3 8,all the bright flowers that fill the land1 ,ripple of waves on rock or sand1 ,the snow on ,fusiyama's cone1 ,the midnight heaven1 so thickly sown ,with constellations of bright stars1 ,the leaves that rustle1 the reeds that make ,a whisper by each stream and lake1 ,the saffron dawn1 the sunset red1 ,are painted on these lovely jars4 ,again the skylark sings1 again ,the stork1 the heron1 and the crane ,float through the azure overhead1 ,the counterfeit and counterpart ,of nature reproduced in art40 ,,chapter ,,viii4 ,,persia4 ,persia1 and its ,influence4--,history4--,conquests4--,re ligious ,revolutions4--,zoroaster4--,mohammed4-- ,geographical ,position4--,general ,view of ,influences bearing upon ,art4--,decoration4--,flowers and ,symbols4--,conventional ,styles4--,whence came the ,monsters ,appearing upon ,wares4--,metallic ,lustre4 ,illustration3 ,fig4 #aci4--,persian ,faience ,plaque4 7,robert ,hoe1 ,jr41 ,coll47 ,it is unfortunate1 considering the great importance of ,persia in the history of ceramic art1 that it should have been a debatable ground to travellers and ceramists4 ,of the extended influence of ,persia upon neighboring countries there can be no doubt4 ,the ,arabs acquired from that people much of the knowledge which they subsequently brought to ,europe1 and which will be treated of more fully as ,saracenic and ,mauresque4 ,persia gave a language to the ,mussulmans of ,india1 and supplied her with at least suggestions in the plastic art4 ,her art1 in fact1 spread far beyond the wide bounds of that empire1 which extended from ,india on the east to the ,mediterranean on the west1 and from the ,black ,sea and ,caucasian range on the north to the ,persian ,gulf and ,arabian ,sea4 ,to have an exact knowledge of the problems with which we have now to deal1 the several great revolutions recorded in the history of ,persia may be briefly summarized4 ,these changes were both religious and political in character4 ,beginning with ,cyrus the ,great1 we find the empire as above described1 about the year ,b4,c4 #eei1 when ,media became tributary to ,persia1 into which other kingdoms were afterward merged in quick succession4 ,the empire lasted until ,b4,c4 #cca1 when ,alexander the ,great included ,persia in his grand series of ,asiatic conquests4 ,on ,alexander's death1 when the tributaries of ,macedonia were divided1 ,seleucus ,nicanor obtained ,persia for his share2 and the ,grecian dynasty lasted until the ,parthians revolted1 and met with such success that a ,parthian dynasty was founded which lasted for nearly five hundred years4 ,this brings us down to the year #bbi of our era1 when ,artaxerxes headed a revolt and laid the foundation of the second ,persian empire4 ,this is known as the ,sassanian ,dynasty1 which held the sovereignty until the incursion of the ,arabs1 more than four hundred years later4 ,persian independence was reasserted after the lapse of a second period of four hundred years1 and lasted until ,genghis ,khan and ,tamerlane successively brought it under ,mogul domination4 ,the succeeding wars with ,afghans1 ,turks1 and ,russians need not here be detailed4 ,the two great religious revolutions were occasioned by the adoption of the doctrines of ,zoroaster and ,mohammed4 ,the first of these appears to have suddenly emerged from the comparative obscurity of the court of ,bactria--a country situated upon the eastern confines of ancient ,persia--and to have led the ,persians to renounce their gross idolatry4 ,the leading tenets of his creed were the existence of a supreme being1 eternity1 and the contending principles ,ormuzd and ,ahriman1 good symbolized by light and evil by darkness4 ,the never-ceasing contention between these two opposite principles is often represented by a bull and a lion in conflict4 ,the cypress was ,zoroaster's emblem4 ,this religion took a deep hold upon the ,persians1 and the first serious shock which it sustained was from the religion founded by ,mohammed in the wilds of ,arabia ,petra4 ,of the two ,mussulman sects1 ,schiites and ,sunnites1 created by the dissensions following upon the ,prophet's death1 as to the choice of a successor1 the ,persians preferred the former1 and are believers in ,ali4 ,the ,turks1 on the other hand1 are ,sunnites1 believers in the legitimate succession of ,abubeker1 ,omar1 and ,osman4 ,propagandism by the help of the sword being the privilege and virtue of the believers in the ,prophet1 it is not astonishing that ,turk and ,persian should have met in the argument of battle4 ,coming next to the geographical position of ,persia1 it intercepted1 in its ancient extent1 all communication between ,east and ,west4 ,the vast extent of territory owning its sway1 stretching nearly three thousand miles east and west1 and two thousand miles north and south1 must needs be traversed by travellers between ,europe and the extreme ,east4 ,long before navigators had found the ocean highway round the ,cape1 ,persia received all the traffic from ,india1 ,china1 and ,japan passing through the ,persian ,gulf to ,europe4 ,let us now take in all that has here been stated1 at one glance1 and we shall see clearly why ,persian ceramic art has been viewed with doubt4 ,overrun successively by ,greeks1 ,parthians1 ,arabs1 ,moguls1 and ,turks2 widening and contracting its boundaries as the tide of conquest ebbed and flowed2 lending to ,india1 and probably borrowing from it2 taking part1 at one time1 in the ,zoroastrian worship of fire1 and1 at another1 in the ,mohammedan praise of ,allah2 connected1 through trade1 with the far ,east on the one hand and with ,europe on the other1 ,persia was pre-eminently a country to confuse the investigator by the mingled types1 symbols1 and ideas which it derived alike from conqueror and trader4 ,one fact of peculiar interest remains to be added4 ,when1 in the middle of the thirteenth century1 ,hulaku ,khan came to ,persia1 he brought among his ,mogul followers a number of ,chinese artisans4 ,the ,mogul territory touched the western boundaries of ,china1 so that it is quite possible1 that to the specimens of ,chinese porcelain brought to ,persia by sea may have been added a number of ,chinese artists and potters arriving with the ,moguls by land4 ,in view of these facts it is not difficult to account for the prevalence in ,persia of imitations of the ,chinese1 nor is it altogether incomprehensible that a question should have been raised whether what is called ,persian porcelain is not in reality ,chinese4 ,illustration3 ,fig4 #adj4--,persian ,plaque4 ,crimson ,pony in ,centre2 ,foliage and ,ground in various ,shades of ,green4 7,boston ,museum of ,fine ,arts47 ,persian decoration is rich in flowers 7,fig4 #adj71 for which that people entertained a liking amounting almost to a passion4 ,the tulip meant love4 ,of the other symbolical forms found on pottery1 the lion and bull and the cypress have already been explained4 ,the sun was the ,zoroastrian emblem of divinity1 and the royal arms consisted of the lion couchant1 with its head turned toward the rising sun4 ,illustration3 ,fig4 #ada4--,persian ,plaque4 ,central ,section1 ,blue2 ,side ,section1 ,green2 ,scroll-work1 ,brown4 7,boston ,museum of ,fine ,arts47 ,the various styles of decoration may all be qualified by one word--conventional4 ,although on the earlier pieces the human figure is found1 with the ,mussulman sway it disappears1 to make way for hybrid monsters resembling the half-human beings of mythology--compounds of women and birds1 men with horns and tails1 like the satyrs of ,greece1 and numberless other supernatural monsters illustrative of the artists' compromise with the ,mohammedan behest forbidding the representation of the human form or of living beings4 ,even the greatly loved flowers suffer in both tint and form from the artists of ,persia4 ,colors were used in a precisely similar spirit4 ,nature was sought for suggestion1 not for imitation4 ,the question of color was decided solely with an eye to effect2 and if a violet horse should harmonize with its surroundings better than a black1 gray1 sorrel1 or bay1 the fact that in nature no such color is found on horses was not held to be a legitimate objection to its use4 ,in ,persia1 therefore1 we are presented with a peculiar phase of art4 ,nature1 being followed neither in form nor color1 nor in the suggestive manner of the ,japanese1 which finds the highest art in the combination of resemblance and imagination1 is relegated to the position of a promptress1 and not of a guide4 ,in richness and harmonious blending of arbitrary colors1 the ,persian artist realized his highest dream1 and never forgot that1 no matter what natural object might enter into his design1 the ornamentation of pottery was surface decoration1 and nothing more4 ,before proceeding to the usual divisions hitherto observed1 there is one point demanding special attention1 viz41 the ,persian reflet mtallique1 or metallic lustre4 ,the use of metallic-lustre pigments was1 as has been already stated1 known in the ,balearic ,islands1 and gave the original majolica its distinctive appearance4 ,long before that date the process was known to the ,persians in connection with silicious glaze4 ,the metallic lustre has also been found on ,arabian specimens4 ,it is in ,persia1 however1 that we must1 in all likelihood1 look for its origin4 ,the date of its invention cannot be fixed with even an approximation to precision4 ,the probability is that it was never very extensively used1 and the specimens obtained are mostly fragmentary4 ,many of these are from the ruins of ,rhages1 a city which stood about seventy miles south of the ,caspian ,sea4 ,earthquake and conquest successively laid this city in ruins1 and each time that it was rebuilt its limits became more contracted4 ,it was finally destroyed during the ,mogul irruption under ,hulaku ,khan1 in #abej1 and it is from the ruins beyond the city of that era that the above mentioned fragments have been taken4 ,in fixing the origin1 therefore1 of metallic lustre1 the latest date would be six hundred and twenty-seven years ago1 the most remote perhaps over two thousand4 ,the metallic-lustre pigments were made use of as late as the time of ,shah ,abbas1 who reigned from #aeee to #afbh1 and whom ,jacquemart calls the 8,louis ,,xiv4 of ,iran40 ,,pottery4 ,composition4--,caution in ,looking at ,specimens4--,wall-,tiles and their ,decoration4--,vases4 ,illustration3 ,fig4 #adb4--,shrine of ,imam ,hussein1 at ,kerbela4 ,showing the ,use of ,tiles in ,persian ,architecture4 ,chemical experiments have shown that in one kind of ,persian paste there is a large preponderance of silex1 that when fired for a certain time the result is a faience1 and that a continued exposure to the kiln reduces it to a partially translucent body resembling porcelain4 ,some of the tiles show silica ranging about ninety per cent41 and the remaining fraction consisting of alumina and iron1 lime1 magnesia1 and potash4 ,by comparison with the porcelain standard adopted in the table 7,book ,i41 ,chapter iii471 it will be seen that this paste differs in the greater proportion of silica and in the presence of iron4 ,it differs from earthen-ware1 on the other hand1 by its containing magnesia and potash4 ,the faience of ,persia must1 therefore1 be treated with extreme caution2 and the authorities must be consulted with care1 since what one calls pottery1 another treats of as soft porcelain4 ,of that coming most nearly to what we understand by the word 8faience0--that is1 a perfectly opaque ware--some of the specimens are glazed1 and others are covered with only a thin lustre or varnish4 ,very fine examples are found in the wall-tiles taken from the different mosques4 ,the same style of ornament was applied to these and to vases1 and its general character has already been designated4 ,arabesques and flowers--some imitations of the natural and others altogether conventional--are profusely spread upon both1 with a boundless wealth of rich color4 ,the forms assumed by the various vessels differ very widely from each other4 ,cups1 open dishes with rims of varying breadth1 and a number of water-vessels illustrate certain manners of the ,persians4 ,the color and ornamentation are distinctive4 ,the favorite ground colors were the blues of copper and cobalt1 and these alternate with red1 and yellow tinged with red4 ,the ornamentation is very often white4 ,the ,mosque of ,sultaneah has already been described 7see page #ci74 ,in others the colors are reversed1 i4 e41 white is used for the ground and blue for the decoration4 ,at times we see the ,persian love of the chase triumphing over the ,mohammedan prohibition of the employment of animal figures1 by the introduction of hares or gazelles1 generally upon grounds of light shades of green and blue4 ,some of the most remarkable plaques belong to the same period1 and in both the earlier and later examples the coloring is exceedingly rich and effective4 ,what the latter lose in simplicity they gain in brilliancy4 ,some pieces1 apparently of great age1 have a close resemblance to the cladon of ,china4 ,the vases a reflet mtallique are either blue1 or white with yellow ornamentation4 ,the art of applying the lustre seems to have disappeared about the middle of the seventeenth century4 ,the tiles of this kind date mostly from the time of the ,mogul ,dynasty4 ,the larger plaques measure sometimes six feet by eight feet2 the smaller tiles without inscriptions are star and cross shaped fitted together in a mosaic4 ,,porcelain4 ,had ,persia a ,true ,porcelain8--,classification1 and the ,difficulties ,attending ,it4--,decoration4--,classes ,formed by ,prevailing ,color4 ,although the discussion was long maintained1 whether or not ,persia produced a true kaolinic porcelain1 there seems to be no real ground for doubting that such was the case4 ,that ,india produced porcelain we have already seen1 and it becomes a question whether the art was not practised elsewhere in ,central ,asia4 ,the evidence bearing upon the point clearly shows that ,persia possessed the materials for making a pure kaolinic porcelain4 ,the presence of ,chinese works and styles does not affect the question4 ,these may either have been the work of ,persian artists imitating ,chinese models1 or of ,chinese artists working in ,persian material4 ,the ,persians call porcelain tchini1 a name clearly indicating that in one of the above ways they were indebted to the ,chinese4 ,by reason of the qualities of the paste already noted1 the classification of ,persian porcelain is a matter of some difficulty4 ,the analysis which could alone decide the class to which the specimens belong is in a great measure wanting4 ,it may be inferred that two pieces1 apparently distinct in composition1 may be really identical1 and representative merely of the successive changes effected by firing upon the silicious paste4 ,the most ancient kind is not older than the ,mussulman incursion4 ,when subjected to a great heat it melts like glass4 ,illustration3 ,fig4 #adc4--,persian ,porcelain ,wine ,bottle4 ,decoration in ,blue4 7,jacquemart ,coll47 ,illustration3 ,fig4 #add4--,porcelain ,narghili4 ,what is called 8soft porcelain0 is not1 properly speaking1 a distinct variety4 ,it differs from the others in decoration1 but not to any perceptible extent in composition4 ,the paste is very translucent1 and the glaze even4 ,the external decoration is frequently blue or a tint of mixed brown and yellow1 upon which appear flowers and arabesques 7,fig4 #adc74 ,cups and basins are the shapes most frequently occurring1 and the first decorative feature is that the outside and inside are seldom alike4 ,the latter may be white1 with copper-lust re decoration1 and the outside may be in either of the two colors above mentioned4 ,a style of decoration very widely followed consists of a series of holes cut in the paste round the rim of the basin or bowl1 and filled in with the glaze4 ,this method was adopted at a very early period1 and reappears in the 8grains of rice0 work of ,china4 ,a later specimen--probably not more than two hundred years old--of ,persian 8soft0 porcelain has its upper and lower parts in blue and white1 with lustred ornamentation4 ,persian natural porcelain1 about which writers have disputed1 and called by the ,persians tchini1 is closely related to the ,chinese4 ,an entire class is characterized by its decoration of incised lines and blue painting under the glaze4 ,the paste is somewhat coarse1 and lacks cohesion4 ,as to the antiquity of this quality1 all that can be said is that it was produced a long time prior to the fifteenth century4 ,red and gold are seldom employed with blue1 but rather characterize a distinct class4 ,green was much more indiscriminately employed1 as1 for example1 with blue1 brown1 red1 and gold4 ,the cladons are to be distinguished from the ,chinese1 not by the color--for they show the beautiful old green of their ,chinese counterparts--but by the design and form4 ,all that remains to be added is1 that1 like every other people to whom the higher secrets of ceramic art were open1 the ,persians attached a very great value to the best works in both porcelain and pottery4 ,the former is1 in their literature1 constantly associated with gold and other precious materials4 ,,book ,,iii4--,,europe4 ,,chapter ,i4 ,,the ,,fountains ,,of ,,european ,,art4 ,routes by which ,art ,travelled4--,their ,point of ,convergence4--,cyprus3 ,its ,history4--,the ,successive ,nations ,governing ,it4--,the ,strata of ,ancient ,civilization found within its ,shores4--,the ,discoveries of ,cesnola4--,larnaca4--,dali4--,athieno4- -,curium4--,progress of ,cypriote ,pottery4--,early ,greek ,art3 ,its ,connection with ,assyria and ,egypt4--,phnician and ,assyrian ,art4--,general ,deductions4--,asia ,minor4--,oriental ,art turning in various ,streams to ,greece4--,what ,greece ,rejected1 ,persia ,seized upon4--,persia's ,contributions to ,ceramic ,art4--,history in ,reference to its ,art4--,effect of ,conquest4--,what ,persia ,taught the ,arabs4--,spread of ,persian ,art by the ,saracens4--,rhodes4--,damascus4--,progr ess of ,saracenic ,art4--,the ,north of ,africa4--,metallic ,lustre and ,stanniferous ,enamel4--,hispano-,moresque4--,early ,spain4--,persian ,influence upon ,europe4 ,we now approach a point in our history which stands within sight both of the wonders of early ,greece and of the beginnings in the ,middle ,ages of the best ceramic art of ,europe4 ,from ,persia1 as a centre1 art travelled north and west by many devious routes ere it touched the ,european shores4 ,but behind the ,persian is the older civilization of ,babylonia and ,assyria1 to whose glories it succeeded4 ,we are thus once more brought back to ,egypt and ,egyptian influences4 ,after spreading to the east they extended northward1 and in ,greece are met by others transmuted by a passage through ,assyria and ,phnicia1 but springing from the same prolific source on the banks of the ,nile4 ,persia1 after acquiring from ,egypt's eastern pupils her earliest knowledge1 adapted the lessons thus derived to her own ideas1 and spread it across the tracts already followed by others who had learned directly from her teachers4 ,from both the south and east these lines of original and derivative art converged toward one point1 the eastern shores and islands of the ,mediterranean and ,greece4 ,to show how difficult it is to disentangle the web of footprints1 let us glance at ,cyprus1 as revealed to us by the discoveries of ,general ,luigi ,palma di ,cesnola 7,fig4 #ade71 and described in his work upon 8,its ,ancient ,cities1 ,tombs1 and ,temples40 ,the record may be read by all who visit the ,metropolitan ,museum of ,new ,york4 ,we choose ,cyprus because it was virtually the meeting-place of the ,east with the ,west4 ,assyrian1 ,egyptian1 ,phnician1 and ,greek influences contend for the mastery4 ,illustration3 ,fig4 #ade4--;,general ,luigi ,palma di ,cesnola4 ,illustration3 ,fig4 #adf4--,phnician ,vase1 with ,figure4 7,cesnola ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,there is no certainty as to the derivation of the first settlers4 ,they may have been either ,phnicians or ,cilicians1 and thus only another branch of the great ,semitic family to which the ,phnicians belonged4 ,or colonists may have arrived from ,cilicia and ,phnicia at about the same time4 ,there is less reason for believing that any settlers came from ,egypt1 although the first historical conquest of the island was effected by the ,egyptians4 ,this event took place about ,b4,c4 #addj1 during the reign of ,thothmes ,,iii4 ,how long it remained under ,egyptian control does not exactly appear1 but it next passed into the hands of the ,tyrians at a date prior to ,b4,c4 #ajjj4 ,it was next conquered by ,sargon1 ,king of ,assyria1 and when1 about ,b4,c4 #fjj1 ,apries1 ,king of ,egypt1 took ,sidon1 he included ,cyprus in his conquest4 ,amasis1 the successor and murderer of ,apries1 completed the work of the latter4 ,the ,cypriotes then turned for deliverance to ,cambyses of ,persia1 and ,cyprus became a dependency of the great eastern power4 ,again the island was shaken by revolt1 and the greater part of its people joined the ,ionians in an unsuccessful attempt to throw off the ,persian yoke4 ,the ,athenians and ,lacedmonians1 after taking a portion of ,cyprus 7,b4,c4 #dgg71 abandoned their conquests4 ,then came the rebellion of ,evagoras1 ,king of ,salamis1 whose father had been dispossessed by the ,persians1 the result of which was that ,evagoras recovered his own kingdom1 but the island still remained tributary to ,persia4 ,it then fell under the control of ,alexander of ,macedon1 and was held by his generals for a few years after his death4 ,ptolemy ,lagus1 or ,soter1 again brought ,cyprus under ,egyptian rule1 and lastly came the arms of all-conquering ,rome4 ,we need go no farther4 ,we stand in ,cyprus1 upon a battle-field crossed by the armies of every nation of antiquity with any claim to warlike renown1 and find in it at once the theme of ancient poets and the prize of ancient warriors4 ,so far we may travel in the track of war1 but the history of art is affected less by the conquest of battle than by permanent occupancy and the more peaceful conquest of colonization4 ,thus we find ,phnician art leaving a deeper impress upon ,cyprus than any other1 and one to be detected even amidst the confusion of ,semitic and ,hellenic remains4 ,this art developed1 on the one hand1 into something bearing a semblance of an independent ,cypriote character1 and1 on the other1 into a form more distinctively ,greek4 ,phnicia was the country in which the ,assyrian and ,egyptian elements of decorative art were combined1 and being brought on the other side into contact with ,greece1 the history of ,greek art is thus continued backward into a remote antiquity4 ,illustration3 ,fig4 #adg4--,phnician ,vase1 from ,curium4 7,cesnola ,coll41 ,n4 ,y4 ,metrop4 ,mus47 ,illustration3 ,fig4 #adh4--,phnician ,vase1 from ,dali1 with ,phnician ,inscription4 7,cesnola ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,the early ,phnician settlers located themselves chiefly on the southern and eastern sides of the island2 the ,greeks chose the north and west4 ,both were evidently actuated by the same motive1 viz41 to give the preference to the localities nearest the land from which they had come4 ,the ,phnicians founded ,paphos1 ,amathus1 and ,citium2 the ,greeks founded ,salamis1 ,curium1 ,neo-,paphos1 and several other towns4 ,tencer and ,agapenor1 two of the ,greek heroes from the ,trojan war1 settled in ,cyprus1 and the island is thus introduced into ,grecian legend4 ,as time passed1 the ,greek and ,phnician elements underwent a more or less complete amalgamation4 ,the ,greek language became the prevailing tongue1 and the ,phnician religion became the common creed4 ,aphrodite1 who sprung from the foam of the sea1 and was wafted to the shore of ,cyprus1 was the ,tyrian ,astarte1 the ,assyrian ,mylitta4 ,her worship extended over the whole island1 and was engaged in with all the licentious impurity of the ,oriental original4 ,greece rose as ,phnicia declined1 and her people spread beyond the limits of their ancestral settlements4 ,one civilization rose upon the ruins of another1 and died in its turn2 and ,cesnola found them piled one upon another in strata1 to be opened up and read like the stony leaves of the geologist's book4 ,illustration3 ,fig4 #adi4--,phnician ,vase1 from ,curium4 7,cesnola ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,that this is literally the case can be very easily shown4 ,general di ,cesnola began his excavations at ,larnaca1 on the southern shore of the island1 or near the ancient ,citium1 or ,kittim1 a ,phnician city4 ,near this city have been found a number of terra-cotta statuettes1 which ,general ,cesnola ascribes to the fourth century before our era4 ,he thinks they were imported from ,greece4 ,they were accompanied by others1 poorly executed1 and some figures suggestive of ,phnicia and ,egypt4 ,it was here that the vase1 ,fig4 #aej1 was discovered4 ,crossing the ,santa ,croce range1 he found1 at ,dali1 on the plain of ,messaria1 the necropolis of the ,phnician city ,idalium4 ,he began his excavations among the ,phnician tombs1 and exhumed a great quantity of pottery of several shapes4 ,the vases are of light-colored clay1 and are variously decorated with geometric patterns and concentric circles in brown color4 ,one of them 7,fig4 #adh7 has a ,phnician inscription1 and all the others were evidently ,phnician4 ,above the tier of tombs from which these were taken1 a second tier was discovered1 of a different epoch1 and containing objects of a totally different character4 ,earthen-ware gave place to glass in all the shapes found in ,greek pottery1 the amphora1 lekythos1 krater1 kylix1 and others4 ,many were of a formation so evidently late that the discoverer ascribes them to the ,grco-,roman period4 ,here then1 was ,greek and ,phnician work reposing in juxtaposition4 ,an explanation was found by returning to the ,greek tomb which had been first opened1 and under it was discovered the continuation of those of the ,phnicians4 ,the ,greek ,idalium had grown upon the ruins of a ,phnician predecessor1 and hidden under the ashes of the one ,cesnola found the necropolis of the other4 ,on prosecuting his researches in the latter1 the type of pottery again altered1 and the decoration of concentric rings reappeared4 ,at ,alambra1 west of ,dali1 he found a number of small clay images--horsemen1 warriors1 chariots1 a representation of a procession1 and vases of two kinds4 ,he made excavations in five burying-grounds1 all apparently belonging to the ,phnician ,idalium2 and from a mound in the same district he obtained a collection which1 from the combination of ,egyptian and ,assyrian forms and decoration1 may be assumed to contain some of the most ancient relics of ,phnician art4 ,two green-glazed bowls have ,egyptian paintings1 and the vases occasionally take the form of animals and birds4 ,illustration3 ,fig4 #aej4--;,assyro-,phnician ,vase1 from ,larnaca4 7,cesnola ,coll41 ,n4 ,y4 ,metrop4 ,museum47 ,striking eastward from ,dali1 the explorer reached ,athieno1 near the ancient ,golgoi1 and there came upon a necropolis and an ancient temple of ,venus4 ,the most remarkable fact concerning the statuary brought from this locality is that the lines of nationality are so broad and well defined4 ,general ,cesnola then determined to push his explorations toward the ,east1 and1 after visiting ,salamis1 turned westward to ,paphos1 ,neo-,paphos1 and then northward to ,soli and other places on the northern shore4 ,returning to the southern shore1 a number of terra-cotta vases and figures of the ,phnician type and ,egyptian green-glazed vessels were exhumed at ,amathus4 ,a statuette of ,astarte and figures of ,egyptian deities were found almost together4 ,lastly1 ,general ,cesnola visited ,curium1 a city said to have been founded by an ,argive colony4 ,there he found pottery of the usual mixed types1 including vases1 terra-cotta figures1 and one large vase 7,fig4 #aea71 so strongly marked with ,greek influences that he ascribes it to the earlier period of ,greek art4 ,both ,general ,cesnola and ,mr4 ,a4 ,s4 ,murray think that it may have been taken to ,curium from ,greece4 ,its four handles1 its great size1 and its elaborate decoration make it unequalled among the vast number of ,cypriote relics in the ,metropolitan ,museum4 ,illustration3 ,fig4 #aea4--;,greek ,vase1 from ,curium4 ,height1 #d ft4 #i in4 7,cesnola ,coll41 ,n4 ,y4 ,metrop4 ,museum47 ,in constructing a theory of the progression of ,cypriote pottery it is necessary to examine closely the different styles of ornamentation4 ,on some we find ,assyrian symbols and characteristic styles of decoration2 on others the figures are as evidently ,egyptian4 ,thus the archaic vase from ,larnaca 7,fig4 #aej7 is just such a work as might be expected from the ,phnician founders of ,kittim while still directly under the domination of ,assyrian ideas4 ,the pattern between the animals is distinctively ,assyrian4 ,in a similar manner the vase 7,fig4 #adf7 is decorated with an ,egyptian figure1 but in the subsidiary decoration--the plaited pattern on the sides and the concentric circles arranged vertically--there is nothing indicative of ,egyptian influence4 ,we see in it the work of a potter who combined an ,egyptian suggestion with a more independent form of ornament4 ,it has already been said that1 of all the nations of antiquity1 the ,phnicians are most strongly marked by influences emanating from ,egypt1 on the one hand1 and from ,assyria on the other4 ,to this people1 therefore1 we may attribute the two vases last referred to4 ,illustration3 ,fig4 #aeb4--,phnician ,vase1 from ,curium4 7,cesnola ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,it is also necessary to bear in mind that1 while certain symptoms of independence on the part of ,cypriote potters must be appreciated at their full value1 there are no evidences of the potter's art ever having developed among them to any great extent4 ,it is possible that the effeminate1 voluptuous nature of the people prevented the attainment of artistic superiority4 ,it is also possible that their skill in working metal may have distracted their attention from clay4 ,in either event we discover no well-defined gradation from the lower to the higher1 such as we find in ,greece4 ,cyprus may have been still wrapped in slumber1 while ,greece was striding forward in the full vigor of its young life4 ,it may have been following its ancient models1 while ,greece was turning from the old to the new and original4 ,it is difficult1 therefore1 to ascribe with precision the ,cypriote pottery to any given age4 ,a rule by which to determine such questions has been laid down in this way3 vases painted with linear designs are the most ancient2 then follow those with animal figures2 lastly come those with human forms4 ,cypriote pottery makes the application of such a rule extremely hazardous and difficult4 ,how apply it to the vase with vertical rings and human form and head 7,fig4 #adf78 ,the figure is ,egyptian1 and might1 for that reason1 carry us back to the conquest by ,thothmes ,,iii41 were it not that it represents the latest style of decoration according to the accepted rule1 while the remainder of the decoration belongs to the earliest4 ,illustration3 ,fig4 #aec4--,phnician ,pottery1 from ,curium4 7,cesnola ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,illustration3 ,fig4 #aed4--,phnician ,vase1 from ,curium4 7,cesnola ,coll41 ,n4 ,y4 ,metrop4 ,mus47 ,the practice of ornamenting with concentric rings is an application to pottery of a pattern borrowed from working in metal4 ,cyprus was famed for its copper1 and1 from the legendary age downward1 exported armor and weapons of bronze4 ,it is not singular1 therefore1 if on some of the ruder relics of the potter we should find this ornament4 ,in the curious circle of vases 7,fig4 #aec7 we see arranged round the base the concentric rings1 which were in time transformed into the ,greek spiral4 ,the same pattern is exemplified in the specimen from ,curium 7,fig4 #aed71 from which1 and from several others in the ,metropolitan ,museum1 it might almost be inferred that the vessel had been shaped to suit the favorite style of decoration4 ,a cognate style1 also having its origin in metal-working1 is that represented in the vase from ,dali 7,fig4 #adh71 sufficiently authenticated by its ,phnician inscription4 ,it belongs to a very large class1 which appears to extend from the earliest times down to the beginning of purely ,greek art4 ,it will be observed that the squares run both horizontally and perpendicularly1 an arrangement much more noticeable in many other specimens4 ,one of the earlier examples is seen on the bird-shaped vase in the illustration ,fig4 #aee4 ,in what is probably a much later vessel1 a swan with circular body and triangular wings makes its appearance4 ,this is the rude attempt at decorating with figures of an artist skilled only in geometrical designs4 ,one point is to be particularly noted before leaving these vases1 viz41 that in that bearing the ,phnician inscription1 the vertical lines or bands give place to horizontal bands round the upper part of the body and neck4 ,the ,greeks invariably make use of the horizontal band4 ,illustration3 ,fig4 #aee4--,phnician ,vases1 found at ,dali4 7,cesnola ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,illustration3 ,fig4 #aef4--,phnician ,vase1 from ,curium4 7,cesnola ,coll41 ,n4 ,y4 ,metrop4 ,mus47 ,illustration3 ,fig4 #aeg4--,phnician ,vase1 from ,curium4 7,cesnola ,coll41 ,n4 ,y4 ,metrop4 ,mus47 ,the approach to ,greek art is marked by the introduction of several new features4 ,in the vases from ,curium 7,figs4 #adi1 #aef1 and #aeg71 the lines are horizontal1 the shapes improve1 and the spout1 consisting of a woman holding a pitcher1 is indicative of a skill in moulding and an originality in designing1 having little in common with the ruder forms from the same city4 ,this is one of the ideas which seems never to have occurred to the modern potter1 whose most fantastically turned and severely shaped spouts contrast most unfavorably with the simple yet apt design of his old ,phnician predecessor4 ,the ,phnician vase with animal figures from ,dali 7,fig4 #aeh71 is the ancestor of a large class of early ,greek pottery similarly decorated4 ,the shape and the encircling horizontal bands recall early ,greek work1 and the animal forms point to an ,asiatic influence transmitted in part through ,phnicia1 but probably also through other channels1 to ,greece4 ,the style is rare among ,cypriote vases4 ,it is carried farther in the large vase from ,curium 7,fig4 #aea71 which is remarkable as a combination of the ,cypriote rectilinear method of decoration1 the earlier form of the ,greek fret1 the ,asiatic style of animal decoration1 and the culmination of the ,cypriote rows of concentric rings found in the bands of spirals4 ,this is one of the most remarkable vases in the ,cesnola collection1 and also one of the most important links between the art of ,greece and those of ,phnicia and the ,east4 ,even admitting it to have been made in ,greece1 and thence taken to ,curium1 it is in perfect harmony with the ,phnician vase last referred to1 on the one hand1 and with that bearing the ,phnician inscription on the other4 ,the ,greek vase and cups from ,dali 7,fig4 #aei7 show a new motive in the decoration4 ,the spirals give place on the vase to a running scroll1 painted with a free hand2 and in the kylix on the left1 the concentric circles become semicircles1 festooned round the lip after the fashion of lambrequins4 ,in the kylix on the right1 the rectilinear designs and enclosed squares become the fret4 ,it will be seen hereafter1 when we come to speak of ,greece1 how the forms of the kylix improve4 ,illustration3 ,fig4 #aeh4--,phnician ,vase1 found at ,dali4 7,cesnola ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,while we cannot assign an exact age to any of these works1 we can see how the beginnings of the art of ,greece can be traced to a much more remote antiquity than was previously apprehended4 ,mingling in the heroic age with a people uniting in itself much of the civilization of ,assyria and ,egypt1 the ,greeks were acquiring the knowledge which their own artistic genius subsequently turned to such brilliant account4 ,the highway is complete from ,greece to untold antiquity4 ,we learn1 therefore1 from the relics brought together by ,general ,cesnola1 that the view taken of the devious course followed by ceramic art is correct4 ,egypt gave instruction to all4 ,in her is the spring of ancient art4 ,the ,phnicians studied under her ,assyrian pupils1 and the two branches1 from ,phnicia and ,egypt1 met in ,greece1 and there appeared in a new form1 more refined1 and reflecting a higher ideality and a keener sensitiveness to the subtlest lines of beauty4 ,di ,cesnola has found in ,cyprus their point of contact1 and has disclosed to our eyes the teacher and scholar sleeping in a common grave4 ,illustration3 ,fig4 #aei4--;,greek ,vase and ,cups1 found at ,dali4 ,cesnola ,coll41 7,n4 ,y4 ,metropolitan ,museum47 ,should it be asked if in ,cyprus alone we must look for the ceramic remains of ,phnicia1 the ,land of ,palms1 the answer must be negative4 ,it is true that few relics have come down to us from the sites of her domestic industries4 ,but let us glance briefly at the history of that wonderful country1 wonderful alike in enterprise and in science4 ,ptolemy ,claudius1 writing in the second century1 says that ,phnicia extended from ,egypt on the south to the ,eleutherus on the north1 and eastward to the confines of ,syria2 or1 in other words1 that to it belonged the entire eastern shore of the ,mediterranean4 ,like all other eastern nations1 it changed its boundaries as the successive waves of war swept over it4 ,first came the ,persians1 then the ,greeks1 and1 lastly1 the ,romans4 ,when enjoying its independence1 in an earlier age1 it was the disseminator of the knowledge which1 to a great extent1 it acquired in ,egypt4 ,to ,greece it gave its alphabet1 the foundation of the literature which has kindled the admiration of the scholars of all times4 ,its navigators passed the ,pillars of ,hercules and reached the shores of ,england4 ,phnician colonies were founded all along the ,mediterranean1 at ,utica and ,carthage on the south1 and at ,marseilles in ,gaul4 ,here1 then1 was a people gathering in from every side all that the world could give of art and science1 and spreading its knowledge with every keel which1 from the great ports of ,tyre and ,sidon1 furrowed the ,mediterranean4 ,as might be expected1 therefore1 the remains of its ceramic art and the evidences of its influence are found in ,cyprus1 ,malta1 ,egypt1 ,carthage1 ,greece1 ,sicily1 ,rome1 and ,etruria4 ,the ceramic remains found on the ,phnician coast are nearly all referable to her later conquerors4 ,one specimen is singular and suggestive4 ,it was found at ,tyre1 and is a polished cruse1 with round body1 long neck1 wide lips1 and a handle joining the neck and body4 ,it resembles the ,egyptian too closely to leave any doubt of the origin of its style and manufacture4 ,after our previous experiences we are quite prepared to meet a mythical ,phnician worker in clay2 but his presence does not disturb our inferences4 ,it merely pushes back to a prehistoric age the date when the first of ,phnicia's debts to ,egypt was incurred4 ,other examples1 fragments with ,phnician inscriptions1 give further hints of the immediate well-spring of ,grecian art4 ,phnician vases are found in ,sicily4 ,egypt and ,carthage teach the same lesson1 and illustrate the wide-reaching enterprise of the ,tyrian founders of ,carthage4 ,turning northward from ,phnicia to ,asia ,minor1 the evidences of ceramic skill point to identically the same conclusion4 ,let us take the older first4 ,there1 as in ,cyprus1 we meet with early traces of ,hellenic art4 ,across the gean sea1 on the shores of ,asia ,minor1 ,greece again touched the older arts of ,assyria and ,egypt4 ,the coffins found in ,mesopotamia are after the ,assyrian type4 ,from ,tarsus come terra-cotta works ornamented with green1 in a simple style1 closely allied to the ,greek4 ,at ,rhodes has been found a vase or pitcher of turquoise blue1 ribbed perpendicularly1 and crossed at intervals by horizontal bands4 ,such specimens take us back again to ,egypt4 ,in short1 the history of ,asia ,minor1 its existence successively under ,scythians1 ,medes1 and ,persians1 while it was receiving the surplus population of ,greece from the west1 would lead us to look for what we only found in part in ,cyprus1 namely1 native styles moulded by influences from east1 west1 and south4 ,these generalizations are offered as a substitute for a more connected history1 for the construction of which intelligibly the materials are wanting4 ,enough has been said to show that through many different channels the arts of ,egypt and the ,east set1 in a long and steady stream1 toward ,europe2 that there1 meeting with the rising ,hellenic civilization1 they were transmuted and purified1 and that from the ,hellenizing process emerged the admirable art now called ,greek4 ,meanwhile it is to be noted that1 so far1 we have made allusion to only one-half of the debt which ,europe owes to the ,east4 ,greece rejected the rich coloring and fantastic forms which reached her from the centre of all that was most brilliant in ceramics--the land between the ,tigris and ,euphrates4 ,these were seized with avidity by ,persia1 the only survivor1 in our time1 of the four great monarchies of the ,east4 ,bright colors and gorgeous combinations were grateful to the eye revelling in the splendor almost unconsciously associated with the word 8,oriental40 ,to ,persia1 therefore1 we must look1 not only as the great conservator of previous skill1 but as the medium of its development into a higher form4 ,that part of her inheritance from ,assyria and ,babylonia which concerns us now1 was the knowledge of processes1 of the deft mingling of colors1 the production of tints1 and the skilful application of enamels4 ,we have seen to what purpose this knowledge was cultivated1 in so far as the evidences found within her own borders can show4 ,we have seen what may here be especially recalled1 enamels and metallic lustre applied to pottery1 with an almost bewildering brilliancy4 ,we now approach the question of ,persia's contributions to the art4 ,can1 for example1 none of the remains exhumed by ,cesnola be claimed for ,persia8 ,it appears not1 at least not with certainty1 although certain plaques convey a hint of ,persian workmanship4 ,whatever she left in ,cyprus1 if anything1 is hardly to be distinguished from the older works of ,assyria and ,phnicia4 ,had ,persia1 then1 no originality1 and where beyond her own limits must we look for its distinctive impress4 ,let us return for a moment to ,persian history4 ,we have already seen that the country was occasionally overrun by surrounding nations1 but the fact is noticeable that when it could not resist1 it absorbed its assailants4 ,its nationality was preserved even in conquest4 ,a similar capacity for assimilation and independence is seen in its art4 ,there can be no doubt of its having drawn from ,assyria and ,babylonia4 ,its most ancient architecture is sufficient to settle that point4 ,but apart from that1 and keeping in view the influence of ,mohammedanism and the influx of ,chinese wares and possibly workmen in the sixteenth century1 the art of ,persia is marked throughout its entire course by certain distinguishing features which invasion could not obliterate4 ,the artistic instinct was strong in the people as a whole2 and conquest retarded the progress of art only to see it rise again in all its first vigor1 to be spread far and wide even by those who had for a time hindered its native growth4 ,in this way we can trace its advance to ,asia ,minor and ,rhodes1 through ,egypt1 along the northern coast of ,africa1 and thence to different points in ,southern ,europe4 ,illustration3 ,fig4 #afj4--,saracen ,tile4 7,trumbull-,prime ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,illustration3 ,fig4 #afa4--,saracenic ,tiles4 ,green and ,dark-blue on ,white4 7,boston ,museum of ,fine ,arts47 ,the tracks we now follow are those of ,eastern art in its second and more modern progress toward the west4 ,persia was its real source4 ,when the ,mohammedan ,arabs overran ,iran1 they found art the handmaid to beauty and luxury1 to which they had been strangers4 ,essentially nomadic1 the wild fanatics from ,arabia had given little attention to sthetic culture4 ,they were captivated by what they found in ,persia4 ,if they modified it1 it was only to make it conformable to the behests of their religion4 ,we find1 for example1 a faience tile representing the sacred ,temple of ,mecca1 in two shades of blue1 red1 black1 and pale-green1 and with a border of white and red4 ,it is easy to imagine the caliphs of ,bagdad calling to their assistance the men whose works they had seen1 to complete the embellishment of their capital4 ,the style called arabesque is in all probability of ,persian origin4 ,in every collection of note are examples of what is called ,saracenic pottery4 ,the ,arabs were called ,saracens when they came to ,europe1 or met the arms of the ,crusaders in ,palestine4 ,saracen pottery1 therefore1 is ,persian modified by ,arabian taste or local style4 ,and here1 to save much trouble1 and avoid the confusion into which disputants over the wares of ,damascus1 ,rhodes1 ,cairo1 and other localities might lead us1 it may be as well1 once for all1 to understand that at no place of which we have any knowledge were the ,saracens the first to introduce a rudimentary knowledge of pottery4 ,what they did was to bring with them certain distinctive styles2 and now1 when all proofs of an earlier fabric are wanting1 we may safely take it for granted that it existed1 and that the invaders and colonists only superimposed a superior art4 ,this should be borne in mind1 because it would be impossible to account for the abundant remains found on certain sites by attributing them all to the ,saracens4 ,one of the first things to which the ,arabs turned their attention in each country to which they carried their arms1 was to raise mosques for the religions observances attaching to their faith4 ,the tomb of ,mohammed1 at ,medina1 is covered with tiles so closely resembling those of ,persia as to suggest not only ,persian inspiration1 but ,persian workmen4 ,in ,asia ,minor tiles belonging to the eleventh and twelfth centuries are abundant1 of a precisely similar character4 ,history explains their presence there by telling us that the ,arabian or ,saracenic conquerors sent for artists from ,persia to bring their skill to the embellishment of the new domain4 ,in this we have the key to much of the ceramic art of ,asia ,minor4 ,illustration3 ,fig4 #afb4--;,faience ,jug1 from ,rhodes4 ,illustration3 ,fig4 #afc4--;,faience ,jug1 from ,rhodes4 ,as to ,rhodes and the origin of its faience 7,fig4 #afb71 we are tolerably certain that in ,persia was the source of the skill there developed4 ,history and tradition point to the same conclusion4 ,legend says that a vessel bound for ,venice1 and having some ,persian potters on board1 was wrecked on the island1 and that there a manufactory was founded 7,fig4 #afc74 ,possibly on this tradition the conjecture was based that a ,persian colony had settled there4 ,in any case1 ,rhodes was occupied by ,persians in the seventh century1 and then by the ,greeks4 ,when the crusading fever was at its height1 the knights of ,st4 ,john held the island until expelled by the ,turks4 ,it was probably these knights who captured a vessel laden with ,persian pottery and artists1 and compelled the latter to found the manufacture at ,rhodes4 ,at the ,muse de ,cluny are specimens of their work1 plainly ,persian1 but adapted to the changed condition and limited appliances of the potters4 ,the ,rhodian differs little from the ,persian4 ,the colors are less brilliant1 and the ornamentation in relief is like that found on vases and tiles in ,asia ,minor4 ,the predominating colors are white and blue for grounds and red for designs4 ,similarly as to ,damascus1 it is beyond reasonable doubt that potteries existed there4 ,their ruins are said to have been found2 and it is probable that1 so far from importing the wares1 ,damascus supplied orders from without4 ,these facts lead to the conclusion that ,persian art was carried by the ,saracens or their ,christian opponents to the same countries that ,egyptian and ,assyrian art had reached centuries before4 ,illustration3 ,fig4 #afd4--,maghreb ,urn4 ,turning now to the south and west1 we follow the line of ,saracenic conquest along the north coast of ,africa until it reached the ,atlantic ,ocean4 ,egypt first fell under ,mussulman control1 and the standard of ,islam was carried westward from the ,nile4 ,thirteen hundred years after ,battus founded ,cyrene1 the ,mussulman ,keironan was built upon its ruins4 ,in ,tunisia1 ,algeria1 and ,morocco the ,saracenic works multiply4 ,one traveller in ,tunisia describes a mosque with the walls overlaid with tiles of many patterns4 ,another1 crossing ,algeria1 visits the mosque at ,telemeen1 and finds azulejos 7from the ,arabic for 8varnished tile07 equal to those of ,granada1 and tiling in blue1 red1 and yellow1 again compelling a comparison with the works of the ,moors in ,spain4 ,the brilliant domes and mosaic pavements of mosques and houses mark the ,saracenic progress4 ,besides these1 many examples of urns and other vessels of ,saracenic fabrication have been found1 colored in brown1 yellow1 blue1 and green1 in styles not far removed from the ,persian4 ,viewed comprehensively1 the pottery of ,northern ,africa 7,fig4 #afd7 would show pieces of local fabrication1 and ,persian styles and processes modified by removal from their eastern centre4 ,what concerns us chiefly is that the ,saracenic predominates4 ,it is reasonable to suppose that the invaders1 in order to decorate the edifices which quickly gave indication of their presence1 sent for tiles to the seats of the industry in the ,east4 ,afterward1 when the ,mussulman power had been firmly established1 factories were built1 and a new industry rose among the conquered people4 ,imitations are mingled with works showing a developing originality4 ,the ,mussulman and ,persian traditions become modified1 and the symbolical meaning of the animals painted on the dishes and basins appears to have become obscure to the artists employing them as decoration4 ,a great deal of the ,african pottery can only be taken as a basis for conjecture4 ,its place of manufacture is unknown4 ,its style is peculiar and its coloring unique4 ,it is not impossible that ,european art was paying the debt it had incurred to ,southern teachers4 ,ceramic art travelled with the ,saracens wherever they went4 ,how far that was may be estimated from the fact that they conquered within eighty years as much territory as it had taken ,rome four hundred years to bring into subjection4 ,they crossed into ,spain1 ,sicily1 and ,italy1 and there planted settlements4 ,a great deal has been said of the reflet mtallique and stanniferous enamel1 and notably of the discovery of the latter in ,italy4 ,both came from the ,east1 and reached ,europe through the ,saracens4 ,the employment of tin in producing a white opaque enamel was1 as we have seen1 known to the ,egyptians1 the ,babylonians1 and ,assyrians4 ,it does not appear to have been so highly esteemed as the silicious glaze by means of which the ,persians worked their greatest ceramic wonders1 but it was not forgotten4 ,fragmentary evidences of its use by the ,saracens are found in the places which they passed1 and it is1 at least1 more reasonable to suppose that through them the process reached ,europe1 than that it was rediscovered there4 ,one is almost wearied with the endless conjectures on these matters4 ,we find a certain art in the ,east4 ,we trace the different channels of communication with ,europe4 ,we find ,greece touching ,asia ,minor1 trade binding ,phnicia with every port in the ,mediterranean1 ,etruria bringing to her own ports the manufactures of ,eastern experts1 colonies settling in all manner of places and coming from many sources4 ,it has been plainly demonstrated that the lines of intercourse cross and recross in a hundred different ways and directions4 ,when1 therefore1 we have it proved to a demonstration that analogous knowledge was transmitted by certain routes1 it is hardly worth one's while to discuss the ,european discovery of a process which we know did not originate there1 however much it may have been improved4 ,the art which we call ,hispano-,moresque might1 therefore1 with equal propriety1 be called ,persico-,spanish or ,hispano-,saracenic4 ,spain was twice overrun by ,mohammedan conquerors4 ,in the eighth century 7#gaa7 the ,arabs subdued the ,goths and founded the ,caliphate of ,cordova4 ,it is both singular and disappointing that no ceramic relic of this period has been found4 ,the ,spanish1 even under the sway of ,rome1 had attained to a comparative excellence in the art1 and the productions resulting from the union of original traditions with ,arabian influences would have formed an interesting link in our history4 ,the ,arabians remained for about five hundred years1 when1 in #abce the ,moors overturned the ,arab rule1 and founded the kingdom of ,granada4 ,the ,moors succumbed1 in their turn1 to ,ferdinand and ,isabella1 in #adib1 and between these two dates1 #abce and #adib1 was the golden era of the ceramic art of ,spain4 ,meantime it is to be observed1 as showing the possible and actual extent of ,persian influence3 ,firstly4--,that under the ,moorish sway a colony of ,persians existed in ,spain4 ,this1 according to ,major ,r4 ,murdoch ,smith1 is attested by a document recently brought to notice by a ,spanish traveller in ,persia1 assigning the town ,rioja to the ,persians as their place of residence4 ,secondly4--,that mosaic work has been found in ,persia1 composed of star and cross shaped tiles of different colors fitted together1 and that similar tiles are made in ,spain at the present time4 ,thirdly4--,that in ,persia are found the prototypes of the ,spanish style of ornamenting vaults with hanging-work1 like plaster stalactites4 ,fourthly4--,that1 according to ,piot1 8numerous ,persian faience plaques and pieces of vases1 resembling those of our own time1 are found encrusted in the white marble of a church in ,naples40 ,fifthly4--,that ,mr4 ,drury ,c4 ,fortnum has found a specimen of ,persian ware in the church of ,st4 ,cecilia1 at ,pisa4 ,the piece is clearly ,persian in style1 black arabesques on a blue ground1 similar to others found at ,rhages4 ,sixthly4--,that the ,saracens overran ,sicily in the ninth century1 and that a ,moorish colony landed there some centuries later4 ,the corollary deducible from these facts is clear1 viz41 that in ,persian art1 as brought into ,europe by the ,moors1 ,arabs1 or ,saracens1 and by the ,persians themselves1 we must find the bridge upon which to cross from the ancient arts of ,assyria and ,babylonia to those of ,italy and ,spain4 ,,chapter ,,ii4 ,,greece4 ,general ,character of ,greek ,ceramics4--,form and ,color4--,borrowed from ,egypt and ,phnicia4--,how ,original4--,,unbaked ,,clay3 ,bricks and ,statues4--,,terra-,,cotta3 ,where ,used4--,tiles4--,models4--,vessels4--,p ithos4--,amphora4--,pigments used on ,terra-cotta4--,rhyton4--,,glazed ,,wares3 ,quality of ,glaze4--,paste4--,enumeration and ,description of ,vessels4--,uses of ,vases4--,chronological ,arrangement4--,methods of ,making ,vessels4--,successive ,styles of ,ornamentation4--,figures4--,earliest ,style4--,archaic ,style4--,human ,figures4--8,old ,style40--,approach to ,best ,art4--8,fine ,style40--8,florid ,style40--,decline4--,classification according to ,subjects ,represented on ,vases4--,reliefs and ,statuettes as ,decoration4 ,illustration3 ,fig4 #afe4--;,early ,greek ,aryballoi4 ,egypto-,phnician ,style4 7,trumbull-,prime ,coll41 ,n4 ,y4 ,metrop4 ,museum47 ,were we to be guided solely by continuity in point of time and the succession of ideas1 our next subject would be the art of ,spain and ,italy4 ,we turn1 in preference1 to that of ,greece4 ,it claims the precedence due to priority of date4 ,it holds also a position of what might be called isolation4 ,its general character has been indicated in the ,introduction4 ,the severity and simplicity of the taste of the ,greek1 and his indifference to effects in color1 while permitting him to receive suggestions from ,egypt and the ,east1 led him to disregard those adjuncts of art which they held in highest esteem4 ,to him beauty of form was everything1 color little or nothing4 ,the former he brought to such perfection that no advance has been made beyond the point he reached4 ,greek form embodies all that can be said of grace and proportion4 ,we may imitate1 but we can hardly hope to excel1 what ,greece accomplished in her early bloom4 ,we may find prototypes in ,egypt for some of her vessels 7,fig4 #afe71 but still her art1 the culmination of all that was best in preceding forms1 is pre-eminently her own4 ,we say this without disparagement to those who were her teachers4 ,to ,egypt1 in particular1 ,greece turned1 at a remote age1 for instruction1 and learned from ,phnicia and the other nations with which trade brought her into contact4 ,in this connection the group 7,fig4 #aff7 of vases from ,athens may be compared with the ,phnician from ,cyprus4 ,there are in the decoration the same geometrical designs1 the same vertical concentric circles1 the same animal figures which the ,phnicians drew from ,assyria4 ,but after making every allowance for suggestions from abroad1 after conceding that ,grecian art is the development of that which preceded it1 and that it occupies a well-defined place in progressive history1 we fail to find anywhere the equals of the best ceramic works of ,greece4 ,illustration3 ,fig4 #aff4--,primitive ,vessels1 from ,athens and ,argos4 ,taking them as a whole1 they are divisible into unbaked2 terra-cotta1 or burnt clay1 without a glaze2 and glazed4 ,the ,greeks employed unbaked clay for bricks1 statues1 and several kinds of decoration4 ,the former were used for city walls and buildings4 ,terra-cotta was devoted to similar purposes4 ,it is not improbable that we may yet return1 to a very considerable extent1 to the ancient employment of this material in architecture4 ,the ,greeks made use of it for pillars1 roofs1 paving1 bricks1 friezes1 cornices1 lamps1 statues1 flower-pots1 and numberless domestic and sepulchral vessels and ornaments4 ,bricks do not appear to have been held in very high esteem in building1 but the custom of roofing with terra-cotta tiles was widely prevalent and of great antiquity4 ,these tiles were occasionally embellished with painted flowers1 and designs in blue1 red1 and yellow4 ,the terra-cotta figures vary in color from red to bright yellow1 and are soft in texture and easily marked4 ,terra-cotta models were used in casting1 and in the same material were made copies of statues1 like those in plaster of ,paris of our own time2 and some painters were even accustomed to make terra-cotta models of the figures they afterward painted4 ,of the specimens which have come down to us a very great number consists of small statuettes of the gods4 ,illustration3 ,fig4 #afg4--;,greek ,vase1 from ,apulia4 7,louvre47 ,the vessels of terra-cotta are either domestic or sepulchral4 ,the largest was the pithos1 which1 as we have seen1 was large enough to hold a man satisfied with such limited domestic conveniences as ,diogenes4 ,there were also amphor1 large vases1 somewhat smaller than the pithoi2 phialai1 or saucers1 plates1 pots1 and jugs4 ,of these the amphora occurs most frequently4 ,its name is derived from amphis--on both sides1 and pherein--to carry1 and it is so called because it had two handles1 one on each side1 to be grasped by the person carrying it4 ,it is easily recognized 7see ,fig4 #b7 by its sharp base--so made to be stuck in the ground--its oval body1 its long neck1 and its generally heavy lip4 ,the cover was conical1 and sometimes the base is surrounded by a ring of clay to keep it more easily in an upright position4 ,the height of the amphora ranged from three feet to over six feet1 and it was used for holding wine1 water1 oil1 and for storing figs and other edibles4 ,illustration3 ,fig4 #afh4--;,head of ,minerva1 with ,figure of ,nike4 7,prime ,coll41 ,n4,y4 ,metropolitan ,museum47 ,various pigments were applied to terra-cotta1 including white1 red1 green1 and blue1 the use of which1 in painting statues and architectural decorations1 formed a distinct branch of art4 ,colors are also found on sepulchral vases1 some of which are further ornamented with applied bas-reliefs2 that is1 made separately1 and fixed to the vase before drying4 ,this practice was carried to such an extent as to represent a combination of the arts of potter1 painter1 and sculptor 7,fig4 #afg74 ,closely allied to the cinerary urns were the vases intended solely for ornamental purposes4 ,in one of extraordinary beauty1 a large and finely moulded head of ,pallas ,athene is seen surmounted by a full figure of ,victory4 ,there are many of a similar character1 representing female and animal heads4 ,the latter are found in the rhyta1 or drinking cups4 ,the ornamental vases were often painted after being covered with a white slip3 evidently the case with the piece 7,fig4 #afh7 in ,dr4 ,prime's collection4 ,before treating of glazed vases we shall give the leading denominations of all vases glazed and unglazed1 and then the styles of decoration of the former as nearly as may be in their chronological order4 ,they are said to be glazed1 although the glaze is so slight that1 as ,mr4 ,fortnum says1 8it leaves a barely appreciable effect upon the eye1 beyond that which might be produced by a mechanical polish40 ,it is altogether a very inferior kind of glaze1 and is supposed to have been made from an alkali without any admixture of lead4 ,the paste resembles terra-cotta1 and varies in density1 being in some cases scratched with ease1 in others with difficulty4 ,it can always be marked with iron4 ,these facts are worth noting1 were it only that that art may be thoroughly appreciated which1 out of the poorest and commonest materials1 has wrought forms of the most wonderful beauty4 ,illustration3 ,fig4 #afi4--,stamnos4 ,illustration3 ,fig4 #agj4--;,askos4 ,the chief names with which we shall have to deal are the pithos1 pithakne1 stamnos1 cheroulion1 bikos1 hyrche1 lagynos1 askos1 amphorens1 kados1 hydria1 kalpis1 krossos1 skyphos1 or kothon1 rhyton1 lekythos1 alabastros1 krater1 holmos1 kelebe1 oxybaphon1 psykter1 dinos1 chytrai1 tripous1 oinochoe1 prochoos1 aryballos1 epichysis1 kotylos1 kyathos1 skaphe1 kantharos1 karchesion1 kylix1 phiale1 kanoun1 pinax1 and diskos4 ,the pithos1 already described in part1 was a large1 open-mouthed cask or jar of unglazed earthen-ware1 which was used mainly for the preservation of victuals and wines4 ,the pithakne was a pithos of smaller size used for holding wine4 ,the stamnos 7,fig4 #afi7 was an open-mouthed jar with two handles1 and a body inclined to be oval1 but of great rotundity1 curving inward to a comparatively narrow base4 ,it held liquids4 ,the cheroulia and bikoi were modifications of the stamnos1 the latter being used for holding wine and solids4 ,illustration3 ,fig4 #aga4--,skyphos1 or ,kothon4 ,the hyrche is not very well known1 either in regard to its shape or purpose1 but appears to have had a narrow neck1 and to have been used in conveying goods a long distance4 ,its narrow neck is a tolerably sure indication that it was not intended to be stationary4 ,the lagynos also appears to have had a very narrow neck1 and to have been of considerable size1 varying according to circumstances4 ,illustration3 ,fig4 #agb4--;,greek ,rhyton4 ,the askos 7,fig4 #agj71 literally a wineskin1 which it resembled in shape1 had an aperture and neck on one side1 from which a handle passed over a hollow on the body to the other side4 ,both the askos and stamnos are frequently painted with red figures4 ,illustration3 ,fig4 #agc4--,krater1 with ,volute ,handles4 ,the amphora1 already described in the form it commonly took1 may be called a general receptacle1 although usually employed for holding provisions and liquors4 ,there were many different shapes1 which varied according to the district where made1 and the special purpose for which they were destined4 ,the chief kinds are the ,egyptian1 ,apulian1 ,tyrrhenian1 ,panathenaic1 ,bacchic 7,fig4 #ahf71 and ,nolan1 the last mentioned being the most perfectly finished1 and unexcelled in gracefulness of shape4 ,they were decorated with either red or black paintings4 ,the kados is the first of the vessels for drawing liquids1 of which class the hydria 7,fig4 #ahh7 is the best known4 ,its name implies its purpose as a water-pitcher4 ,it had two small side handles1 and one larger one1 somewhat similar to that of the modern ewer4 ,the kalpis 7,fig4 #ahg7 and krossos were modifications of the hydria4 ,the kothon 7,fig4 #aga7 is supposed to have been a drinking-cup4 ,illustration3 ,fig4 #agd4--,krater4 ,the rhyton 7,fig4 #agb7 belongs to the later style of drinking-cups1 and its peculiarity is that it could not be set down except when empty4 ,the base is modelled after the head of a dog1 goat1 deer1 or other animal1 and the neck or cup proper is either cylindrical or elongated and sloped4 ,the lekythos 7,fig4 #cje7 was an oil-jar of an elongated shape1 neck in proportion1 cup-like orifice1 and one handle4 ,it is decorated in all the styles of ,grecian art1 and is generally about one foot in height4 ,it was sometimes made of metal or marble4 ,illustration3 ,fig4 #age4--;,holmos4 ,the alabastros was a diminutive lekythos1 used for toilet unguents1 with two small ears by which to suspend it4 ,illustration3 ,fig4 #agf4--,kelebe4 ,the krater 7,figs4 #agc and #agd7 was the vessel in which the ,greeks cooled and mixed their wine1 of which it would hold about three gallons4 ,it is the later form of a class of vessels of which the holmos 7,fig4 #age71 kelebe 7,fig4 #agf71 and oxybaphon 7,fig4 #agg7 are the earlier representatives4 ,illustration3 ,fig4 #agg4--,oxybaphon4 ,the psykter1 or wine-cooler1 was a double-walled vessel of the amphora type1 rotund in shape4 ,the dinos was another form of the wine vessel1 open-mouthed1 round in body and base1 and allied to the krater4 ,the chytrai were warming-pots with two handles4 ,the tripous1 or three-footed pot1 was employed in a similar manner4 ,the oinochoe1 in the shape most frequently occurring1 resembled a jug with a lip either round or pinched in at the sides1 and with a handle rising above the orifice4 ,the oinochoe was used in serving the guests from the krater4 ,illustration3 ,fig4 #agh4--,prochoos4 ,the prochoos 7,figs4 #agh and #agi7 was also a jug1 either with or without a handle1 for either water or wine4 ,the olpe 7,fig4 #ahj7 belongs to the same class4 ,the aryballos 7,fig4 #afe7 was round or bladder-shaped and short-necked1 and bore a close resemblance to one of the toilet vases of the ,egyptians4 ,the arystichos was also used for serving from the krater1 a usage which gave rise to several other shapes4 ,of the cups designed for the same purpose1 the kotylos may be mentioned1 although its shape is doubtful4 ,the kyathos 7,fig4 #aha71 or ladle1 belongs to the same class4 ,illustration3 ,fig4 #agi4--,prochoos4 ,the drinking-cups were of many shapes and assumed great elegance of form4 ,the several varieties cannot now be specified by description4 ,the skyphos was the generic name applied also to a few special shapes now unknown4 ,the kantharos 7,fig4 #ahb7 was wide1 somewhat shallow1 with two handles rising well above the lip1 and either with or without a stem4 ,the kylix 7,fig4 #ahc7 was the cup most generally used1 and varied in shape4 ,in the earliest specimens it has a long stem1 two handles1 and is shallow and wide4 ,the later forms are wider1 and shorter in the stem1 which ultimately disappears entirely4 ,the phiale was the religious counterpart of the kylix4 ,illustration3 ,fig4 #ahj4--,olpe4 ,the kanoun1 diskos1 and pinax were for table use1 the two latter corresponding with our plates1 with the exception that the diskos stood upon a stem or foot4 ,of the vessels named those deserving closest attention1 as most frequently presenting themselves1 are the kylix1 oinochoe1 krater1 aryballos1 kyathos1 lekythos1 rhyton1 hydria1 amphora1 and pithos4 ,the kylix is to be specially commended for its beauty of shape1 and its decoration with red figures exemplifies some of the best art of ,greece4 ,from the descriptions given of the various vessels1 it will be seen that many of them were devoted to household use4 ,vases were also made as toys for children1 as prizes to victorious athletes1 for holding the viands and liquids placed beside the dead1 and more recently for the ashes of the dead4 ,among the exceptional uses of pottery by the ,greeks may be mentioned the giving of receipts on potsherds1 the recording on fragments of pottery of votes for ostracizing 7from ostrakon1 a potsherd7 a citizen1 and for deciding the side to be taken by the entrants for the game called ostrakinon4 ,this last was decided by 8tossing up0 a piece of pottery1 and assigning a side to the player according to its falling with the red or black side uppermost4 ,vases were also made in honor of great men and authors1 whose names are inscribed on them4 ,all the vases now in museums1 numbering1 according to different estimates1 from twenty to fifty thousand1 were taken from the tombs of ,greece1 ,southern ,italy1 and ,etruria4 ,it was the custom to place beside the dead the vessels necessary for the religious rites1 the favorite vases and prizes of the deceased2 and in this way they have been preserved to illustrate in our age the branch of ,greek art to which they belong4 ,no precise age can be ascribed to any one specimen4 ,illustration3 ,fig4 #aha4--,kyathos ,illustration3 ,fig4 #ahb4--,kantharos4 ,the first glazed vases date probably from the ninth century before ,christ1 and from the beginning of the third century the art declined4 ,it had probably reached its highest point four hundred years before our era4 ,illustration3 ,fig4 #ahc4--,kylix4 ,black on ,red4 ,female ,faces and ,feet ,white4 ,naked ,satyrs4 7,trumbull-,prime ,coll41 ,n4 ,y4 ,metrop4 ,mus47 ,the earliest vases were made by hand1 and even after glazing was introduced that method was continued4 ,it was also resorted to in making the gigantic pithoi1 which were too large to be turned on the wheel4 ,the finer vases were made on the wheel or moulded4 ,after being moulded they were dried and painted4 ,there were two methods of painting4 ,by the first the figures were outlined and then filled in1 leaving them black on a red or pale ground4 ,the vase was then glazed and fired4 ,by the second the figures were left untouched and of the color of the paste1 by painting the ground black4 ,a color slightly different from that of the body was employed for the finer lines of the figures4 ,the vase was then glazed and fired as before4 ,illustration3 ,fig4 #ahd4--;,early ,greek ,oinochoe1 showing ,phnician ,influences4 ,about ,b4,c4 #gjj-ejj4 7,trumbull-,prime ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,we now come to the successive styles of ornamentation4 ,the natural order would give the first place to the uncolored vases1 the second to those painted all over in black1 the next to the different styles of figures4 ,in addition to what has been said in the ,introduction1 and to go more deeply into details1 the following points may be noted in regard to the last of the above stages--the ornamentation by means of figures4 ,these first took the form of simple belts of color drawn round the body of the piece4 ,a vase of a later but still very early period has the space between the two zones passing round the widest part of the body filled in with vertical designs1 alternating with small rings1 each containing a cross 7see ,fig4 #aff74 ,when animal and floral decoration was first attempted1 the artist's work was rude and the forms were unnatural4 ,white upon black grounds indicate the earliest style4 ,another very ancient style has the figures1 which are all those of animals1 painted in dark lines upon the pale red paste 7,fig4 #ahd74 ,illustration3 ,fig4 #ahe4--;,greek ,oinochoe4 ,painting1 ,black and ,reddish ,brown4 ,height1 #g in4 7,appleton ,coll41 ,boston ,mus4 of ,fine ,arts47 ,the vases of the next1 or ,archaic1 group vary in color from a pale yellow to a deep red1 on which the figures are painted in a darker color4 ,one of its leading features is the profusion of flowers4 ,the presence of human forms1 more or less skilfully drawn1 may be taken as the criterion by which to determine the later members of this group4 ,illustration3 ,fig4 #ahf4--;,bacchic ,amphora4 ,black on ,red ,ground4 ,height1 #ae in4 7,appleton ,coll41 ,boston ,museum of ,fine ,arts47 ,in the next style 7,fig4 #ahf7 human figures become more prominent in the designs1 and are perfectly black1 with the exception of the flesh of females1 which is painted white or red4 ,many of the subjects are taken from mythology and the heroic legends4 ,this developed into the 8old style10 where the black appears greatly improved2 and while the hands1 face1 and exposed parts of the females are pure white1 their eyes are red4 ,the drawing is still stiff and constrained1 and where attempts at perspective are made1 they are eminently unskilful4 ,white is also more plentifully distributed1 and is seen in the hair and beard of old men1 in horses1 and in many accessories1 for which red is also occasionally employed4 ,as the art developed1 red figures were more frequently introduced among those in black2 and we also find the artist entirely obscuring the natural color of the paste by means of a white slip1 or coat1 upon which he painted the black figures4 ,as we approach the best art of ,greece the colors are inverted4 ,the figures are drawn upon the paste of the red or yellow color of which they appear1 and the rest of the vase is painted black 7,fig4 #ahg74 ,illustration3 ,fig4 #ahg4--;,greek ,kalpis4 ,red ,figures on ,black ,ground4 7,appleton ,coll41 ,boston ,museum of ,fine ,arts47 ,the 8fine style10 the culmination of ,greek art1 was a development of that last described4 ,the black ground1 red figures1 and white ornaments show the highest point to which previous styles gradually led upward4 ,drawing and composition are here at their best4 ,the early stiffness has given place to a fuller grace1 and there is a nobility in the figures and faces to which the earlier artists never attained4 ,the limbs lose their unnatural distortion1 the muscles are less rigid--there is1 in one word1 more life in the drawing4 ,the accessories also gain by the greater freedom of treatment4 ,the drapery hangs more gracefully1 its straight-lined stiffness giving place to a more natural arrangement4 ,in the later specimens of this style--so markedly different from the earlier ones that they have been classed together as the florid style--there is a more minute attention to finish1 a greater elaboration of dresses and other accessories1 and a decided tendency toward finding the ideal human form in that which is most graceful4 ,gold appears in the ornamentation 7,fig4 #ahh71 and arabesques encircle the necks4 ,polychrome vases were made at the same time1 some of them showing the utmost excellence of figure-drawing1 and draperies of blue1 green1 or purple4 ,when the art began to decline1 taste and execution both deteriorated4 ,the figures lose their graceful proportions1 and acquire a heavier appearance4 ,they are also more crowded1 and the dresses become more garish1 until at last all refinement1 both of conception and treatment1 was lost in coarseness and grotesque puerility4 ,the amphora 7,fig4 #ahi7 illustrates the decadence4 ,illustration3 ,fig4 #ahh4--;,hydria4 ,black1 with ,gilt on ,neck1 and ,red ,rim with ,black ,studs4 7,trumbull-,prime ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,illustration3 ,fig4 #ahi4--;,greek ,amphora1 with ,columnar ,handles4 ,red on ,black4 ,from ,canosa4 ,height1 #bj in4 7,appleton ,coll41 ,boston ,museum of ,fine ,arts47 ,the classification of vases by the subjects represented upon them is unsatisfactory and confusing4 ,scenes are taken from mythology1 heroic legends1 funeral ceremonies1 from civil life1 and from the gymnasium1 which permit neither of a chronological arrangement of the vases nor of one based upon their position in the scale of art4 ,a distinct group might1 without any loss of lucidity1 be made of vases decorated with subjects in relief1 or with statuettes arranged upon the body and neck4 ,this was a union of sculpture and pottery occasionally embellished by the painter's art in the coloring of the drapery and subsidiary ornaments4 ,color was also applied to sculptured reliefs4 ,a vase now in ,st4 ,petersburg is thus described3 8,it is a piece of very large size1 with three handles1 and of the finest and most lustrous glaze4 ,it is ornamented at several heights with sculptured friezes in terra-cotta1 and gilded2 but that which gives it its priceless value is a frieze of figures from four to five inches high1 sculptured in bas-relief1 with the heads1 feet1 and hands gilded1 and the vestments painted in bright colors--blue1 red1 and green--in the finest ,greek style imaginable4 ,several heads from which the gilding has become detached show the modelling1 which is as fine and as finished as that of the finest ancient cameo40 ,cups or vases with two heads1 one on each side1 such as ,hercules and ,omphale1 illustrate the same branch of art4 ,such features as these1 beautifully modelled relievos1 ideal heads1 figure scenes in which drawing and composition are almost above criticism1 not less than its elegance of shape1 have made the ,greek vase a model for all time4 ,we can trace ,assyrian ideas in the decoration of some of the earlier vases1 and ,egyptian influences may also occasionally be detected4 ,we can even find foreign models for a few of the ,greek forms2 but the ,hellenizing process has obliterated every antecedent1 and the art which ,greece gave the world is as purely ,grecian as if in every particular it were indigenous to the soil of that favored land4 ,,chapter ,,iii4 ,,the ,,iberian ,,peninsula4 ,,spain3 ,ancient ,pottery4--,valencia the ,most ,ancient ,centre4--,the ,roman ,period4--,arabs4--,valencia under the ,moors4--,its ,decline4--,malaga the ,most ,ancient ,moorish ,settlement4--,the ,alhambra ,vase4--,influence of ,christianity4--,majorca4--,azulejos4--, modern ,spain4--,porcelain4--,buen ,retiro4--,moncloa4--,alcora4--,,portuga l3 ,vista ,allegre4--,rato4--,caldas4 ,illustration3 ,fig4 #aij4--;,hispano-,moresque ,vase4 ,end of #acth ,century4 7,s4 ,kensington ,mus47 ,a mere glance is all that is necessary to bestow upon the ancient pottery of ,spain before we resume the history of the ,moorish fabrications in that country4 ,valencia is the centre to which the greatest antiquity must be accorded4 ,pliny alludes to ,saguntum1 now called ,murviedro1 as having twelve hundred potteries1 and ,martial is not stinted in his praises of their work4 ,all the remains found there are of the ,roman period1 and are classed under red ,samian ware1 and three other groups1 of which one was of a yellowish color and another of pale terra-cotta4 ,from that time we must make a great leap across the chasm between the downfall of ,roman civilization and the first ,saracenic occupation of the ,iberian ,peninsula in the eighth century4 ,even then there is little to guide research4 ,arabian azulejos have been met with1 and in #abci1 four years after the ,moorish kingdom of ,granada had been founded1 a charter was granted by ,james ,i4 of ,aragon to the ,saracen potters of ,xativa 7,san ,felipe7 relieving them from servitude on payment yearly of one besant for each kiln4 ,we have no means of identifying the early works of these ,saracenic workmen1 and it is not until #aeag that they are referred to in literature as producing well-worked and well-gilded faiences1 more highly esteemed than any other of ,spanish manufacture4 ,several writers of the sixteenth century praise the ,valencian pottery1 but in the beginning of the seventeenth century it began to decline4 ,christian designs 7,fig4 #aia7 take the place of ,moresque2 and at the present day1 according to ,marryat1 the metallic-lustred wares of ,manises1 near ,valencia1 are made by an innkeeper1 who thus spends the time lying heavy on his hands by reason of a lack of guests in his inn4 ,in the olden time the pottery of ,manises was exchanged with ,italy for that of ,pisa1 and was ordered by 8the ,pope1 cardinals and princes admiring that with simple earth such things can be made40 ,such is the difference between now and then4 ,illustration3 ,fig4 #aia4--,spanish ,majolica4 ,dark-blue and ,brown ,painting on ,white4 7,j4 ,w4 ,paige ,coll41 ,boston ,museum of ,fine ,arts47 ,from the style of the decoration it would appear that most of the ,valencian remains are to be attributed to the ,christian period1 i4 e41 after the thirteenth century4 ,the general color is yellow with mother-of-pearl lustre4 ,st4 ,catherine and ,st4 ,john were highly venerated in ,valencia1 and this veneration appears in the frequency of their representation1 either actually1 or by their emblems1 or in invocations and passages from the gospel of the fourth evangelist4 ,the eagle--the emblem of ,st4 ,john--and the opening words of his gospel appear also1 however1 on wares from ,malaga and ,majorca2 and1 further1 the yellow lustre was produced at ,barcelona4 ,it is1 therefore1 evidently unsafe to ascribe1 after an examination of general characteristics1 individual specimens to a specific source4 ,illustration3 ,fig4 #aib4--,the ,alhambra ,vase4 ,of the ,moresque pottery it is probable that ,malaga was the most ancient centre4 ,its golden pottery is spoken of as an article of export as far back as #acej4 ,there also we are brought into contact with the famous and beautiful vases of the ,alhambra 7,fig4 #aib74 ,the palace itself was built by ,mohammed-ben-,alhamar1 the first ,moorish king of ,granada1 in #abgc1 with the intention1 possibly of rivalling the richly decorated mosques of the ,mussulman ,arabs4 ,the ,alhambra vase is the only survivor of three of similar style found under the palace pavement4 ,the others fell victims to the ,vandalism of memento or relic hunters4 ,the one still in existence is seven feet in circumference and four feet three inches in height4 ,it is supposed to belong to about the year #acbj4 ,it is made of earthen-ware1 and is decorated in three colors4 ,the ground is white and the decorations are a golden yellow lustre and blue4 ,the vase is not only a masterpiece of ,moresque art1 but a magnificent example of the decorative genius of the ,moors1 which spent itself in devising quaint combinations of lines and in a wealth of arabesque4 ,there are many other pieces which1 from their metallic lustre and blue ornamentation1 are also credited to ,malaga1 and date from the middle of the fourteenth century4 ,it is unfortunate that this exquisite art soon deteriorated4 ,as we approach the ,christian epoch we come upon the works of copyists devoid of intelligence1 in whose hands the decoration they strove to follow loses its delicacy and meaning4 ,the ,valencian art with which we are acquainted was thus rising as that of ,malaga was gradually1 sinking out of sight4 ,faience was made at the latter place in the beginning of the sixteenth century4 ,for a time the ,catholic conquerors under ,ferdinand tolerated the art4 ,but intolerant zeal asserted itself1 ,moorish customs were suppressed1 and at length the ,moorish settlers were driven into exile4 ,illustration3 ,fig4 #aic4--;,hispano-,moresque ,plaque in ,frame4 ,diameter1 #af in4 ,copper ,color on ,white3 ,metallic ,lustre4 7,wales ,coll41 ,boston ,museum of ,fine ,arts47 ,the third great centre of the ceramic art was at ,ynca1 in ,majorca1 the largest of the ,balearic group of islands4 ,majorca was conquered by ,james ,i41 in #abcj1 nine years before he took ,valencia2 and no ,moresque specimen now known can be ascribed to a period preceding that date4 ,the lustre of ,majorca was very bright1 and the ornamentation consisted mainly of scrolls and flowers4 ,the other islands of the group1 ,minorca and ,ivia1 were also seats of the manufacture4 ,we shall afterward see how closely ,majorca was connected by its commerce with ,italy4 ,illustration3 ,fig4 #aid4--;,early ,hispano-,moresque4 7,boston ,household ,art ,rooms47 ,we have reserved the azulejos1 or tiles 7,fig4 #aid71 the best indicators of the progress of ,arabian art1 for separate treatment4 ,we find in the tiles of the ,alhambra1 in the buildings of ,seville and the ,cuarto ,real of ,granada 7,fig4 #aie71 the products of the same skill which embellished the edifices of ,persia1 ,arabia1 and the ,maghreb4 ,they are made of light-colored clay1 covered with a stanniferous enamel1 upon which are laid intricate designs in blue or golden lustre4 ,the brilliant and dazzling beauty they lent to the interior of the ,alhambra1 from pavement1 walls1 and roof1 can now only be imagined4 ,so much did the ,spaniards admire the azulejos1 that they were employed1 not only for the embellishment of public and royal edifices1 but for the houses of the wealthy4 ,their manufacture is continued in ,valencia down to the present day4 ,from what has been said1 the chronological sequence of the ,hispano-,moresque potteries may1 in part1 be inferred4 ,the most ancient is that resembling the ,alhambra vase1 decorated with blue and yellow lustre4 ,as we come later down1 the lustre assumes more of a golden hue1 and becomes exceedingly brilliant1 as we find it at ,valencia1 when the less dazzling wares of ,malaga were falling into disfavor4 ,the ruddier copper lustres are the farthest removed from the early wares4 ,they excel in brightness1 and show less restraint and chasteness of taste1 and mark the decline from those works which have given celebrity to ,hispano-,moresque pottery4 ,illustration3 ,fig4 #aie--,moorish ,tile1 from the ,cuarto ,real4 ,illustration3 ,fig4 #aif4--;,early ,hispano-,moresque4 7,boston ,household ,art ,rooms47 ,the ,spain of our day retains not even a semblance of its former greatness4 ,what is best in its modern art1 such as the terra-cotta of ,barcelona1 contains no tradition of ancient times4 ,at the ,centennial ,exhibition1 it was1 as compared with leading ,european countries1 poorly represented4 ,it may be assumed that ,seville1 famous for its azulejos from the sixteenth century1 and ,valencia1 which has an unwritten continuous ceramic history from the ,roman epoch to the present day1 would not send their inferior works to ,america4 ,the former city was represented by a pyramid of wares showing great diversity of design and decoration4 ,a large vase1 best described as after the ,alhambra type1 was of a yellow lustre1 and surrounded by narrow gilt bands4 ,there were also a few smaller pieces of iridescent blue1 green1 and gold4 ,a pair of vases with floral decoration on a red ground and black base hardly suggested relationship with the works exemplifying the exquisite taste of ancient ,spain4 ,the ,valencian tiling was1 as a rule1 coarse and inartistic4 ,on a series of wall-pieces were figures of some of the apostles1 and a landscape1 fairly drawn1 but weak in color4 ,the artist manifested an unfortunate predilection for a shading of brownish purple1 which enhanced neither his figures nor landscapes4 ,the old style of mosaic tiling was represented by some specimens composed of small star-shaped and elongated hexagonal tiles4 ,there was no sign of the preservation of even a tradition of ,hispano-,moresque art4 ,we may turn to ,spanish history for an explanation of this decadence1 and find in the latter an illustration of its history4 ,its art was essentially foreign2 and when it fell entirely into the hands of the ,spanish1 on the expulsion of the ,moors by the bigotry of ,philip ,,ii41 its doom was sealed4 ,we read the history of the ceramic art during its best days in ,spain as an additional chapter to the ,saracenic and ,maghrebrian1 and as that of a branch which1 by the accident of location1 and not from its having any element really ,spanish1 came to be known as ,hispano-,moresque4 ,we nowhere find any literary evidence that the ,persians who settled in ,spain exercised any practical influence upon its ceramics4 ,very likely they did2 and1 further1 it is not improbable that commerce may have brought ,spain into a closer connection with the ,east than is generally suspected4 ,the early ,hispano-,moresque works are so clearly suggestive of ,eastern influence1 that one is almost led at times to question their right to the name conferred upon them4 ,as if to give the half-shaped doubt a more decided form1 we remember also that as the art becomes more purely ,spanish it declines from its ancient beauty4 ,we can only admire and criticise the odd combinations of color and form2 and while indulging in conjectures as to the immediate fabrication of the pottery under consideration1 we must regard it as illustrative of the development of an art of ,oriental origin4 ,the manufacture of artificial porcelain in ,spain was instituted1 about #agfj1 by ,charles ,,iii41 who took with him a number of workmen and artists from ,naples4 ,this accounts for the similarity between the ,spanish and ,neapolitan productions4 ,the works were situated in the gardens of the ,buen ,retiro at ,madrid1 and were kept strictly secluded from visitors4 ,the ware was of fine quality1 and was said by some writers who had seen specimens at the palace1 to rival that of ,svres4 ,la ,china1 as the ,royal ,manufactory was called1 was blown up by ,lord ,hill during the ,peninsular ,war1 in #ahab4 ,a second manufactory was established at ,moncloa1 near ,madrid1 in #ahbg4 ,mention is also made of a factory of natural porcelain at ,alcora1 in #agef1 but the reference must be accepted with hesitation4 ,of the ceramics of ,portugal very little is known2 but that little is sufficient to lead us to wish for more exact knowledge4 ,in this matter1 ,portugal has not yet1 in fact1 been appointed to any recognized place in history4 ,her ceramic art has not been known to ,europeans for more than ten years1 and to ,americans for little more than one2 and we have no means of telling whence it was derived4 ,probably it came from ,spain1 as we learn that the ,portuguese use azulejos as extensively as the ,spaniards4 ,we are further told that many of their imitations are exceedingly clever4 ,of the truth of this we have had ample evidence4 ,none of the imitation ,palissy ware exhibited at the ,centennial was more realistic and full of life than that of ,portugal4 ,some majolica vases1 with coiled snake handles1 were very creditable4 ,the snake evidently plays an important part in ,portuguese ceramics1 as we met with it elsewhere1 and notably as the handle of a fish-shaped dish4 ,very remarkable were the unique and droll little figures of painted pottery1 sometimes grouped into a humorous scene1 sometimes single1 and illustrative of the national costumes4 ,the humor which the ,portuguese contrived to infuse into their art evidently lent the pottery section of their department at the ,centennial its greatest attraction2 and combined as it was with excellent modelling and colors1 the nature of which we can hardly specify1 it excited our curiosity to learn what historical background there may be to the art which now chooses such expression4 ,a natural porcelain factory at ,vista ,allegre1 near ,oporto1 is mentioned1 and the faience fabrics of ,rato and ,caldas4 ,,chapter ,,iv4 ,,italy4 ,italian ,art4--,whence ,derived4--,greece and ,persia4--,divisions4--,ancient ,roman and ,etruscan4--,etruria and ,greece4--,questions ,resulting from ,discoveries at ,vulci4--,early ,connection between ,etruria and ,greece4--,etruscan ,art an ,offshoot of ,greek4--,examples4--,best of ,black ,paste4--,why ,etruscan ,art ,declined4--,rome4--,nothing ,original4--,its ,debt to ,etruria and ,greece4--,decline of its ,art4--,unglazed ,pottery and its ,divisions4--,glazed ,pottery4--,samian ,ware4--,aretine4--,terra-cotta4--,after ,rome fell4--,the ,renaissance4--,saracenic ,influences4--,crusades4--,conquest of ,majorca4--,tin ,enamel and ,metallic ,lustre4--,bacini at ,pisa4--,lead ,glaze4--,majolica ,made at ,pesaro4--,sgraffiati4--,luca della ,robbia4--,sketch of his ,life4--,his ,alleged ,discovery4--,what he really ,accomplished4--,where he ,acquired the ,secret of ,enamel4--,his ,works4--,bas-,reliefs4--,paintings on the ,flat4--,his ,successors4--,recapitulation of ,beginnings of ,italian ,majolica4--,chaffagiolo4--,siena4--,flo rence4--,pisa4--,pesaro4 --,castel-,durante4--,urbino4--,gubbio and ,maestro ,giorgio4--,faenza4 --,forli1 ,rimini1 and ,ravenna4--,venice4--,ferrara4--,deruta4 --,naples4 --,shape and ,color4--,modern ,italy4 ,the ceramic art of ,italy1 beginning with the ,roman and ,etruscan1 and coming down to the ,renaissance in the fifteenth century1 is the successor of those of ,greece and the ,east1 on the one hand1 and of the ,saracenic and ,hispano-,moresque on the other4 ,there have been two questions under discussion in reference to the latter period1 viz41 ,where did ,italy acquire her knowledge of the use of stanniferous enamel8 and1 ,whence did she draw her skill in the application of metallic lustre8 ,we shall find1 on examining the evidence1 that the great works of her artistic prime were the results of a derivative and not of an original art4 ,they are only original in so far as they indicate a point in advance of ,italy's predecessors4 ,we have said that ,oriental art culminated in ,greece4 ,italy presents us with a later point of union between two lines issuing from the ,east4 ,we find subjects and forms recalling at once the ideals of ,greece and the rich mythological and legendary sources from which were drawn the aids to her prolific imagination4 ,we also find that the ,greek restraint in the use of colors is thrown aside1 and that ,italy availed herself to the full of the skilful processes and methods of embellishment brought to her shores from ,persia1 and by the ,saracens and ,moors from their settlements in ,africa and ,spain4 ,there are thus two great divisions of ,italian pottery3 the ancient ,roman and ,etruscan1 and that of the ,renaissance4 ,between these two there is a long period of darkness1 extending from the last smouldering glow of the art of ,italy1 after ,constantine took the seat of the imperial power to ,byzantium1 to the entrance of the ,saracens into ,europe4 ,in considering the ancient epoch1 one pertinent fact may be borne in mind1 viz41 that the best remains of the art of ,greece have been found beyond its own borders1 and that its history might be written from those discovered in ,italy alone4 ,dividing ,italy into three sections1 we shall have ,magna ,grcia1 ,campania1 and ,etruria4 ,of these the latter has the greater antiquity1 in so far as its ceramic remains are concerned4 ,greek colonies settled all along the southern part of the peninsula and in ,sicily1 and such relics as are found there may1 in the mean time1 be dismissed as corresponding in style with those of the same dates produced in ,greece4 ,although the same rule might be held in a less broad sense to apply to ,etruria1 it is deserving of more lengthened consideration4 ,when1 in #ahbe1 the great discoveries were made at ,vulci1 the learned world was divided as to the places to which the vases should be credited4 ,some maintained that they were made in ,greece and imported2 others1 that they were made in ,etruria by ,greek workmen2 others1 that they were really ,etruscan2 others1 that they were partly native and partly imported from ,greece2 and still others1 that many of them came from ,magna ,grcia and ,sicily4 ,to reconcile these suppositions1 without affecting the eastern origin of ,etruscan art1 we are reminded that the ,pelasgi--the name given to the ancient inhabitants of ,greece--founded ,agyllos1 on the coast of ,etruria4 ,bunsen places the first introduction of art into ,etruria at this remote period4 ,we come next to the arrival of ,demaratus in ,tarquinii1 about the year ,b4,c4 #fee4 ,demaratus was a wealthy ,corinthian1 of the family of the ,bacchiad4 ,on the usurpation by ,cypselus of the government of ,corinth1 ,demaratus fled1 accompanied by all his family1 and1 landing in the above named flourishing city1 married an ,etruscan bride1 and by her had a son1 ,lucumon1 who afterward occupied the throne of ,rome under the name of ,tarquinius ,priscus1 the fifth king of the ,romans and the first of the ,tarquins4 ,demaratus was either accompanied or followed by certain of the artists who had brought celebrity to ,corinth for its pottery1 and thus the art of ,greece1 as it was at that period1 might have been introduced into ,etruria4 ,it must1 however1 be admitted that the story of ,demaratus is not as clear as might be wished1 the authorities differing as to his status in ,corinth1 and as to ,lucumon1 who is considered by some as having been merely one of his companions4 ,the ,tyrrheno-,pelasgians were driven from the sea-coast probably in the sixth century before ,christ4 ,we would from these facts be led to expect specimens of ceramic art1 firstly1 rude and indigenous2 secondly1 showing signs of the same ,oriental origin from which ,greece derived its first lessons2 and thirdly1 examples of pure ,greek fabrication mingled with ,etruscan imitations4 ,in regard to such a collection as that found at ,vulci1 it may thus be assumed that there is a modicum of truth in each of the suppositions above referred to4 ,there cannot1 in any case1 be any reason for calling in question the statement that1 in the main1 ,etruscan ceramic art was of ,grecian birth4 ,we are speaking of the productions of #bcjj years ago4 ,etruria was open to the little world surrounding the eastern end of the ,mediterranean4 ,its ships brought enamelled bottles from ,egypt1 which its citizens set in gold and placed in their tombs4 ,it had maritime connections with ,spain1 ,phnicia1 and perhaps with ,england1 and with the southern ports of the ,italian peninsula1 and those of ,sicily4 ,it imported both potters and their wares1 and turned from its own ancient standards to a higher4 ,while the immigrant ,greeks were making such wares as they had made at home1 the native ,etruscan artists were imitating1 clumsily and awkwardly at times1 but gradually improving and approaching their teachers more nearly4 ,etruscan art1 with the exception of the earlier specimens of rude aboriginal skill1 must1 therefore1 be studied as an offshoot of that of ,greece4 ,the oldest examples1 more distinctly indigenous than any of the succeeding styles1 are of a brownish color and rude shape1 and are decorated with bands and knobs or studs in relief4 ,one peculiar shape bears a resemblance to a miniature rustic cottage1 and belongs to the sepulchral class4 ,others1 which are painted1 recall the art of ,greece in its first devotion to ,phnician or ,egyptian models4 ,they may1 therefore1 be referred to the age when the ,tyrrheno-,pelasgians still held their settlements in ,etruria1 and are probably the work of these settlers and of the aboriginal inhabitants who preceded them4 ,when the ,etruscans overran the settlements of the ,pelasgi1 a red and black ware was introduced1 and soon afterward we are brought more directly into contact with ,grecian art by importations4 ,illustration3 ,fig4 #aig4--;,ancient ,etruscan ,vase4 ,height1 #ba in4 7,j4,j4 ,dixwell ,coll41 ,boston ,museum of ,fine ,arts47 ,the best ,etruscan works are of black paste 7,fig4 #aig71 toward which the brown changed as it improved4 ,the ornaments are incised flowers1 and bas-reliefs of animals and human faces1 executed1 designed1 and arranged in styles decidedly ,oriental4 ,on one found at ,vulci are monsters like the ,egyptian sphinx1 winged and woman-headed4 ,it is probable that1 of the two styles of ornamentation1 the incised is the more ancient1 and that the black ware1 as a whole1 belongs to between the seventh and third centuries before ,christ4 ,the prevalence of ,egyptian forms and symbols in connection with this class1 such as the scarabus and ostrich eggs painted with strange winged monsters1 gives additional probability to our estimate of their age1 and shows how far ,etruria availed herself of the act of ,psammetichus ,i4 of ,egypt1 who1 ,b4,c4 #fed1 threw open the ports of that country to foreign traders4 ,contemporaneous with these are large vases of red ware corresponding with the ,greek pithoi4 ,the decoration displays a knowledge of the art of ,egypt and the ,east1 mingled with examples of that of ,greece4 ,the yellow ware is allied to the ,doric2 and specimens of a still paler color1 ornamented with ,grecian subjects1 modified and adapted to ,etruscan ideas1 mark the close of the art4 ,it at no time attained to any very great excellence1 and declined early4 ,both of these facts are easily explained4 ,in the wonderful collection of ,signor ,alesandro ,castellani are many beautiful specimens of ,etruscan bronze1 carved gems1 and work in gold4 ,these are ascribed to the third1 fourth1 and fifth centuries before the ,christian era2 and it is only natural to suppose that the delicate skill acquired in the manipulation of such materials should have given rise to a distaste for the humbler though more obedient clay4 ,many of the vases suggest the transition from pottery to bronze in the evidence which their decoration gives of having been imitated from metal4 ,when we turn to ,rome1 little investigation is required to satisfy us that there is no such thing as an independent ,roman ceramic art4 ,whatever ,rome possessed was acquired from without1 not developed from within4 ,one could expect no artistic sense to manifest itself among the horde of refugees1 outcasts1 and criminals who surrounded ,romulus in his little castle on the ,palatine hill4 ,his successor1 ,numa ,pompilius1 in aiming a blow at idolatry1 may have also retarded the growth of art4 ,he forbade the use of images1 and for one hundred and sixty years after his death no statue appeared in the temples of ,rome4 ,this brings us down to the ,etruscan monarch1 ,tarquinius ,priscus1 who placed in the ,roman capitol a terra-cotta statue of ,jupiter1 by an ,etruscan artist4 ,whatever the ,romans required they obtained from ,etruria1 until they found a new source of supply in ,magna ,grcia4 ,that they made very slow progress in the arts may be inferred from one incident which happened nearly five hundred years after ,numa had issued his order against idolatry4 ,while the second ,punic war was raging1 the ,roman consul1 ,marcellus1 besieged ,syracuse1 a ,corinthian city in ,sicily1 and1 after taking it1 sent its paintings and statues to ,rome1 in order that his countrymen might learn from the art of ,greece1 and acquire a taste for such works4 ,syracuse fell ,b4,c4 #bab1 and eleven years afterward the war was brought to an end4 ,it was by thus acquainting themselves with the beauty of ,grecian art that the ,romans began to display a desire for the artistic embellishment of their homes and capital4 ,when their arms were directed against ,greece1 and ,athens fell under their assaults1 in the first century before ,christ1 ,greek artists flocked to ,rome1 and for a time made it the workshop in which they labored and the school in which they taught4 ,but with the sun itself its rays of golden light must disappear1 though for a time they gild the earth and clouds with their departing glory4 ,greece was enslaved4 ,her ancient spirit was crushed4 ,she had taught the world the lesson intrusted to her1 and with political independence sank art and literature1 though not without leaving imperishable monuments behind4 ,as the tree withered1 so did the branches2 and the expatriated ,greeks in ,rome and the long-subdued colonies of ,magna ,grcia1 deriving no longer any warmth from the centre from which they came1 were quickly lost to sight4 ,there also1 as in ,etruria1 richness took the place of beauty4 ,gold1 silver1 and gems were more to the luxurious ,romans of the empire than ceramic art1 and that which had embellished the palaces of kings was left to the gods and the poor4 ,illustration3 ,fig4 #aih4--,roman ,terra-cotta ,lamps4 ,the different kinds of unglazed ,roman ware may be divided1 according to the color of their pastes1 into yellowish white1 red1 gray1 and black4 ,the yellow paste was the coarsest1 and was used for large pieces1 such as the dolia and amphor4 ,the smaller pieces of this color are of a better quality4 ,many of the household vessels were of red ware1 such as plates1 bottles1 and jars4 ,some of it1 as1 for example1 the false ,samian1 was dipped in a slip4 ,the gray class comprises amphor1 and flat cooking-pans1 and includes some specimens which have all the characteristics of modern stone-ware4 ,the black paste was largely employed in making dishes and other table utensils1 such as cups and candle-sticks4 ,illustration3 ,fig4 #aii4--,roman ,bowl of ,samian ,ware4 ,the leading kinds of glazed pottery were the ,aretine and red ,samian wares4 ,the latter of these is the more celebrated 7,fig4 #aii74 ,its prototype is to be found in the red ware of the ,greek islands4 ,the paste is close and fine1 and the glaze is clear and very thin4 ,the similarity in texture of all the specimens points to the conclusion that they were made in one place4 ,the ,samian ware has1 like the legionary tiles1 been found wherever the arms of ,rome were carried4 ,like the unglazed red pottery1 it was extensively used for table services1 and may broadly be said to have been the chief domestic ware of the ,romans4 ,the ornamentation consists of mouldings in relief1 incised rings1 and intaglio patterns4 ,the ,aretine ware is also red1 and is very like the ,samian in many respects1 but of a lighter shade1 and more finely decorated1 chiefly in relief4 ,there are also two kinds of black ,roman ware1 one of dark paste1 the other of red paste colored black4 ,the ornamentation of the first is generally very simple1 while that of the latter1 in some cases1 resembles the mouldings on red ware4 ,like the ,samian1 it is found over the greater part of ,europe4 ,one of the most interesting branches of ,roman ceramics--the various uses of terra-cotta1 we pass with a brief reference4 ,the oldest statues are terra-cotta1 and of the same material are water spouts1 window frames1 friezes1 capitals1 and pillars4 ,terra-cotta statues were made from the early days1 when ,etruria was the centre from which ,rome supplied itself1 down to the ,empire1 although in the interim the conquest of ,magna ,grcia and ,greece had rendered the beautiful ,greek marbles and bronzes accessible to the ,romans4 ,the architectural bas-reliefs were highly esteemed by the ,romans themselves1 and show that the ,greeks1 both at home and residing in ,italy1 applied themselves to this particular branch of art with devotion and success4 ,the subjects are generally ,greek1 and are taken from both mythology and history4 ,the gods of both greater and lesser orders appear under many of the characters ascribed to them1 and the adventures of ,ulysses and ,achilles1 the feats of ,theseus1 and the labors of ,hercules1 are a never-failing treasury of effective subjects4 ,the result of all our inquiries may be summed up in this contradiction1 that ,roman ceramic art deserving of the name is ,greek1 and that the potters who were ,roman have left little beyond household wares to attest their skill4 ,with the fall of the ,roman ,empire the art1 which had long been declining1 disappeared from view4 ,pottery must1 no doubt1 have been produced4 ,the household necessities of the people must have been satisfied1 even amidst internal disruption and barbarian invasions2 but there is no evidence that anything worthy of being called an art was kept alive4 ,the revival of the ceramic art of ,italy must be dated from the time of ,luca della ,robbia1 in the fifteenth century4 ,to account for the forms it took1 an endeavor must be made to join it on to the different branches which preceded it elsewhere4 ,the only danger to be incurred is that of being confused by the multiplicity and yet substantial unity of its sources4 ,without repeating what has been said in the chapter devoted to the fountains of ,european art1 let it be remembered that1 in the year #hbg1 the ,saracens conquered ,sicily1 and that they introduced into that island a manufacture similar to that found in ,spain4 ,they embellished the mosque of ,palermo with tiles like those of the ,alhambra1 and these tiles were afterward imitated in works produced in ,sicily itself4 ,afterward1 in the fourteenth century1 ,moorish works were established at ,calata ,girone1 or ,caltagirone1 in ,sicily1 and some pieces attributed to them are decorated with copper lustre upon stanniferous enamel4 ,to this period belong the ,siculo-,moresque vases in the ,castellani collection1 which date from the fourteenth century downward 7,fig4 #bja74 ,it is observable that the metallic lustre does not appear in the earlier pieces1 which have an unmistakably ,persian style of decoration4 ,one specimen will suffice1 viz41 an oval vase covered with a silicious glaze1 and decorated in blue and black1 with gazelles and inscriptions4 ,meanwhile ,venice and other maritime cities on both sides of the ,italian peninsula were developing an extensive trade with the ,east4 ,the ,crusaders had been converting the old battle-ground of the ,jews into the scene of another strife1 in which ,judaism was ignored4 ,mohammed preached the gospel of the sword1 and the ,christians took up the gauntlet thrown down by the ,saracens4 ,is it not possible that by these two courses--trade1 and the movements of followers of the ,cross--some inklings of ,persian art may have crept into ,italy8 ,illustration3 ,fig4 #bjj4--,siculo-,moresque ,vase4 ,the crusading spirit of the twelfth century was a most potent agency4 ,in #aaac the ,pisans were roused to a sense of the wrongs suffered by ,christians from the piratical ,saracens of ,majorca4 ,they set sail1 and in #aaae the island was in their power2 and their galleys returned home freighted with the spoils of war4 ,an extensive trade between the ,balearic ,islands and ,italy was maintained in the fourteenth century4 ,looking at these facts1 does it appear improbable that ,moorish wares and ,moorish potters may have reached ,italy from ,majorca8 ,coming still later1 we find ,moorish refugees from ,spain flocking toward ,italy in vast numbers4 ,leaving the ,saracens and ,moors entirely out of the question1 the art of enamelling might have reached ,italy from the ,byzantine ,greeks4 ,illustration3 ,fig4 #bja4--,siculo-,moresque ,vases4 7,castellani ,coll47 ,with all these facts before us1 the bacini1 or plates found incrusted in the walls of the old churches of ,pisa1 need give us little trouble4 ,mr4 ,fortnum found one ,persian piece4 ,mr4 ,marryat thinks them of ,moorish origin4 ,mr4 ,fortnum is of the further opinion that many of the bacini1 both of ,pisa and other ,italian cities1 are of native ,italian manufacture4 ,each specimen must be judged separately1 and it may be pointed out that with the highway of the sea open to the ,east and to the ,saracenic settlements in ,africa and ,spain1 with ,saracens already settled in ,sicily1 and with the known early connection by commerce between ,italy and ,spain1 it is difficult to specify the route by which any special ware or process must have reached ,italy4 ,we shall afterward see that in ,germany tin enamel was known in the thirteenth century4 ,if it should be asked1 ,how did it get there8 the question would illustrate a good deal of idle speculation indulged in regarding its introduction into ,italy4 ,the same rule will apply to the metallic lustre4 ,illustration3 ,fig4 #bjb4--,sgraffiato of the #aeth ,century4 ,the ,italians used lead glaze on their pottery from a very early period4 ,according to ,passeri1 mezza-majolica covered with marzacotto was made at ,pesaro as early as the beginning of the fourteenth century4 ,sgraffiato ware was made in a similar manner1 and derived its name from the incised ornaments which were cut into the white engobe or slip 7with which the ware was covered71 so as to show the original color below the slip4 ,in the example here given 7,fig4 #bjb7 the incised decoration is combined with figures and flowers in relief4 ,but the brilliant importations from ,spain made a deep impression upon the public taste4 ,the wares of ,majorca were those best and most generally known1 and its name1 as changed to majolica1 had been given to the entire class of lustred wares1 although the art of lustring was already known in ,italy4 ,it is well to discriminate between the name and the article4 ,it is quite possible that the name of the best known type should come to be applied to the entire class4 ,jacquemart finds the early wares of ,pesaro very suggestive of ,persian influence4 ,he concludes1 also1 that the art of applying the metallic lustre may have been communicated by ,persian potters1 or by others who had learned it from them1 to the eastern potteries of ,italy4 ,we may conclude that1 as the ,majorca ware surpassed that of the early ,italian potteries1 the potters of ,italy endeavored to derive what benefit they could from calling their own productions by the same name4 ,metallic lustres were used before stanniferous enamel was adopted4 ,the invention of the latter in ,italy has been generally ascribed to ,luca della ,robbia1 but there is every reason for believing that this is incorrect4 ,it is impossible to suppose that the ,saracen and ,moorish potters in ,italy were unacquainted with it4 ,it is much more likely that1 being satisfied with the results of the processes to which they were accustomed1 and the beauty of lead glaze1 they did not care to use it4 ,illustration3 ,fig4 #bjc4--,luca della ,robbia4 ,to tell what ,robbia did accomplish we must glance at his personal history4 ,luca della ,robbia 7,fig4 #bjc7 was born at ,florence in the year #acii or #adjj4 ,at first he turned his attention to the business of a goldsmith1 but afterward aspired to sculpture4 ,about #adch his marble bas-relief of 8,the ,singing ,boys0 was placed in the ,duomo of ,florence1 and was so great a success that orders quickly multiplied4 ,he had also done some work in bronze1 but neither chiselling nor casting was sufficiently speedy4 ,statues must be copied from a clay model4 ,the model was his own2 the copy was1 in the general case1 the work of an assistant2 and probably1 even if he chiselled the marble himself1 he could not reproduce the effects so easily reached in the plastic clay4 ,illustration3 ,fig4 #bjd4--;,holy ,family4 ,medallion by ,luca della ,robbia4 7,htel ,cluny1 ,paris7 ,illustration3 ,fig4 #bje4--,luca della ,robbia4 ,infant ,saviour and ,virgin4 7,boston ,museum of ,fine ,arts47 ,luca was an enterprising artist1 and it occurred to him that if he could only dispense with the chiselling and casting1 his art and profit would both improve4 ,but how could he make the clay as hard as bronze and as white as marble8 ,remember that ,luca was a sculptor1 not a potter4 ,whatever he did afterward1 there can be no doubt that his attention was first turned to statuary4 ,he probably decided upon applying to the men who were accustomed to working in clay1 to coloring it and glazing it1 to help him in his difficulty4 ,he inquired1 and learned that by dipping his statuary in tin enamel and firing it1 his object would be accomplished4 ,these considerations give his supposed discovery a new aspect4 ,if we consider that for centuries stanniferous enamel had been in use by ,eastern potters1 and that the ,saracens were perfectly familiar with it1 the secret is divested of all mystery4 ,luca probably acquired his knowledge in one or other of the ,italian potteries4 ,what1 then1 are we to credit to him8 ,he must be admitted to have improved the enamel after a series of experiments1 and to have succeeded in bringing it to the degree of fineness and opacity demanded by his purpose 7,fig4 #bjd74 ,his first work was a bas-relief of the ,resurrection1 made about the year #addj1 and still standing in the ,cathedral of ,florence4 ,this piece is of blue and white1 the latter for the figures1 the former for the ground4 ,he afterward introduced green and yellow1 but these colors are very sparingly used4 ,his best works are in and around ,florence4 ,of a ,madonna in the circle above a chapel door1 ,ruskin1 in his 8,mornings in ,florence10 says3 8,never pass near the market without looking at it2 and glance from the vegetables underneath to ,luca's leaves and lilies1 that you may see how honestly he was trying to make his clay like the garden stuff40 ,the same colors are introduced in a bas-relief in the ,castellani collection1 in which the ,madonna kneels before the ,infant ,saviour1 and angels look down from above4 ,the figures are white1 the ground blue1 and green is introduced in the grass4 ,of the same class is the preceding example 7,fig4 #bje7 from ,boston4 ,illustration3 ,fig4 #bjf4--,medallion by ,luca della ,robbia4 7,south ,kensington ,museum47 ,illustration3 ,fig4 #bjg4--;,andrea della ,robbia4 ,holy ,family4 7,boston ,mus4 of ,fine ,arts47 ,while producing these works in enamelled earthen-ware1 ,robbia also painted on the flat4 ,of this work there are twelve circular medallions in the ,south ,kensington ,museum1 and several specimens in ,florence--a tondo1 some tiles1 and a lunette4 ,the medallions are enamelled1 and the paintings are allegorical representations of the months 7,fig4 #bjf74 ,vasari says in regard to the tiles3 8,for the bishop of ,fiesole1 in the church of ,san ,brancazio1 he also made a marble tomb1 on which are the recumbent effigy of the bishop and three other half-length figures besides2 and on the pilasters of that work he painted1 on the flat1 certain festoons and clusters of fruit and foliage so skilfully and naturally1 that were they even painted in oil on panel1 they could not be more beautifully or forcibly rendered40 ,illustration3 ,fig4 #bjh4--,modern ,imitation ,robbia ,ware4 7,boston ,museum of ,fine ,arts47 ,illustration3 ,fig4 #bji4--,s4 ,sebastian1 by ,giorgio4 7,south ,kensington ,museum47 ,luca died in #adha1 leaving the full knowledge of the process he had perfected to his nephew ,andrea1 who1 however1 was less successful than his uncle4 ,his art is less pure 7,fig4 #bjg74 ,he becomes elaborate where ,luca was simple1 especially in his heavy borders of fruit4 ,andrea was born in #adeg1 and died in #aebh1 and left the transmissible part of his art to his four sons1 ,giovanni1 ,luca1 ,ambrosio1 and ,girolamo4 ,of these1 ,girolamo became a monk1 and one specimen of his work is said to be at ,siena4 ,giovanni's works are signed1 and cannot1 therefore1 lead to any confusion4 ,luca1 junior1 settled in ,rome1 and ,girolamo went to ,france1 where he executed several works4 ,luca1 the elder1 had also two assistants1 ,agostino and ,ottaviano1 the former of whom displayed great talent1 and worked in ,perugia4 ,the special art was carried to ,spain by ,nicoloso ,francesco1 of ,pisa1 who made some bas-reliefs for a church in ,seville4 ,of the other successors of ,luca we need only refer to ,maestro ,giorgio ,andreoli1 of ,gubbio1 who is said to have produced some pieces after the ,della ,robbia type 7,fig4 #bji74 ,the style finally passed away in the earlier part of the sixteenth century4 ,the demand for it appears to have failed about that time4 ,stanniferous enamel continued to be used here and there after ,luca's death1 and after the lapse of some years came gradually into general use4 ,the oldest piece not of his style is dated #adge4 ,for the sake of lucidity it may also be here mentioned1 that the metallic lustre1 for which the first pressure of public demand was felt toward the close of the fourteenth century1 passed into oblivion in less than a hundred years1 until revived in more modern times4 ,illustration3 ,fig4 #baj4--;,chaffagiolo ,pitcher4 7,south ,kensington ,museum47 ,besides that of perfecting a special process1 to ,luca della ,robbia must be assigned the credit of paving the way to the revival which culminated in the products of ,gubbio4 ,the distinction between mezza-majolica and majolica must not be forgotten1 viz41 that the former name was originally applied to wares covered with a white slip1 then painted1 lead-glazed1 and lustred1 and the latter to tin-enamelled ware similarly lustred4 ,the latter was thus the highest representative of the combination of two processes1 both of ,oriental origin4 ,the application of metallic lustre was ,persian4 ,stanniferous enamel was successively ,egyptian1 ,babylonian1 and ,saracenic--the ,saracens undoubtedly acquiring a knowledge of it in ,persia1 where the beautiful silicious glaze kept it in subordination4 ,the ,moors in ,spain brought it more freely into use in decoration1 and with ,luca della ,robbia1 who perfected the process still farther1 raised it from the desuetude into which it had fallen in ,italy1 where1 however1 it was already known to ,saracenic settlers and their pupils4 ,illustration3 ,fig4 #baa4--,siena ,vase4 7,south ,kensington ,museum47 ,with this recapitulation of the beginnings of real ,italian majolica1 we may now continue our history4 ,the impetus ,italian ceramic art received from foreign contact1 and from the knowledge acquired by trade1 was kept up by the wisdom and devotion to the cause of art manifested by several of the ducal houses4 ,from ,pesaro1 under the house of ,sforza1 from ,urbino1 under that of ,montefeltro1 and from ,florence and ,chaffagiolo1 under the ,medicis1 and from other centres1 the art spread over all ,italy4 ,it is1 therefore1 by inquiries at these places that our investigations must be continued4 ,leaving out of view the questions as to the priority of ,chaffagiolo to ,faenza and ,pesaro's precedence in metallic lustring1 we may begin with ,tuscany4 ,the leading ,tuscan towns were ,chaffagiolo1 ,florence1 ,siena1 and ,pisa4 ,the first of these produced the earliest ,tuscan majolica4 ,its leading features are a thick dark blue1 made from cobalt2 a bright orange and yellow2 a fine clear green1 red1 brown1 and purple4 ,before the artists of ,chaffagiolo had awakened to the spirit of the ,renaissance1 they issued some works enamelled on one side1 with central designs of a ,gothic character1 and borders of orange1 white1 and blue4 ,in the fifteenth century a marked improvement was made1 but it was not until the beginning of the sixteenth century that the best ,chaffagiolo ware was made4 ,their colors then become more brilliant1 and are more daringly handled4 ,some of these pieces are dated #aejg and #aeji4 ,metallic lustres were used about the same period4 ,later1 the brilliancy of the enamels is toned down1 and the execution of the designs is more careful and refined4 ,chaffagiolo continued to make majolica to the end of the sixteenth century4 ,the pieces frequently show heraldic designs 7,fig4 #baj7 and mottoes1 the letters ,s4 ,p4 ,q4 ,f4 7the senate and people of ,florence71 and the letters ,p4 ,s4 sometimes with ,i4 and sometimes without4 ,the works made at ,siena 7,fig4 #baa7 are in many cases undistinguishable from those of ,chaffagiolo4 ,an artist named ,benedetto produced at ,siena some very fine pieces4 ,the majolica of ,florence1 if such were ever made1 is now unknown4 ,lazari states that an artist was brought by the ,grand ,duke ,francesco ,maria to decorate ,florentine vases2 but assuming the truth of the statement1 his works are now either destroyed or lost among those ascribed to other places4 ,we have already learned something of ,pisa as fitting out a ,balearic crusade and exchanging pottery with ,spain4 ,probably the wares it exported came from other parts of ,tuscany1 although it had a majolica manufactory of its own4 ,the ,pisan decoration closely resembles that of ,urbino4 ,illustration3 ,fig4 #bab--,the ,sforza ,dish4 ,pesaro4 ,in the ,duchy of ,urbino1 ,pesaro1 ,castel-,durante1 ,urbino1 and ,gubbio are the leading centres1 and absorb a large share of the interest surrounding the pottery of ,italy4 ,when the ,sforza family acquired the lordship of ,pesaro1 they instituted pottery works there1 and in #adhf and #aejh passed edicts against the importation of earthen-ware into ,pesaro4 ,the first of these protective measures was granted by ,giovanni ,sforza and ,camilla1 his father's widow1 and was commemorated by a dish called the ,sforza dish1 a very wonderful specimen of majolica 7,fig4 #bab74 ,the centre is occupied by portraits of the granters of the edict1 shaded with blue on an indigo ground1 and having gold and ruby lustred hair1 dresses1 and head-dresses4 ,a scroll representing the edict forms a white back-ground to the faces1 and is finished with ruby lustre4 ,the borders are blue1 with ruby and gold lustre4 ,under the house of ,sforza the manufacture of mezza-majolica improved1 and in #aejj fine1 or tin-enamelled1 majolica was introduced4 ,up to #aecj it steadily improved1 and in that year the wife of the reigning ,duke of ,urbino1 who had succeeded the ,sforza lords of ,pesaro1 erected a palace near ,pesaro4 ,from #aedj to #aefh1 under ,duke ,guidobaldo ,,ii41 the art continued to rise1 until it reached its highest point of perfection4 ,the duke first employed ,battisto ,franco1 an eminent ,venetian artist1 and ,raffaelle del ,borgo4 ,girolamo ,lanfranco and ,giacomo ,lanfranco were also employed as artists at ,pesaro4 ,after #aefj the art began to decline4 ,illustration3 ,fig4 #bac--,pesaro ,vase4 7,john ,taylor ,johnston ,coll41 ,n4 ,y4 ,metrop4 ,museum47 ,the earliest ,pesarese works very closely resemble the ,persian1 and are the best indications to be found of the presence of an art brought directly from ,iran to ,italy4 ,these are lustred and painted in green and blue4 ,at ,pesaro we first meet with pieces showing the portraits and love mottoes by which the lovers of the day celebrated the beauty of their mistresses and gave lasting tokens of their passion4 ,if we seek peculiar features in this majolica1 we shall find them in the strong execution and finely blended tints of the early pieces1 and in the yellow of the madreperla lustre combined with blue4 ,as the art rose under the second ,guidobaldo1 historical scenes after the great masters present themselves1 taken from both profane and sacred history--the brave ,horatius defending the bridge at ,rome against the army of ,lars ,porsenna1 ,samson1 ,brennus1 ,mutius ,scvola1 ,judith1 and other characters4 ,in #aefg the ,giacomo ,lanfranco already mentioned applied real gold to majolica1 and several of his pieces thus decorated are still in existence4 ,castel-,durante appears to have produced faience as early as #acfa1 but none of its pottery can be recognized until we come down to #aejh1 after which the specimens multiply4 ,with the year #aehj the art passed its meridian1 and declined steadily for nearly two hundred years4 ,the characteristic decoration consists of scrolls with fantastic chimerical terminations4 ,the colors are at first a dull green upon blue1 and about #aeej lustrous rich yellows appear1 and led to the decline thirty years later4 ,illustration3 ,fig4 #bad4--;,castel-,durante ,portrait ,plaque4 7,south ,kensington ,museum47 ,illustration3 ,fig4 #bae4--;,castel-,durante ,dish4 7,castellani ,coll47 ,the city of ,urbino was the great centre at once of majolica painting and of the ducal patronage1 which gave the entire duchy its pre-eminence4 ,from #adgg1 when ,garducci was working in a comparatively humble way1 down to #aecj1 the history of ,urbino hardly demands notice4 ,its highest glory came with ,francesco ,xanto 7,fig4 #baf71 whose broad and generally true drawing and masterly composition mark him as one of the great artists of the ,renaissance4 ,his subjects are taken from the ,latin classical and the later ,italian poets1 and from ,raffaelle4 ,living at the time when the demand for metallic lustre was at its height1 he applies it with a boldness and effectiveness in harmony with his brilliant coloring4 ,all his works are signed4 ,from him we turn to the equally illustrious ,fontana family--,guido1 ,camillo1 and ,orazio1 the latter of whom is specially deserving of study4 ,he attained to a higher mechanical excellence than any of his predecessors1 his best works dating from after #aedj1 when ,xanto's career was closing2 and his paintings are in consequence characterized by a softness of color and a fineness of glaze which leave him without a peer4 ,few pieces by the ,fontana family are signed4 ,their most famous works are the vases for the ,spezieria1 ordered by the ,duke ,guidobaldo ,,ii41 and painted from designs by ,raffaelle ,battista ,franco1 ,michael ,angelo1 ,giulio ,romano1 and others4 ,nicola da ,urbino and ,francesco ,durantino are among the other artists who contributed to the fame of ,urbino4 ,illustration3 ,fig4 #baf4--,urbino ,plate1 by ,xanto4 ,scene1 the ,storming of ,goleta4 7,marryat ,coll47 ,illustration3 ,fig4 #bag4--,urbino ,vase4 ,figure of ,justice with ,sword4 7,castellani ,coll47 ,the lustres of ,gubbio 7,fig4 #bai7 are inseparably associated with the one great name of ,giorgio ,andreoli1 or1 as he is usually called1 ,maestro ,giorgio4 ,he was a native of ,pavia1 and was originally a sculptor2 and after he went to ,gubbio1 in #adih1 executed some works in the ,della ,robbia style 7,fig4 #bji74 ,a piece dated #adhi1 and signed 8,don ,giorgio10 is ascribed to him while he was still at ,pavia1 but the first piece characteristic of the master1 signed and lustred1 is dated #aeai1 and the last #aeda4 ,we have said that ,xanto of ,urbino lustred his own pieces1 but the matter is not free from doubt4 ,maestro ,giorgio certainly was master of the art of lustring1 and the brilliancy of his ruby reds1 copper1 and mother-of-pearl is unrivalled4 ,but the statement of many writers that artists at other places sent their works to ,gubbio to be lustred1 and allowed ,giorgio to affix his name to them1 is too repulsive to be accepted without protest or reservation4 ,one can hardly imagine a more unworthy course than that ascribed to ,giorgio1 of laying aside his proper artistic functions and becoming merely a decorator with lustres1 8indifferent10 as ,marryat says1 8by whose hands they were executed or from what fabric they proceeded40 ,it is in this capacity of decorator that the otherwise finished paintings of ,xanto and others are said to have been sent to him to be enriched with lustre4 ,the earlier ,gubbio wares generally have a pale-blue ground1 with grotesques and scrolls terminating in animals' heads1 and mingled occasionally with cherubs' heads4 ,the grounds afterward became more brilliant1 and the designs include mottoes and busts in celebration either of the great men of the time or of its fair ladies4 ,it is to be noted that ,giorgio lived before the accession of ,guidobaldo ,,ii41 and consequently did not partake of the benefits enjoyed by the ,fontana family at ,urbino4 ,illustration3 ,fig4 #bah4--,urbino ,pilgrim's ,bottle4 7,south ,kensington ,museum47 ,illustration3 ,fig4 #bai4--,lustred ,gubbio ,vase1 of about ,a4,d4 #aejj4 7,south ,kensington ,museum47 ,from the ,duchy of ,urbino we may turn to ,faenza4 ,it has already been referred to as supplying an etymology for the word faience4 ,ganzoni1 writing in #adhe1 speaks of the whiteness and polish of the ,faenza majolica1 and ,lazari praises its soft tints and good drawing1 which manifested themselves after the first quarter of the sixteenth century4 ,the earlier fabrics bear strong evidences of ,oriental influences1 and1 as seen in the ,castellani collection1 would carry us back to a very early stage of the art4 ,the glaze is either lead or litharge1 and some of the designs consist of geometrical combinations in manganese and copper4 ,other primitive pieces are of a very pale blue or white1 changing at times to a blue border surrounding heads with beards terminating in acanthus leaves and scrolls attached4 ,a slight examination of these pieces shows that the strength of the artists of this period lay in the accessories1 and that they were weak and uncertain in their attempts at figure-drawing4 ,the pieces ascribed to ,casa ,pirota1 of which ,signor ,castellani has some notable examples1 are those in which we discover the point of ,lazari's encomiums4 ,these date from #aebe downward1 and show the excellence of drawing and brightness of decoration which gave the ,faentine majolica its celebrity4 ,the borders frequently consist of grotesques in shaded white on pale or dark blue or gray grounds4 ,dishes with chiaroscuro arabesques on grounds of blue1 surrounding figures1 busts1 or heraldic designs1 represent a prevailing ,faentine style4 ,a plate belonging to ,signor ,castellani has a blue ground in the centre1 on which a coat-of-arms is laid in yellow1 and the broad border of pale gray finishes with a rim of green and yellow4 ,an exceptional piece is described as black with white reserved arabesques4 ,forli1 ,rimini1 and ,ravenna may be dismissed briefly4 ,forli produced pottery at least as early as #acif2 but it was not until the sixteenth century that it made any majolica which we can recognize1 and even then it might easily be confounded with the productions of ,chaffagiolo and ,faenza4 ,the ,rimini majolica is chiefly remarkable for its wonderful glaze4 ,illustration3 ,fig4 #bbj4--,plateau by ,giorgio4 7,south ,kensington ,museum47 ,venice had majolica factories at least as early as #aebj1 and probably half a century before that date4 ,the earlier wares are illustrated by certain pieces of faience pavement4 ,of the sixteenth century the earliest specimens are dated #aedj and #aedc1 and of this period the designs are chiefly in blue and white1 sometimes soft and undecided4 ,the ware is thin and hard1 and the rims of plates are frequently decorated with fruit and flowers in relief4 ,scrolls on a deep blue ground1 and oak leaves on pale blue1 are also met with4 ,illustration3 ,fig4 #bba4--;,faenza ,fruit ,dish4 ,with ,ferrara1 ,deruta1 and ,naples we may conclude our enumeration4 ,ferrara was an offshoot of ,faenza1 whence we find ,fra ,melchiorre coming in #adie1 ,biagio in #aeja1 ,antonio in #aebb1 and ,catto in #aebh4 ,the artist ,camillo who painted vases1 the ,dossi brothers who designed1 8,el ,frate10 ,grosso1 and ,zaffarino are among those who gave ,ferrara its reputation4 ,it is probably to the ,dossis that the grotesques on a white ground are to be attributed4 ,deruta takes us back to ,robbia1 whose pupil1 ,agostino di ,antonio di ,duccio1 went to ,perugia in #adfa1 and thence certainly influenced the ,deruta school4 ,with such teaching ,deruta produced1 early in the sixteenth century1 majolica of a very high order of merit1 with blue grounds and yellow lustred cherubs' heads in relief1 and arabesques4 ,within such borders are white enamelled inner circles1 with scrolls mingled with birds and chimeras1 surrounding a raised centre of deep blue bearing a bust or head4 ,several pieces subsequent to #aedd are signed 8,el ,frate10 and are1 as a whole1 weak and unpleasing1 although some others are strong and beautiful4 ,as a rule1 the artists of ,deruta appear to have been the direct opposites of those of early ,faenza1 i4 e41 they expend their resources upon their principal figures1 and make the details entirely secondary4 ,the earliest ,deruta vases are conical1 and decorated in lustre and white enamel with blue4 ,naples and ,castelli are both surrounded with more or less mystery1 although evidence is not wanting that the latter at least produced excellent majolica4 ,with the end of the sixteenth century appear some large vases of ,naples1 painted in dark colors with religious subjects4 ,illustration3 ,fig4 #bbb4--;,deruta ,dish4 7,south ,kensington ,museum47 ,the shapes which engaged so much of our attention in ,greece1 are in ,italy too manifold and varied for classification4 ,we are in presence of an entirely new order of things1 when we find artists expending their best efforts upon decoration with enamels1 lustres1 arabesques1 grotesques1 and wonderful scrolls turning in their sweeping folds round all manner of impossible monsters1 of a plain1 broad-bordered dish1 with no pretension to form4 ,when the ,italian artists concede something to shape1 they frequently become wilful1 embellishing a vase reminding us of ,greece with serpent handles1 or running off into elaborate inkstands or quaint table wares4 ,in the ,italy of the ,renaissance we are in the presence of the triumph of decoration1 and it is upon decoration that we1 in common with all inquirers1 must concentrate attention1 thankful if at times we detect a harmony between the gracefulness of a vase and the beauty of its brilliant colors4 ,possibly it may be reserved for the ,united ,italy of the nineteenth century to turn back to the earlier pages in her ceramic history1 and1 having filled herself with the spirit of the potters of ,magna ,grcia and ,apulia1 to pass down to the brilliancy of the sixteenth century1 and1 with both in full view1 to execute something worthy of the later prime of her unity4 ,endless repetitions of the famous fabrics of the ,renaissance have led her into spiritless imitation and boundless fraud4 ,some of the pieces displayed at the ,centennial ,exhibition were by no means destitute of merit4 ,faenza can still produce good drawing and effective coloring1 and ,della ,robbia ware is still manufactured with tin-enamelled figures1 which look considerably better than whitewashed terra-cotta4 ,but let us imagine the energy and skill devoted to imitation with intent to deceive1 and the painstaking labor of honest men who make no attempt to rise above the rank of copyists1 to be together thrown into an endeavor to reach a new originality4 ,might not ,italy be raised from the rank of a country resting upon a brilliant past into that of one working in the present to reach an equally brilliant future8 ,,porcelain4 ,florence and ,earliest ,artificial ,porcelain4--,theory of ,japanese ,teaching4--,la ,doccia4--,venice1 and the ,question of its ,first ,making ,european ,porcelain4--,le ,nove4--,capo di ,monte4 ,illustration3 ,fig4 #bbc4--,medicean ,porcelain 7,castellani ,coll47 ,illustration3 ,fig4 #bbd4--;,design at ,bottom of ,bowl1 ,fig4 #bbc4 ,to ,italy and to the family of the ,medici1 as we have seen1 belongs the honor of making the first artificial ,european porcelain of which any specimens have come down to our time4 ,the result of recent researches has been to throw much light upon the interesting discovery made at ,florence4 ,dr4 ,foresi1 of that city1 was the first whose attention was drawn to the matter4 ,he collected several pieces of porcelain1 evidently of ,european manufacture2 and his curiosity having been aroused as to their origin1 he found that the ,grand ,duke ,francis ,i4 had a private factory in the ,boboli gardens1 that there experiments had been made with a view to discovering the composition of porcelain1 and that success had been attained4 ,the marks on the pieces are the letter ,f4 and a dome1 the arms of the ,medici1 and on one1 the arms1 the letters ,f4 ,m4 ,m4 ,e4 ,d4 ,,ii4--the initials of ,franciscus ,medici ,magnus ,etruri ,dux ,secundus--the letter ,f4 and the dome4 ,the latter of these were clearly the initial letter of ,florence or of ,francis1 and the dome of the city's magnificent cathedral4 ,a fine specimen of the ,florentine porcelain was brought to ,america in the ,castellani collection 7,fig4 #bbc74 ,it is a fluted dish1 with the figure of ,st4 ,mark and the lion painted in blue on the bottom 7,fig4 #bbd74 ,under the lion's paw is a volume bearing the letters ,g4 and ,p41 supposed to be the artist's initials1 and on the reverse are the letter ,f4 and the dome4 ,in the same collection is a plate1 also decorated in the ,japanese style1 light blue and white1 and having the dome and letter on the under side4 ,there are not thirty pieces of this ware known4 ,in connection with the fact that the decoration1 as we pointed out when speaking of this ware under ,japan1 is undoubtedly ,japanese1 an interesting question has been raised by ,mr4 ,b4 ,phillips4 ,he expresses the belief that the presence of ,japanese--composing the embassy to the ,pope--in ,italy may have had a direct influence1 not only on the ornamentation but on the manufacture of the ,medicean porcelain4 ,he then says3 8,that these ,japanese nobles visited the ,grand ,duke in ,florence cannot be doubted4 ,now1 as to the ,medicean porcelain1 we have been careful not to use the word #8discovery' in connection with its early manufacture in ,florence4 ,we are strongly of the opinion that the method of selecting and preparing the material from which porcelain had to be made was derived directly from the ,japanese4 ,if the decoration1 as we believe has been undoubtedly proved1 was taken from the ,japanese1 might not the method of making porcelain have been derived from the same source80 ,that ,italy may have full credit for the ,grand ,duke's success1 it may be pointed out that there are two objections to the above theory4 ,it is nowhere stated that the ,japanese were acquainted with any other than natural kaolinic porcelain1 and it is exceedingly improbable that the members of an embassy had any knowledge of the combination of materials in an artificial paste4 ,the ,medicean was not a pure kaolinic porcelain1 but 8a composite paste having for basis quartz and a vitreous frit1 with a small quantity of the kaolin of ,vicenza40 ,in the second place1 the embassy did not leave ,japan until #aehc1 and only reached ,italy in #aehe4 8,in #aeha10 says ,jacquemart1 8the experiments of the ,grand ,duke had produced their fruits1 and he already sent presents of his translucent pottery to the other sovereigns of ,europe40 ,the porcelain was1 therefore1 made before the ,japanese arrived in ,italy4 ,were anything further needed to preserve for ,italy the exclusive credit of one of the greatest contributions to ceramic art1 it may be found in the styles of decoration of the ,medicean porcelain4 ,these are divisible into two classes3 the ,oriental and the ,italian4 ,the latter resembles that of faience1 and consists chiefly of grotesques4 ,such are the pieces upon which appear the arms of the ,medicean family1 for whose use they were reserved4 ,the specimens with ,oriental decoration were gifts made to spread abroad the renown of the ,grand ,duke's laboratory4 ,such a purpose could certainly not have been fulfilled with inferior works1 and this class1 to which the ,castellani porcelain belongs1 may be taken as representing the best ,medicean paste4 ,in this view the fabric was at its highest before the ,japanese left their own country1 as we have seen that pieces of this character were being sent over ,europe in #aeha4 ,the probability is that the ,grand ,duke1 or ,bernardo ,buontalenti1 who really made the discovery1 arrived at it by independent investigations prompted by ,oriental porcelain1 and that the latter and the finer specimens of majolica suggested the decoration4 ,about one hundred and fifty years later1 or in #agce1 the ,marquis ,carlo ,ginori established a manufactory at ,la ,doccia1 near ,florence4 ,the enterprise of the founder was so great1 manifesting itself in the introduction of the chemist ,wandelein as director1 and the importation of material from ,china1 that in a few years the ,doccia porcelain had become famous4 ,the earlier pieces bear a close resemblance to the ,chinese4 ,the artists of ,doccia excelled in modelling1 and many of their groups are beautifully executed4 ,it is unfortunate that from an early period of the existence of the workshop its artists should have engaged in imitation4 ,after following ,chinese models they turned to ,svres1 and then to ,capo di ,monte4 ,more lately1 ,doccia has won an unenviable notoriety by its spurious imitation of old majolica and the wares of ,luca della ,robbia4 ,early in the last century ,doccia became possessed of some of the moulds of ,capo di ,monte1 and as the ,doccia mark does not appear upon the pieces made from them1 a wide opening was offered for fraud4 ,it is worth noting1 however1 that it is by its copies and imitations that the ,doccia manufactory reached its greatest financial success4 ,the success of the counterfeit has destroyed the genuine1 and the artistic is overshadowed by the commercial4 ,in ,venetia1 porcelain was made at ,venice and ,le ,nove4 ,the history of the manufacture in ,venice is somewhat obscure4 ,early in the sixteenth century--and1 therefore1 before the ,medicean ware was produced--experiments1 the success of which cannot now be measured1 were made by a ,venetian artist4 ,he seems1 after making a few pieces1 to have relinquished the enterprise for lack of support and patronage4 ,his story is thus told3 8,there was an old potter in ,venice about #aejd-aeai1 whose name is unknown1 of whom1 in fact1 we know nothing except from a few notes discovered by the ,marquis ,campori among the relics of the ,duke ,alphonso ,i4 of ,ferrara1 but whose name ought to be blazoned in gold as the first ,european who made porcelain4 ,in #aejd the ,duke was in ,venice1 and his book of expenses shows an item of two liri and a fraction1 paid for a piece of porcelain4 ,fifteen years afterward his ambassador in ,venice wrote him a letter1 sending with it a plate and bowl of porcelain1 from the #8master1' from whom the ,duke had ordered them4 ,and the ambassador goes on to say that the master declined to take more1 as his experiments cost him too much time and money2 and1 further1 he declines to accept an invitation of the ,duke to remove to ,ferrara and make porcelain there1 pleading that he is too old1 and does not want to leave ,venice4 ,enthusiastic collectors imagine that a few specimens to which they can assign no other origin are works of the old ,venetian1 but there is no satisfactory evidence that any of his work remains40 ,in the absence of any relics of this ancient ,venetian to substantiate his claim to the invention of a true porcelain1 the honor will probably continue to be ascribed to ,florence4 ,however this may be1 the existence of ,venetian specimens with decoration suggestive of seventeenth century styles1 would indicate that the industry was at least kept alive1 and that there were several predecessors to the manufactory founded by ,francesco ,vezzi early in the eighteenth century4 ,some very beautiful works are attributed to the ,casa ,vezzi4 ,in or about #agfe another manufactory was established by ,geminiano ,cozzi1 and from it were turned out table-sets1 groups1 statuettes1 and vases4 ,the establishment at ,le ,nove1 founded in #ageb by ,pasquale ,antonibon1 produced majolica1 terraglia--a mixed composition of pottery and porcelain--and artificial porcelain4 ,of the latter 7,fig4 #bbe7 some magnificent examples have been preserved4 ,illustration3 ,fig4 #bbe4--,nove ,porcelain ,vase4 ,the most famous ,italian porcelain is that of ,capo di ,monte4 ,this manufactory was founded in #agcf by ,charles ,,iii41 whom we have already seen introducing the art into ,madrid1 after he left ,naples to mount the throne of ,spain4 ,the founder does not appear to have been indebted to any extent whatever to the discoveries made at ,meissen1 but to have set on foot a perfectly independent and national industry4 ,the king frequently worked in the factory1 and under his guidance and the favor of his consort1 ,queen ,amelia of ,saxony1 its products rapidly improved after the first essays1 which closely followed the ,japanese4 ,the ,capo di ,monte forms assume a distinctive character4 ,her artists turned to the sea1 as became citizens of the ,queen of the ,sea1 and there found inspiration4 ,they took the shells of the ,mediterranean for their models1 and by combining them with coral and sea-plants1 and coloring all after nature1 produced some of their most beautiful works4 ,a very handsome ewer is thus composed1 the body representing an ingenious combination of shells set in a foot of coral1 a branch of which climbs up the side1 and1 arching to the lip1 forms the handle4 ,a basin is similarly designed1 and is dotted with smaller shells4 ,or again1 a salt-cellar is modelled after a boat steered by a youth4 ,these examples will suffice to show that not the least merit of the artists of ,capo di ,monte is their originality4 ,the table services present us with some of the finest porcelain made in ,europe4 ,the paste is fine and transparent1 and many of the pieces are as thin and light as the egg-shell of ,china4 ,when ,charles ,,iii4 set out for ,spain1 he took a number of the artists with him1 and left to his successor in ,naples the work of maintaining the industry4 ,in this ,ferdinand was not successful1 and ,capo di ,monte rapidly sank1 and disappeared altogether in #ahba4 ,the porcelain made at all the places named was artificial4 ,the only ,italian manufactory of natural porcelain was that of ,vineuf1 near ,turin1 which began to work toward the end of last century4 ,the body contains magnesia4 ,the workshop was founded by ,dr4 ,gioanetti4 ,illustration3 ,fig4 #bbf4--,old ,svres ,biscuit4 ,judgment of ,paris4 7,august ,belmont ,coll47 ,,chapter ,v4 ,,france4 ,prospect on approaching ,france4--,present and ,past4--,the ,ancient ,celts4--,under the ,romans4--,middle ,ages4--,poitou1 ,beauvais1 and ,hesdin4--,italian ,influence4--,a ,national ,art4--,bernard ,palissy1 ,barbizet1 ,pull1 and ,avisseau4--,henri ,deux ,ware4--,rouen4--,nevers4--,moustiers4-- ,marseilles4--,strasburg4--,limoges4 --,haviland's ,new ,process4--,examples4--,bourg-la-,reine4 --,laurin4--,deck4 --,colinot4--,creil4--,montereau4--,long wy4--,parville4--,gien4--,sarreguemines4 --,niederviller4--,luneville4--,nancy4-- ,st4 ,clement4--,st4 ,amand4 --,paris4--,sceaux4 ,turning as we leave ,italy we seem to look back across a wide1 unbroken plain1 from the midst of which rises a mountain range1 its summits glowing with the rays of the setting sun behind us4 ,it is thus we revert across comparative barrenness to the ,renaissance1 beyond which1 and hidden1 lie the earlier glories of ,etruria and ,grco-,italy4 ,as we turn to ,france the sun is in front of us1 striking full upon a height still cloud-capt and unrevealed1 and bathing the intervening undulating landscape in the fulness of its undimmed splendor4 ,with ,france the present sheds lustre1 life1 and light upon a long past beginning with pre-,roman ,gallia1 and extending through ,roman domination1 the darkness of the ,middle ,ages1 and the ,renaissance to the present time4 ,the early pottery of ,gallia has been variously viewed1 but there seems no reason for withholding from the ancient ,celtic potters the credit of having adopted a high and pure standard of art before the ,roman power was established4 ,it has even been questioned1 in the light of a full knowledge of the subject1 if the ,romans did not1 by the introduction of new models1 retard the growth of native skill and destroy an art superior to their own4 ,judging from the examples still remaining1 it is at least unquestionable that the ,celts had1 at a very early date1 arrived at ideas of simplicity and elegance of form far in advance of those entertained by contemporary nations4 ,these works1 moreover1 give no indication of foreign influence1 and probably represent the last stage of native art1 before it was disturbed by the entrance of the invader4 ,the ornamentation is chaste almost to severity1 and although in some instances it shows a community of style with the early ,german pottery1 it is generally independent and distinctive4 ,we do not assign an age to these pieces1 but it appears probable that they were preceded by a ruder pottery also referable to the ancient ,celts4 ,the earlier remains1 supposed to belong to the pre-,roman era1 have been found in the ,north1 and are of a very primitive character1 evidently made entirely by hand1 without the assistance of either mould or wheel4 ,the paste is dark-colored and coarse4 ,there is also a class equally rude1 in so far as the composition is concerned1 but giving in the shapes a suggestion of ,roman influence4 ,red ,roman ware has been found in every part of ,gaul1 and a furnace was discovered in ,auvergne4 ,at ,bordeaux red1 black1 white1 and yellow ,roman pottery has been exhumed1 and several localities are indicated at which potteries existed4 ,as we approach the ,middle ,ages1 and begin to detect evidences in ,france of a knowledge of processes with which we are already familiar1 and to question ourselves as to their special origin1 it may be well to keep the following facts in view3 firstly1 that ,marseilles was founded by a ,phnician colony2 secondly1 that pottery of the ,south of ,france1 after the ,arabs had spread over the ,states of ,barbary1 so closely resembled the ,arabian as to suggest at once communication with the ,north of ,africa2 thirdly1 that ,france was open to the same influences of trade1 intercourse1 and immigration which had so powerful an effect upon ,italy4 ,let us allude to one point1 the probable transmission of lead-glaze from ,greece to ,rome1 and thus to the ,gauls1 for an illustration of the untraceable route by which knowledge was spread1 and for an explanation of the phenomenon so often witnessed of a certain product revealing itself in the most incomprehensible manner at a point far removed from the accepted centre of works of its class4 ,in the twelfth century ,oriental ideas in ,france begin to supersede those of ,gothic inspiration1 and ,christianity and chivalry together operate a decided change in ceramic ornamentation4 ,processes gradually improved4 ,at ,poitou1 in the thirteenth century1 green-glazed conical urns were made1 and ,beauvais had already reached celebrity4 ,more interesting is the fact that1 at ,hesdin1 ,jehan de ,voleur was1 toward the close of the fourteenth century1 acquainted with stanniferous enamel4 ,in ,france1 therefore1 as in ,italy1 this secret was known long prior to the supposed discovery by ,luca della ,robbia4 ,it is1 however1 to ,italy that ,france is indebted for the access of spirit infused into its ceramic art in the sixteenth century4 ,italy supplied models to the ,french potters1 who had been busying themselves with ornamentation of ,gothic origin and ,christian devices and legends4 ,and1 further1 ,italian artists flocked to ,france between the close of the fifteenth and the latter part of the sixteenth century1 and settled at ,lyons1 ,amboise1 ,nantes1 and elsewhere4 ,after a time the ,italian taste they represented and their technical skill were turned into a channel more thoroughly ,french1 and to the building up of an art purely national4 ,among those who assisted in this great work no name is more eminent than that of ,bernard ,palissy 7,fig4 #bbg74 ,we have already characterized his life as the great romance in the history of ceramics1 and certainly it reads more like a romance than sober fact4 ,let us look at it a little in detail4 ,his father was a humble artisan1 and the honor of his birthplace is ascribed to ,la ,chapelle ,biron1 between the years #aejf and #aeaj4 ,his education was of the most limited kind1 including merely reading and writing2 and at an early age he began professional life as a worker in glass1 a combination of the glazier and painter4 ,his artistic instincts were thus kindled2 and besides acquainting himself with drawing1 painting1 modelling1 and geometry1 he studied the ,italian masters1 copied their works1 and devoted part of his time to literature4 ,thereafter1 to add to his stock of knowledge and widen his experience1 he began to travel1 and visited ,germany1 ,flanders1 and the several provinces of his native country4 ,as he travelled1 he worked as surveyor and glass-painter1 and studied chemistry and natural history4 ,it is with some astonishment that we find this man1 unknown to the world at large except as a potter1 investigating the subjects upon which the noble science of geology was afterward built1 and theorizing upon the elasticity and power of steam4 ,illustration3 ,fig4 #bbg4--;,bernard ,palissy4 7,from a ,painting in the ,htel ,cluny1 ,paris47 ,he finished his travels in #aeci1 settled at ,saintes1 married1 and devoted himself to his original profession and to land-measuring4 ,a few years later he saw the beautiful enamelled earthen cup--whether ,oriental1 ,german1 or white ,ferrarese need not concern us--which turned the entire course of his life4 ,he wished to imitate the enamel without knowing anything of its composition1 and embarked upon the long series of experiments which led him1 through numberless trials1 to eminence and fame4 ,he presents at this period one of the most curious figures possibly in all history1 that of a man apparently bent upon shutting out all benefit that might have been derived from the experience of others1 literally 8groping in the dark10 as he says of himself1 and determined to make up for lack of technical knowledge by assiduous experiment4 ,he ground1 built furnaces and fired them1 tried the potter's oven of ,chapelle-des-pots--all to no purpose4 ,having accepted a surveying mission he returned with treasury replenished and ardor unabated4 ,surely1 no man ever knocked with such pertinacity at the door of knowledge4 ,he met his first success by trying a glass-maker's furnace4 ,one of the pieces came out 8white and polished40 ,this was food to live upon1 and he began to build a furnace of his own1 doing all the work himself--three masons in one4 ,at length it was finished1 and the first attempt ended in failure4 ,he tried again1 becoming poorer and poorer1 so that he could not buy wood for his furnace4 ,in his strait1 he took the tree-props from his garden1 his furniture1 and house-flooring for fuel4 8,my shirt had not been dry for more than a month2 and also1 to console me1 they laughed at me1 and even those who ought to have helped me went crying about the town that ,i was burning my floor1 and by these means made me lose my credit2 and they thought me mad40 ,he was evidently in a bad way when he dropped into wearing a wet shirt for a month1 and thinking that any one ought to have helped him4 ,after a short rest1 he turned his attention to the preparation of a new furnace4 ,to carry out this new plan1 he was compelled to mortgage his credit by employing a potter to assist him4 ,his assistant he kept in food by the friendly offices of a tavern-keeper1 who seems not to have shared in the madness theory4 ,after six months he felt himself obliged to pay off his help1 and did so--in clothes1 part of his own scanty wardrobe4 ,still he was not to be beaten4 ,he finished his furnace single-handed1 put in his pieces1 and started the fire2 but still the gods were inexorable4 ,the pebbles in the mortar used in building the furnace cracked under the heat and flew in splinters1 sticking in the glaze of his pieces1 and spoiling them4 ,remorselessly1 he broke them all1 declining even to give his importunate creditors a single specimen in part payment of his debts4 ,one can imagine the storm such conduct raised1 and to make matters worse1 8,i met with nothing in my house but reproaches1 and received maledictions instead of consolation40 ,the ashes spoiled his next batch1 and when he resorted to seggars the unequally distributed heat marred the enamels4 ,he was now1 however1 too near victory to be altogether discouraged1 and finally1 after fifteen or sixteen years of unheard-of struggle and misery1 this indomitable genius produced the long-sought enamel1 and the secret of his well-known rustic pottery was discovered4 ,illustration3 ,fig4 #bbh4--,palissy ,dish4 7,rothschild ,coll47 ,fame and patronage came with success1 but ,palissy's troubles were by no means ended4 ,having embraced ,protestantism1 he fell under the edict of #aeei1 saw his workshop destroyed1 and was only saved from death by the intervention of the king4 ,under the protection of ,queen ,catherine de ,medici1 he first went to ,rochelle1 but was afterward summoned to ,paris1 and there1 in a workshop erected in the garden of the ,tuileries1 produced some of his best works4 ,saved by court influence from the massacre of ,st4 ,bartholomew1 he afterward1 in #aehh1 fell into the hands of the ,leaguers1 and in the following year1 at the age of eighty1 died in the ,bastille4 ,his first success was the production of the white enamel1 which appears to have engrossed his entire attention4 ,his second attainment was a jasper glaze1 the examples of which show a mixture of brown1 white1 and blue1 and which he deemed only worthy of using as a means of temporary subsistence4 ,his third and most famous achievement was the ,rustiques figulines 7,fig4 #bbh71 with which his name is most intimately associated4 ,these are known by imitations almost everywhere1 and consist of variously shaped dishes and vases ornamented with shells1 frogs1 lizards1 snakes1 fish of several varieties1 and leaves 7,fig4 #bbi74 ,he was succeeded by certain members of his family1 upon whose death his specialty was lost4 ,at the ,centennial ,exhibition several imitations were shown in the ,french1 ,swedish1 and ,portuguese departments4 ,of these the best were those of ,m4 ,barbizet 7,fig4 #bcj71 of ,paris1 the son of an artist who is said to have rediscovered ,palissy's method1 some fifty years ago1 and who introduced his father's discovery into commerce in #ahej4 ,pull1 of ,paris1 and ,avisseau1 of ,tours1 are also modern imitators who have been very successful in approaching their model4 ,pull began to produce his imitations in #ahef1 and has even deceived connoisseurs4 ,one of his pieces has been sold at as high a figure as #bdj4 ,mr4 ,walters1 of ,baltimore1 has an excellent example by the elder ,avisseau4 ,with the exception of the works of ,avisseau1 ,pull1 and ,barbizet1 the imitations of ,palissy ware are neither skilful nor in any way attractive2 as independent works of art1 accomplished on the suggestion supplied by him1 they are hardly deserving of serious consideration4 ,illustration3 ,fig4 #bbi4--,pitcher by ,palissy4 7,rothschild ,coll47 ,what is to be admired or condemned in ,palissy as a man requires no mention2 the admirable in him as a potter has been already pointed out 7see ,introduction1 page #db74 ,passing now from his rustiques figulines1 we find him1 after his settlement in ,paris1 carrying his peculiar style into works of a totally different general character4 ,in one piece a figure representing ,charity is surrounded by a rustic frame1 and a ,magdalen kneels in another among shells and plants4 ,in these1 as in his rustic pottery1 the figures are admirably executed and the coloring vigorous4 ,his palette was limited to a few colors1 of which yellow1 blue1 and gray were the chief1 although sometimes we find him introducing violet1 green1 and brown4 ,some tiles are attributed to him1 but the statuettes formerly ascribed to him are now generally conceded to be the works of other hands4 ,his vases1 basins1 and dishes are extremely varied1 and are decorated with subjects taken from contemporary life and from history4 ,a very remarkable vase now in the ,louvre is blue1 with yellow ornaments in relief1 and not less characteristic are his large oval cisterns1 with masques1 foliage1 fruit1 and shells for ornaments4 ,one of these 7,fig4 #bca7 is a perfect marvel of soft and harmonious coloring4 ,the heads are white2 the drapery white1 with yellow fringe1 and in its heavier folds blue2 the fruit and feathers white1 gray1 red1 yellow1 and blue2 the ground gray in tone1 and composed of blue1 maroon1 and green4 ,in two specimens of dishes the ground is white1 upon which reptiles lie in strong relief4 ,none of his pieces are signed4 ,illustration3 ,fig4 #bcj4--;,barbizet's 8,palissy ,ware40 7,tiffany ,co47 ,one would imagine the idea to be prevalent that ,palissy executed nothing but ,rustiques figulines1 if we are to judge from the tendency of imitators to produce pieces of that character1 and from the prevailing taste of collectors1 who appear to demand lizards and fish as essential to the correct imitation of the master4 ,having given as full a view of his great works as may be necessary to appreciate their variety and beauty1 let us revert once more to the fact that ,palissy was original in two respects3 firstly1 in his methods2 secondly1 in his adoption of natural objects as models4 ,he deliberately shut out all influences which might consciously or unconsciously have affected his aim2 and as a consequence1 although tin enamel and reliefs were in vogue all over ,france1 he emerged from his obscurity1 and lived through the period of his eminence without being affected by either ,german or ,italian ideas or processes4 ,he must be accepted as the exponent of an art emphatically ,french4 ,his imitators have used his moulds1 and his pupils have followed his styles2 but even when possessing the secrets and skill1 copyists seldom catch the intelligence of their master1 and thus we find that on his death his art declined4 ,illustration3 ,fig4 #bca4--,palissy ,cistern4 ,while ,palissy was still in early manhood1 the famous and wonderful ,henri ,deux ware1 or ,faience d',oiron1 had been made4 ,there are only sixty-seven pieces in existence2 and the mystery which for a long time enveloped its manufacture1 its rarity1 and its beauty1 have both surrounded it with a peculiar interest and rendered specimens almost fabulously valuable4 ,at a sale in #ahfe1 no less a sum than #eejj was given for a biberon4 ,this ware was made about #aecj1 by a potter named ,franois ,cherpentier1 and ,jehan ,bernart1 secretary and librarian1 both in the service of ,hlne de ,hangest1 widow of ,artus ,gouffier1 ,sieur de ,boisy4 ,how this lady came to acquire a taste for ceramics1 it is not1 in view of what heretics call ,china-mania1 hard to imagine4 ,in any case1 she built for ,cherpentier and ,bernart a workshop and furnace near the chteau of ,oiron1 and there the admirable ,henri ,deux ware was made4 ,after the death of ,hlne de ,hangest1 in #aecg1 ,bernart appears to have continued his labors under the superintendence of her son4 ,this faience1 therefore1 which has created more curiosity--the place of its manufacture was not known until #ahfb--than any other1 and been more lavishly praised1 owes its existence to the whim or enthusiasm of a woman4 ,illustration3 ,fig4 #bcb4--;,henri ,deux ,ewer4 ,illustration3 ,fig4 #bcc4--;,biberon4 ,henri ,deux ,ware4 7,malcolm ,coll47 ,it is an entirely exceptional ware4 ,the paste is a pipe-clay1 pure1 fine1 and white4 ,upon the first or inner layer1 a second layer of a still finer and whiter clay was laid1 in which the design was engraved4 ,colored pastes were then used for filling in the cavities1 and the surface was then made level4 ,so closely did the work resemble niello in metal that the name 8,faience ,niellure0 was given to the ware 7,fig4 #bcc74 ,on the earlier works arabesques in zones1 initials1 and heraldic designs were thus engraved1 chiefly in black1 brown1 and red4 ,the zones are also frequently yellow1 and the borders brown4 ,a further ornamentation consists of frogs1 shells1 lizards1 and wreaths in relief4 ,after the death of ,hlne de ,hangest the decoration assumed an architectural character1 and soon afterward the colors lost their beauty1 the forms their elegance1 and the art1 as a whole1 degenerated4 ,for a period of about twenty years the faience was made which puzzled ceramists for over three centuries4 ,copies of this ware1 by ,minton of ,england1 are in the ,boston ,museum of ,fine ,arts1 and in the collections of ,mr4 ,walters1 of ,baltimore1 and ,mr4 ,w4 ,l4 ,andrews1 ,new ,york4 ,having referred to the specialties of ,saintes and ,oiron1 we now turn to the other centres of ,french ceramics1 grouping all its porcelain together in a separate section4 ,beauvais1 ,poitou1 and ,hesdin have been already alluded to incidentally4 ,of the remaining seats of the faience manufactory in ,france1 a few are selected for their importance as producing styles more or less distinctive1 such as ,rouen1 ,nevers1 ,moustiers1 and ,limoges4 ,illustration3 ,fig4 #bcd4--,rouen ,cup4 ,lambrequin ,decoration4 ,rouen may be taken as representing independent ,norman art4 ,marreot ,abaquesne was engaged there in enamelling from #aece1 and two tile pictures from the chteau of ,ecouen1 dated #aedb1 are still in existence1 representing1 in blue1 green1 yellow1 and white1 ,mutius ,scvola and ,marcus ,curtius4 ,abaquesne worked until #aeeg1 and after that date the manufacture of tiles was continued by others4 ,in #afdf ,nicolas ,poirel1 ,sieur de ,grandval1 obtained a privilege or patent for making faience1 and immediately transferred it to ,edme ,poterat1 already established in the business in ,saint-,sever4 ,to this potter is1 in all probability1 due the most distinctive styles of decoration practised at ,rouen1 those resembling lambrequins and lace 7,fig4 #bcd47 ,these are modifications of the ,oriental type4 ,in #afgc another patent was granted to ,louis ,poterat1 a son of the former1 for the making of 8porcelain similar to that of ,china1 and of violet faience painted with white and blue and other colors1 in the manner of that of ,holland40 ,after the expiry1 about #agjj1 of ,poirel's patent1 manufactories multiplied rapidly1 and reached an aggregate of eighteen1 from which some estimate may be formed of the number of artists and potters engaged at ,rouen4 ,illustration3 ,fig4 #bce4--,rouen ,faience4 ,decoration1 la corne4 7,trumbull-,prime ,coll41 ,n4 ,y4 ,metropolitan ,museum47 ,as to the successive styles1 there is no doubt that designers drew largely from the works of the gold and silver smith4 ,flowers in wreaths and bouquets surround landscapes painted on white4 ,then came the senior ,poterat's adaptation of ,oriental designs in the lace and cognate styles already mentioned1 at first in blue camaeu1 and afterward mingled with red4 ,equally well known is the brilliant decoration la corne 7,fig4 #bce71 in which many-hued flowers issue from a cornucopia1 and dazzling insects fill in the interstices between the flowers4 ,all these styles have been imitated both throughout ,france and in other countries4 ,no faience of the eighteenth century was more rich and artistic than that of ,rouen4 ,many of the pieces are of large size and highly ornate in character4 ,to ,nevers it has been usual to accord the honor of being the earliest producer of enamelled pottery in ,france1 but without good reason4 ,the evidence appears to be rather in favor of ,rouen4 ,when ,louis ,gonzaga became ,duke of ,nevers1 he sent for a number of ,italian artists1 and from that date1 about #aefe1 the production of faience at ,nevers took its rise4 ,in #aegh the brothers ,conrade came from ,albissola1 near ,genoa1 and1 settling at ,nevers1 were patronized by the ducal family4 ,their works date from #afjb1 and it was not until thirty years later that a second manufactory was established4 ,the influence of the ,conrades upon the art is very doubtful1 notwithstanding the monopoly they appear to have enjoyed4 ,one thing may be accepted as certain1 that there existed a ,nivernais style prior to that introduced by them4 ,louis ,gonzaga1 the patron1 as we have seen1 of ceramic art1 died in #aeie2 and as the ,conrades did not establish themselves until #afjh1 although they had been working for a few years previously1 we have a period of forty-three years to account for1 dating from the accession of ,gonzaga1 during thirty of which that prince was alive4 ,the ,nivernais styles may1 therefore1 be divided into the ,franco-,urbino prior to the ,conrade1 the ,italo-,chinese which existed under them1 the ,italo-,nivernais1 and the ,franco-,nivernais4 ,the ,franco-,urbino is marked by a predominance of blue and yellow1 by violet tracings1 a yellowish flesh tint1 a peculiar copper-green1 and a scarcity of red4 ,a favorite form of vase handle is the dragon1 and the sea is represented in lines of wavy blue4 ,the styles of ,persia1 ,japan1 and ,china began to manifest themselves under the ,conrades1 and continued down to near the middle of the eighteenth century4 ,we have1 after the ,persian1 blue grounds with white and yellow ornamentation1 and white grounds with polychrome and blue decoration4 ,at the same time we find minglings of ,italian and ,oriental designs4 ,after #afdj1 however1 the traces of ,italian influence become less distinct4 ,the ,italian school is disappearing1 foreign artists are giving place to natives1 and down to the end of the eighteenth century there are obvious traces of the styles of ,rouen and ,moustiers4 ,from that time ,nevers declined4 ,moustiers has only been known for a few years1 but facts have been discovered which prove it to have held a highly important place in ceramic art4 ,situated in the ,lower ,alps1 its works were long attributed to other places1 although its geographical position near ,marseilles and ,italy would naturally point to it as one of the most favored centres of ,provenal art4 ,it is chiefly known by the productions of the ,clerissy family and of ,joseph ,olery4 ,pierre ,clerissy's works extended from #afhf to #agbh1 and to this period some of the finest specimens belong4 ,the pieces are generally large oval or round dishes1 with hunting or scriptural scenes as central decorations1 and borders either of flowers or masks and fabulous monsters and arabesques4 ,the paintings are in blue1 upon a very pure white enamel4 ,in the succeeding styles the centre scenes after ,tempesta were abandoned4 ,one piece has in the centre a small medallion representing ,diana1 the huntress1 equipped for the chase and accompanied by her dogs4 ,surrounding it are arabesques1 grotesque figures1 heads1 busts1 and amorini1 and for an outer border there is a narrow edging of the lace-like pattern of ,rouen4 ,olery 7,fig4 #bcf7 seems to have abandoned entirely the styles of ,clerissy4 ,he enriched his palette with violet1 green1 brown1 and yellow1 and revelled in floral decoration4 ,heavy wreaths of flowers surrounding a series of medallions1 with bouquets between1 form a deep border for scenes from mythology and the classics4 ,illustration3 ,fig4 #bcf4--,moustiers ,faience ,dish4 ,by ,olery4 ,intercourse afterward obliterated the lines between distinctive styles4 ,olery went to ,spain1 and probably acquired there his taste for polychrome decoration 7,fig4 #bcg74 ,spanish artists accompanied him on his return1 and worked1 no doubt1 in the light of their national traditions2 and toward the end of the century it is impossible to recognize the styles of either individual artists or schools4 ,clerissy's workshop was continued after his death by his partner1 ,joseph ,fouque1 whose family retains it to the present day4 ,illustration3 ,fig4 #bcg4--,moustiers ,dish4 ,polychrome4 ,allied to ,moustiers1 as representing the art of ,southern ,france1 is ,marseilles1 a city in every way favorably situated for the prosecution of the faience industry4 ,of its earlier works1 dating as far back as the fifteenth century1 nothing is known2 but toward the end of the seventeenth century a workshop was founded1 in which was made an authenticated faience4 ,the distinguishing feature of the decoration is the combination of violet from manganese with cobalt blue4 ,the style bears a general resemblance to that of ,moustiers1 and it is probable that the works of the two factories are frequently confounded4 ,about #agej the ,marseilles faience was exported in immense quantities2 and from that date1 when the name of ,honor ,savy appears in the list of potters1 polychrome decoration became more prevalent4 ,savy was1 in #aggg1 on the visit of the future ,louis ,,xviii41 authorized to call his workshop 8,manufacture de ,monsieur1 ,frre du ,roi10 and is said to have then adopted the fleur-de-lis as his mark4 ,the mark alone cannot1 however1 be accepted as indicating with absolute certainty a work of ,savy4 ,the same potter is said to have invented a particular green2 but it appears to have been common to the other potters of ,marseilles1 as it is found upon pieces by ,joseph ,gaspard ,robert and ,mme4 ,perrin4 ,robert ranks next to ,savy in faience1 and was making porcelain at the time of the royal visit4 ,in ,strasburg we find the origin of a style of faience painting which1 although displaying unquestionable excellence of workmanship1 was carried to such an extent that the suitableness of the decoration to the earthen-ware body was completely lost sight of4 ,reference is made to the porcelain style1 by which decoration more properly reserved for porcelain was applied to faience4 ,the ,strasburg paste is of comparative fineness1 the glaze is excellent1 and the colors brilliant4 ,the first factory was established by ,charles ,franois ,hannong in #agji4 ,in #agba ,hannong associated himself with a ,german potter from ,anspach1 named ,wackenfield1 and in #agbd started a second workshop at ,haguenau4 ,the latter ultimately fell to ,balthasar ,hannong1 a son of ,charles2 and the ,strasburg establishment was carried on by another son1 ,paul ,antoine4 ,the latter worked industriously1 and brought the establishment up to a very high position4 ,on his death1 in #agfj1 it was carried on by his son ,pierre ,antoine1 who transferred it to ,joseph ,adam1 his brother1 and in #aghj the production ceased4 ,the best period was that between #agdj and #agfj1 when ,paul ,antoine was proprietor4 ,the places mentioned1 ,nevers1 ,rouen1 ,moustiers1 ,marseilles1 and ,strasburg1 are the centres from which emanated the leading old styles of decoration4 ,an exact classification is impossible1 since1 as ,marseilles faience often bears a striking resemblance to that of ,moustiers1 the works of ,strasburg1 on the other hand1 are closely related to those from ,marseilles4 ,after them comes a centre1 more interesting because very recently arriving at eminence1 from which has emanated a style different from that of any of its predecessors4 ,limoges is as yet scarcely known in the history of pottery1 although there is a probability1 almost amounting to a certainty1 that it will hereafter be accepted as one of the leading representatives of the ceramic art of ,france in our day4 ,we find1 in #agcg1 a decree granted in favor of ,sieur ,massie1 empowering him to establish a workshop of faience at ,limoges4 ,the discovery of kaolin at ,st4 ,yrieix appears to have directed the attention of potters from faience to porcelain4 ,one piece of the ,massie period1 dated #agda1 is now in ,limoges4 ,a border1 resembling those of ,moustiers1 surrounds the figure of ,justice enthroned and holding the sword and scales4 ,religion1 ,truth1 and ,law attend her1 and ,crime is crushed under her foot4 ,other equally remarkable pieces may be in existence1 but ,limoges nowhere appears in the records as producing any faience of importance or of a very high order of art4 ,within the past few years the aspect of affairs has changed1 and the ,havilands of ,new ,york have made for ,limoges--in conjunction with ,auteuil1 near ,paris1 where much of the moulding and decorating is executed--a place in the history of pottery as lofty as that which it occupies in the history of enamelling4 ,notwithstanding all that has been said of ,saracenic and ,italian decoration1 we believe that it was reserved for ,haviland to show the real decorative capacity of faience1 and to demonstrate the possible harmony between decoration and its excipient4 ,for a long time ,limoges was known solely as a seat of the porcelain industry4 ,it was in this way that ,americans first became familiar with its name4 ,when the time came for ,haviland to turn his attention to faience the change above referred to set in4 ,he did more than merely institute a revival of an obscure industry4 ,while ,montagnon of ,nevers was following closely in the track of his predecessors1 and other manufacturers1 both ,french and ,italian1 were busy with imitations of dead styles1 ,haviland set a gigantic task before himself1 and it is to the credit of ,americans that they have been among the readiest to appreciate his works and to encourage his efforts4 ,his faience is remarkable by reason of its combining three very important qualities--novelty of process1 originality of decoration1 and the strength of drawing and color which are most perfectly in keeping with the material on which they appear4 ,we have already pointed out the difficulties with which artists on clay have contended4 ,the action of the fire made the result1 in so far as the coloring is concerned1 always more or less of a problem4 ,too much or too little heat changed the entire aspect of the piece4 ,although1 therefore1 we find in ,italy and elsewhere great painters furnishing designs for the decoration of pottery1 we seldom find them actually engaged upon the ware itself4 ,artists naturally prefer the medium which preserves their individuality of touch and finish4 ,this personality the fire destroyed4 ,all that was distinctive of the individual palette and brush vanished under the heat4 ,what the exact nature of the ,havilands' new process and the composition of their palette may be we have not the means of discovering4 ,we know1 however1 that the painting is laid upon the clay before it is fired1 that the piece is then glazed1 and is afterward baked for between twenty and thirty hours4 ,body1 glaze1 and colors are therefore subjected to the fire together4 ,the glaze is alkaline1 and is similar in its general character to that used on pate tendre porcelain4 ,we need not inquire into the preparation of the colors4 ,it is claimed that the possession of the latter brings the result of any operation within such bounds that it can be calculated with a reasonable approach to certainty4 ,let it be fully understood what this implies4 ,it means that with palette practically unlimited1 any artist can apply himself to the decoration of earthen-ware1 and find his work emerging from the furnace stamped as clearly with the individuality of his design and execution as if he had applied it to a painting upon a panel or canvas4 ,among the artists engaged upon the ,haviland faience are ,m4 and ,mme4 ,bracquemond1 ,,mm4 ,lindeneher1 ,noel1 ,chaplet1 ,damousse1 ,lafond1 and ,delaplanche4 ,with ,messrs4 ,chaplet1 ,laurin1 and ,lafond1 the new enamelling process may be said to have accidentally originated at ,bourg-la-,reine in #ahgc1 and ,m4 ,bracquemond was the first to appreciate its value and to bring it under the notice of the ,messrs4 ,haviland4 ,the latter at once saw its merit1 and by farther experiment and the use of the resources at their command1 brought it to perfection4 ,the works of their artists have made ,america as familiar with their faience as it formerly was with their porcelain4 ,the process having been discovered1 the second step was the adoption of a style4 ,here we meet with a peculiarity of the ware4 ,we speak of schools of painting1 and our language implies a limitation1 a peculiarity of technique4 ,all artists who follow nature closely must needs belong to the same school4 ,their success in the reproduction of natural effects is a bond of union1 which brings them together across the boundaries of special methods of treatment4 ,each of ,havilands' artists may have his specialty1 but we find no broad dividing lines4 ,their subjects are taken from nature or from imagination1 which is only a wider field based upon the natural4 ,the sympathy between them lies in the new sense of the capabilities of their art4 ,the brush is wielded with a stronger hand1 and the designs appear bolder1 at times almost reckless4 ,there is no striving after what might be called 8prettiness of style40 ,where we have been accustomed to restraint we find largeness and liberty4 ,there are no longer minute divisions of surfaces to be covered in detail with graceful precision1 but designs of full artistic completeness and strong simplicity4 ,color is applied with a commensurate boldness1 which carries the conviction that here at last we find a decoration suited to its basis of earthen-ware4 ,illustration3 ,fig4 #bch4--,memorial ,vase4 ,haviland ,faience4 7,smithsonian ,institute47 ,a recent visitor to the workshop of ,haviland ,co41 near ,paris1 where much of their faience is painted1 thus describes what he saw3 8,while in ,paris1 ,i studied the way in which the vases are painted1 and was surprised to find what an amount of care is expended upon them4 ,they demand more exact treatment than ,china or ,english faience4 ,the artist works as if the material were canvas4 ,a bouquet of flowers1 for instance1 is minutely painted1 and the shades of the grounds are all carefully studied4 ,nothing is left to chance4 ,during the process of firing everything fuses1 and it is then that the appearance of boldness is produced4 ,if a vase were painted1 as on a cursory examination it appears to be1 with a bold brush and careless hand1 the result would be a mere daub of no value4 ,the peculiar talent of the artists consists in producing an effect of boldness and carelessness with a great deal of work and a close imitation of nature4 ,could all the work actually bestowed upon one of these vases1 and as it can be seen before firing1 be seen after firing1 the faience of ,limoges would resemble that of ,england or any other pottery which is painted on the glaze4 ,but the process is different1 and after the firing the detail of the work melts away1 leaving behind that fascinating harmony of colors which has never before been produced on any pottery4 ,nothing has as yet been invented to replace work and care2 and when anything you may see presents something pleasing1 be certain that both have been lavished upon it4 ,no writing or music seems so easy to imitate as that which cannot be imitated2 and it is the part of a good author to conceal the method he employs40 ,there are now in the ,smithsonian ,institute at ,washington three pieces of ,haviland faience which may be taken as exemplifying much of what has been said4 ,these are the ,memorial ,vases 7,fig4 #bch7 and ,bracquemond's tile-piece allegorizing ,human ,progress4 ,let us take the vases first4 ,they are the joint productions of ,,mm4 ,bracquemond1 designer1 and ,delaplanche1 sculptor1 and are intended to commemorate the ,centennial of ,american ,independence4 ,the broad and easily understood conception is intensely ,american1 and was1 in fact1 due to ,american inspiration4 ,they fitly stand in the capital1 not only as lasting memorials of the hundredth anniversary of ,america's entrance into the great commonwealth of nations1 but as a congratulatory compliment from the ceramic artists of ,france4 ,viewed in the light of history and of historical usage1 they both acquire a fresh interest1 and are better understood4 ,they are exceptions1 in the idea they represent1 to the myriad ornamental vases which load our cabinets and shelves4 ,we have already seen that1 from the most ancient days of ,egypt downward1 vases were employed for the conveyance of religious sentiments4 ,the ,chinese followed the same course1 and joined with it the custom of using pottery as a reward1 or for the purpose of conferring a mark of imperial distinction upon officers deserving well of the state4 ,vases were also made the media between friends for the conveyance of compliments or congratulations4 ,we might1 in this connection1 revert once more to the ,greeks1 who carried the ,oriental practice still farther4 ,by that people vases were1 as we have seen1 used as prizes1 as wedding presents1 as pledges of love or friendship1 the legends they bear enabling us at this distant day to listen to the whisperings of passions which burned and died over two thousand years ago4 ,we also find such commemorative vases as that which bears the legend1 8,the beautiful horse1 twice conqueror at the ,pythian games40 ,on many others are inscribed the names of the great men of antiquity1 its kings and its poets4 ,some of these belong to times posterior to those in which the persons they were intended to honor lived1 and may1 therefore1 be called commemorative in the same manner as statues4 ,throughout the ,middle ,ages we find the same usage more widely prevalent4 ,when1 therefore1 the artists of ,france decided upon commemorating the ,american ,centennial1 they had1 as a precedent for making a memorial distinctive of their art1 the usage of the potters of all countries back to the most remote times4 ,in regard to design and decoration1 these vases will bear consideration in detail4 ,there is one very large class of ,greek vases which represent what we have called the union of pottery and sculpture4 ,in one we have the helmeted head of ,pallas ,athene surmounted by a figure of ,nike1 or ,victory4 ,on others are ,tritons bearing ,nereds1 ,medusa's head1 pennate figures1 and the winged steeds of ,aurora4 ,the artist had no thought of utility to hamper him in designing accessories4 ,it is said that ,m4 ,bracquemond1 while in the ,louvre1 was attracted by one of the ,grecian vases of this class found in ,apulia 7see ,fig4 #afg74 ,the style is full of grandeur and pomp4 ,the form of the vase would be heavy and clumsy were its outline unrelieved by the decorating figures4 ,on the neck stands a divinity in graceful drapery4 ,lower down1 on the sides1 are two statuettes of deities1 and on either side of ,minerva's head surmounted by ,nike in front are two ,tritons1 with their horse-feet pawing the air4 ,this vase suggested to ,m4 ,bracquemond a design for the ,memorial ,vases in ,washington4 ,all that he thus derived1 however1 was merely a suggestion4 ,the details of the design may be gathered from a description of the vases themselves4 ,one is intended to represent the year in which the ,united ,states won independence2 the other the hundredth anniversary of that event4 ,between them is a whole century of history4 ,the vase 8#aggf0 rises from a base consisting of greenish1 foamy waves1 lashing angrily against rocks surmounted by a circlet of cannon modelled after the ordnance of ,revolutionary times4 ,in this we have the whole story of the struggle for independence1 and of the turmoil and confusion of the strife4 ,it is worth noting that this symbolical use of the wave ornamentation is strictly classical4 ,when the potters of ,greece sought a symbol of caprice and mutation1 they could find none more expressive than the foam-crested waves of the sea4 ,from the cannon the body of the vase swells gracefully outward1 and attains its widest girth near the top1 where it curves rapidly inward to the upper rim4 ,the orifice is closed by a star-covered dome of blue1 from either side of which spring statuettes of ,fame and ,victory4 ,on a pedestal on the rim in front stands a bust of ,washington1 modelled by ,houdon1 after one formerly owned by ,lafayette1 and now in the ,louvre4 ,the ornamentation on the body is simple and expressive4 ,green fronds cross each other above the cannon1 and smaller branches and stars are sprinkled over the whole surface4 ,on the front is the ,american eagle with outstretched wings1 with the national colors on either side4 ,above it1 and immediately under the bust of ,washington1 in small gilt letters1 are the names of the signers of the ,declaration of ,independence4 ,the base of the ,centennial vase1 8#ahgf10 symbolizes peace and prosperity by means of fruit1 cereals1 and the implements of husbandry4 ,above the eagle1 in place of the names of the signers of the ,declaration1 are those of the ,presidents1 from ,washington to ,grant1 and the surmounting bust represents ,columbia4 ,in other respects the two vases are alike4 ,the story they tell is plain1 and for every observer to read4 ,out of the struggle of a hundred years ago have come liberty1 peace1 and prosperity4 ,the designer was exposed to dangers which he has coped with successfully4 ,he has achieved something grateful to ,american patriotism without throwing originality aside4 ,the ,american flag1 the eagle1 ,washington1 and the ,goddess of ,liberty1 compose a group which1 but for their artistic combination1 might have been viewed with the indifference begotten of familiarity4 ,as they stand1 it becomes hard to conceive how otherwise1 in equally intelligible language1 a great historical event could have been commemorated in the everlasting record supplied by clay4 ,they are records1 and not mere ornaments4 ,they mirror the first century of ,america's life as a nation4 ,they tell all or nearly all that history can tell of the passage from the struggle of #aggf to the prosperity of #ahgf4 ,the story of their formation is interesting1 that of one applying to both4 ,the body was modelled by ,m4 ,renard1 chief modeller at ,svres4 ,he worked incessantly on the inside for thirty-four hours without resting more than a few minutes at a time1 in order that his work might be finished before the clay lost any of its plasticity by the evaporation of the moisture4 ,when this operation was completed the body was allowed to dry for fifteen days4 ,a kiln was then built round it1 its great size--the vases are twelve feet high1 and the largest ever made in ,europe--rendering removal impossible4 ,it was fired for eight days at a low temperature1 and then for three days at a high degree of heat1 and the result of the stupendous work was in every way successful4 ,the furnace required eight days to cool4 ,if anything more is needed to enable us to estimate the immense labor involved in such a work1 it may be summed up in this1 that these vases demanded thirteen months' work of some of the ablest artists and potters of ,france4 ,it is difficult to criticise them apart from the sentiment they embody1 and which invests them with a never-fading interest4 ,it was1 however1 a touch of genius to get away from immediate usage to a style of ornamentation with which the artists of ,magna ,grcia and ,apulia embellished their vases4 ,it is the style best suited to their enormous size4 ,the enamel is applied only to the ornamentation1 the body1 busts1 and statuettes being all left unglazed and showing the natural color of the clay4 ,every detail is made expressive1 while the strictest simplicity is retained4 ,the size of the work forbade minute ornamentation of a symbolical character1 and there is thus a harmony between the entire work and the details4 ,the colors are brilliant1 and the general effect1 though sombre1 is imposing and fine4 ,they will be viewed hereafter with increasing interest1 as marking the revival of an old complimentary usage under particularly gratifying conditions2 and the grandeur and beauty of the art they represent is not likely to be forgotten in the contemplation of the sentiment they express4 ,we turn to the tile-piece in which1 upon nearly a thousand tiles1 ,m4 ,bracquemond presents his allegory of ,human ,progress1 with a mingled feeling of dislike and attraction4 ,it also stands in the ,smithsonian ,institute4 ,the repellent influence is first experienced1 and arises1 probably1 from an apparent absurdity of design and the peculiar coloring4 ,a figure of gigantic size occupies the centre1 trampling fire underfoot1 and having a greenish bronze statuette in the right hand and a vase in the other4 ,on the left are the chimneys and smoke of a factory1 and on the opposite side is a railway train4 ,a flash of lightning strikes in from the right1 and above the central figure is the recumbent form of a woman partially enveloped in cloud4 ,the picture1 as we have said1 is allegorical1 and represents the genius of man utilizing the waters of the rebellious stream and storm1 the fires of the volcano and lightning1 and making them subservient to progress4 ,as it is more closely studied1 its true place in art is better understood1 and we ultimately accept the piece as an indication of the possibilities of ,m4 ,bracquemond's art4 ,we feel that another stage has been passed on the way toward the perfect union of the potter's and painter's skill1 and toward the picture 8permanent as the ,pyramids0 of which ,ruskin writes4 ,many of the other tile-pieces1 panels1 and plaques 7,fig4 #bci7 from ,limoges and ,auteuil are more absolutely excellent4 ,on a circular plaque appears a draped female head1 in which the flesh tint1 clear and ruddy1 is simply wonderful4 ,the delicacy which it lacks is found on two panels1 perfect rural pictures1 with single female figures4 ,these pieces illustrate the fineness of landscape effect and the nicety of touch to which the artist in possession of ,haviland's palette can attain4 ,the trees stand out well against the sky1 its blue slightly shaded with cloudy gray2 and if we turn from these to the figure-drawing1 the arrangement of the drapery1 even the finish of the embroidery1 we feel that we are in presence of an art of the decorative and artistic capacity of which we are only catching the first glimpses4 ,illustration3 ,fig4 #bci--;,haviland ,faience4 7,h4 ,havemeyer ,coll47 ,if we pass now to the vases of this ware1 we are struck by the originality of their shapes1 the freedom of their designs1 and the remarkable depth and beauty of their coloring4 ,there is nowhere visible any symptom of the nervous feeling after a doubtful result characteristic of an artist without confidence in himself and his process4 ,everything indicates strength1 assurance1 and power2 and if there is weakness anywhere1 it is evidently the result of a boldness which is over-hasty or too careless of finish and detail4 ,we find no precedent for the decoration4 ,it is as far removed as possible from all that is associated with ,china or ,japan1 from the majolica of ,italy1 ,spain1 or ,berlin1 from the stone-ware of ,england1 or the faience of ,sweden4 ,the forms of the vases are of boundless variety1 and suggest originality by their very multiplicity4 ,one would carry us back to the pottery of ancient ,gaul before it had felt the heavy hand of ,rome4 ,another recalls the ,anglo-,saxon vases of ,england4 ,a third would lead us1 in searching for a precedent1 to the clumsy1 rotund urns of ancient ,germany4 ,these would all be equally fanciful1 no doubt2 and in that suspicion one is confirmed by the exquisite forms of a small pichet1 a quaint card-receiver1 and a vase rising to its slightly out-turned lip as gracefully as the cup of a flower4 ,illustration3 ,fig4 #bdj4--;,haviland ,faience4 7,g4 ,w4 ,gibson ,coll47 ,illustration3 ,fig4 #bda4--;,haviland ,faience4 7,whitelaw ,reid ,coll47 ,illustration3 ,fig4 #bdb4--,luna ,vase4 ,haviland ,faience4 7,mrs4 ,william ,h4 ,dannat ,coll47 ,we may take a few examples in order to illustrate the decoration4 ,it consists of painting on the surface1 of carved figures in unglazed relief1 and of forms glazed and attached to the surface4 ,of the first of these the choice is wide4 ,on some appear hunting dogs full of life and action and in many attitudes4 ,on another is a ,cupid with full-drawn bow1 rosy and chubby1 and evidently bent upon dealing a fatal wound4 ,on a third is a nymph and satyr 7,fig4 #bda74 ,a fourth shows us a barn-yard pair1 a duck and drake1 the latter preening himself in the sun1 under which his many-hued plumage glitters with a lustre almost iridescent4 ,on a fifth a gayly feathered open-throated songster appears to be warbling his even-song upon a tiny spray4 ,flowers are painted with all the splendor of nature1 and cling round the forms with gracefully sweeping stem4 ,one in particular is made attractive simply by its color1 a mottled gray1 into the depths of which we look as into the clouds hanging over the couch of the sun in the early mornings of summer4 ,its beauty is in its suggestiveness1 which strikes us again in many of the flower-wreathed vases where there are openings of green1 into which one can look as into a forest glade4 ,the mind creates what the eye cannot see1 and the glade is peopled with beings whose forms are never caught4 ,this is1 no doubt1 an example of fancy helping out the artist1 but the artist is none the less fortunate and skilful who can thus induce the fancy to take wing4 ,he leaves her room to take flight1 and the vase he has decorated with a simple flower becomes a poem suggesting far more than it tells4 ,of the vases showing unglazed carvings in bas-relief there is a single pair1 sufficient for illustration4 ,on one is represented ,phbus1 the golden-haired god of day1 and on the other the triform goddess ,luna4 ,phbus stands with bow drawn full to the shoulder1 just as we picture him in ,homer4 ,it will be remembered that when ,lyrnessus was taken by the ,greeks and the spoils divided1 ,chryseis1 the wife of the king of the captured place1 and daughter of ,chryses1 one of the priests of ,apollo1 fell to the share of ,agamemnon4 ,her father sought her restoration from the 8king of men10 and on his request being refused1 asked aid from the god he served4 ,we here have ,apollo in the attitude of returning an answer to his suppliant priest4 8,bent was his bow1 the ,grecian hearts to wound1 ,fierce1 as he moved1 his silver shafts resound2 ,breathing revenge1 a sudden night he spread1 ,and gloomy darkness rolled around his head4 ,the fleet in view1 he twang'd his deadly bow1 ,and1 hissing1 fly the feather'd fates below4 ,on mules and dogs the infection first began1 ,and last1 the vengeful arrows fixed in man40 ,on the companion vase 7,fig4 #bdb7 is the figure of the goddess of night1 ,luna1 ,diana1 or ,hecate1 in her character of ,luna1 with the crescent under her feet1 and throwing back a mantle from her graceful form4 ,in both vases the beauty of the conception is skilfully carried out in the execution4 ,the figures are admirably modelled1 and1 being of a light paste and left unglazed1 stand out in bold relief against the ground4 ,the daring of the latter innovation is amply justified by the result4 ,illustration3 ,fig4 #bdc4--;,faience ,vase4 7,mrs4 ,colonel ,t4 ,scott ,coll47 ,of the third class of vases with glazed ornaments applied to the body there are many fine specimens4 ,one of the most charming 7,fig4 #bdc7 is wreathed by flower sprays twined naturally and gracefully round the body4 ,the flower is in full bloom1 and its large leaves are spread out above it and below4 ,for handles there are snakes turning in their changeless coil round the flower stem4 ,on another the handles consist of butterflies beautifully moulded and colored1 and placed as though they might have been transformed into clay as they alighted on the vase4 ,another1 of small size and quaintly rotund form1 has a mass of leaves and flowers in relief clustering round the body4 ,a pitcher with a soft gray ground is lightly overrun with an ivy branch1 which twines itself round the neck and handle as naturally as the plant creeps up and winds itself round the stem of a tree4 ,can anything be more simple than the suggestions to which these creations are due8 ,do we need to be reminded of the fable which explains how ,callimachus was inspired to produce the ,corinthian capital8 ,we are told that he was walking in the country1 and as he travelled he came to the grave of a child1 upon which1 in a basket1 some relative--its mother1 probably--had placed the customary offering of food4 ,to keep off the birds and small animals1 a tile had been laid upon the basket4 ,in course of time an acanthus appeared2 and as it grew1 its stalk was pressed back by the tile and turned round spirally under its edge4 ,nothing more was needed4 ,callimachus found in the little basket on the flower-grown grave a suggestion for the order of architecture which has never been surpassed to this day4 ,we have similarly1 in the faience vases of ,haviland now under consideration1 constant hints of inspiration drawn from the simplest forms of nature4 ,a branch falls upon a vase and becomes its ornament4 ,a butterfly hangs for a moment on fluttering wing and drops from its flight1 and it too becomes an ornament4 ,the workman leaves his unfinished work at night1 and when he returns at day-break1 finds that a lizard or an asp has crept upon the still slimy vase to bask itself in the first rays of the morning sun4 ,it darts out of sight1 but it has left an idea which appears in the decoration2 and on the spot from which it glided when disturbed a snake displays its spiral convolutions4 ,where but in nature shall we see anything suggestive of such decoration8 ,we do not find it in ,japan1 for the symbolical and semi-imaginative1 semi-realistic style of the extreme ,east has nothing in common with this naturalism4 ,as little do we find it among the brilliant colors and fantastic forms of ,persia4 ,if we come nearer home1 to ,italy1 even to the ,french centres we have already visited1 there is nothing in their classical scenes and floral wreaths and bouquets to prepare us to find in ,limoges their orderly successor4 ,in a word1 the style is original4 ,there is no crowding of tints for the sake of their rich beauty4 ,a single flower lying on a ground of one prevailing tone is sufficient ornamentation for a vase2 or a handful of flowers may be scattered upon the surface in tumbled profusion1 or woven into a wreath4 ,haviland has entered upon a hitherto undiscovered path1 and let us pray that he may never be tempted to try the porcelain decoration which threatened to ruin faience1 nor to give us anything more meretricious than the beauty of a garden flower or of the many other admirably conceived forms which he has endowed with life4 ,illustration3 ,fig4 #bdd4--;,haviland ,faience4 7,miss ,clara ,louise ,kellogg ,coll47 ,the best pieces have been chosen for commendation and to illustrate the highest results to be expected from the new process4 ,it is unquestionable1 however1 that there are many pieces of this faience which could be disposed of without seeking words for the expression of enthusiastic praise4 ,this gives those desiring specimens every opportunity for the exercise of a judicious discrimination4 ,in some pieces the simultaneous melting of the color and glaze has resulted in a haziness of outline and confusion of colors by no means characteristic of the better examples4 ,on others with figure decoration the drawing has been completely destroyed1 and the figure left in obscurity4 ,these inferior pieces are useful1 however1 for showing how careful must be the work which produces the bold effects securing our admiration4 ,when ,haviland took up the process discovered by ,,mm4 ,chaplet1 ,laurin1 and ,lafond1 at ,bourg-la-,reine1 he secured the services of two of these artists4 ,the third1 ,m4 ,laurin1 carried out the process at the place of its discovery4 ,many of this artist's works come to us bearing his mark and the name of the factory1 ,bourg-la-,reine1 in full4 ,like that of ,haviland1 his work is occasionally irregular2 but1 as a rule1 it is entitled to very high commendation4 ,the flower decoration is extremely beautiful1 and when laid upon a soft ground1 such as the gray1 which ,laurin produces to perfection1 is entitled to nearly all the praise bestowed upon the corresponding works from ,haviland's factory4 ,the ,bourg-la-,reine faience is chiefly painted on the flat1 and the leading decoration consists of flower and figure painting4 ,we meet with many well-selected subjects and much strong and realistic treatment4 ,on one vase appear an eagle and a serpent on an excellent ground of gray and blue1 the former of which is also employed with fine effect in a variety of flower pieces4 ,illustration3 ,fig4 #bde4--;,bourg-la-,reine ,faience4 7,g4 ,collamore47 ,illustration3 ,fig4 #bdf4--;,bourg-la-,reine ,plaque4 7,tiffany ,co47 ,a very common mistake is made regarding this faience4 ,it is often confounded with that of ,haviland1 although the differences between the two fabrics are obvious4 ,in the first place1 the marks can be consulted4 ,that of ,limoges is stamped 8,h4 ,co40--or1 ,haviland ,co4--with or without the place of manufacture4 ,the artist's mark also is generally attached4 ,the ,bourg-la-,reine is marked either with the name 8,laurin0 or 8,b4-la-,r410 or with both4 ,in the second place1 the alkaline glaze of the ,haviland faience gives the paintings1 especially of flowers1 a life-like appearance peculiar to itself4 ,it is a mistake to suppose that the processes of decoration are identical in every particular4 ,in one respect only they are alike4 ,in both1 the colors are laid upon the unbaked clay4 ,in the mixing of the colors and in the glaze they are distinct4 ,laurin's decoration is harder in outline than the ,limoges1 and never possesses the mingled softness and strength which constitute the great charm of the latter4 ,illustration3 ,fig4 #bdg4--;,deck ,faience4 7,corcoran ,art ,gallery47 ,of the early history of ,bourg-la-,reine little of general interest is known4 ,it appears that ,jullien and ,jacques of ,mennecy founded a workshop there about the year #aggc4 ,jullien died in #aggd1 and was succeeded by his son1 who resigned his share in the business to ,jacques4 ,when ,jacques died1 in #agii1 his son1 ,c4 ,s4 ,jacques1 continued the fabrication4 ,at a later period fine white faience was made4 ,it is upon ,laurin alone that1 in this country1 the reputation of the place depends4 ,illustration3 ,fig4 #bdh4--;,deck ,bottle4 7,gilman ,collamore47 ,illustration3 ,fig4 #bdi4--;,deck ,vase4 7,gilman ,collamore47 ,the name of ,deck1 of ,paris1 brings before us much that is beautiful in the recent ceramics of ,france4 ,for a long time1 in fact1 his name was supposed to represent nearly all that was excellent in the color and decoration of ,european pottery4 ,having enriched his palette with a wealth of colors which made him the envy of his cotemporaries1 he turned his attention to reviving ,oriental styles in hues rivalling those of the ,east4 ,he was first attracted to ,persia1 and with marvellous skill applied his rich enamel colors to the reproduction of the faience of that country4 ,in other cases he is manifestly inspired by ,japanese art4 ,his technical skill enables him to reach widely varied effects1 and since to this are added truthful drawing and a fine taste in the assortment of tints1 we can easily understand his eminence in the art4 ,specimens of his best work are comparatively rare in this country4 ,the faience vase from the ,corcoran ,art ,gallery 7,fig4 #bdg7 is characteristic1 and is an excellent example of ,m4 ,deck's coloring4 ,the ground is a soft yellow or buff1 and the plumage of the pheasant is brilliant and rich4 ,the blue tints are especially fine1 and the glaze1 which is judged to be alkaline1 gives the coloring that peculiar softness which is found in the greatest perfection on pate tendre4 ,there is considerable doubt as to the body used by ,deck4 ,it varies very much in different pieces1 approaching in some cases the hardness and compactness of porcelain4 ,of this character is the bottle1 ,fig4 #bdh4 ,the ground color of this specimen is a clear blue1 and in it the white blossoms appear in thick clusters4 ,a vase and plaque1 with a somewhat similar1 but possibly even a finer body1 are shown at page #cbe 7,figs4 #bhj and #bha74 ,that given here 7,fig4 #bdi71 singular alike in form and color1 has a ground of undecided shades of brown and yellow4 ,deck's violet is soft and rich1 approaching at times the velvety violet of ,china4 ,illustration3 ,fig4 #bej4--;,colinot ,faience4 7,tiffany ,co47 ,the other names most familiar to ,americans are those of ,colinot1 ,parville1 ,longwy1 ,creil1 ,sarreguemines1 and ,montereau4 ,their products illustrate the taste for ,oriental styles which sprung up a few years ago1 and to the gratification of which much of the ingenuity of ,french makers has been devoted4 ,colinot1 of ,paris1 has employed with great skill colored enamels in the imitation of ,japanese work4 ,on one cylindrical vase 7,fig4 #bej7 he has laid in strong relief1 upon a dark-buff ground1 flowers and leaves exactly after the models supplied by ,satsuma and ,kioto4 ,on other specimens the decoration is outlined upon a white ground1 and filled in with enamel colors4 ,the method is productive of a clear hardness of outline1 but the results are seldom unpleasing and often very attractive4 ,colinot has succeeded in obtaining several excellent colors4 ,the vase 7,fig4 #bea7 is a rich purple1 on which the flowers are laid in white and green4 ,the treatment is similar to that of ,deck1 but the ground is less brilliant and clear4 ,colinot also acquired considerable reputation by his faience with colored stanniferous enamel4 ,we give an example 7,fig4 #beb7 of his treatment of large pieces4 ,the ground is a pale blue1 and the medallions are admirably painted4 ,the color is subdued throughout4 ,illustration3 ,fig4 #bea4--;,colinot ,vase4 7,gilman ,collamore47 ,the ,creil workshop was established some time during the eighteenth century1 probably about #aghj1 by a number of ,english potters4 ,its earliest works appear to have consisted chiefly of services of a semi-porcelaneous paste4 ,the ,worcester method of transfer-printing and then painting the design in colors was adopted1 and successfully handled4 ,the founders transferred the establishment to ,le ,buf1 ,milliet ,co4 and ,de ,st4 ,criq ,co4 ,porcelain was made until #ahfj1 after which the production was restricted to ,english faience4 ,the paste cannot1 however1 be distinctly qualified1 as it varies from the original semi-porcelain to cream-colored ware4 ,the latter has a wide reputation1 both for its quality and its decoration under the glaze4 ,illustration3 ,fig4 #beb4--;,colinot ,faience4 7,tiffany ,co47 ,the ,montereau establishment was1 like that of ,creil1 founded by ,englishmen4 ,letters patent were granted on ,march #aeth1 #agge1 to ,clark1 ,shaw ,co41 to make ,english faience and queen's-ware4 ,the firm started under very favorable auspices1 receiving an annual allowance of #abjj francs for ten years1 probably for the purpose of naturalizing the industry4 ,its wares helped to overturn the manufacture of ,french faience1 and were imitated at several places1 including ,toulouse and ,sarreguemines4 ,in #agij there were two establishments at ,montereau4 ,as at ,creil1 ,m4 ,de ,st4 ,criq1 in #ahaj1 acquired the right of protection1 and in #ahbi assigned it to ,lebuf ,thebaut4 ,at ,longwy the manufacture of faience was begun about forty years ago1 when ,m4 ,huart de ,northcomb was proprietor of a workshop4 ,its name is now found upon many excellent specimens of faience with colored stanniferous enamel4 ,in the bottle and tray 7,fig4 #bec7 a rich effect is produced by the employment of two shades of blue in the scaly ground4 ,the oval medallions and other ornamentation are yellow1 with leaves and flowers in green and pink4 ,it is one of the best examples we have seen from this factory1 which is one of the largest of its kind in ,france4 ,the pitcher 7,fig4 #bed7 has a ground of undecided very pale yellow1 and the leaves1 flowers1 and birds are variously colored4 ,our third specimen1 an oval plaque 7,fig4 #bee71 has1 in its design and the brilliancy of its coloring1 a decidedly ,oriental appearance4 ,in the other examples the ground is broken up by a crackle more or less open and irregular2 but in the plaque the white enamel is veined with fine and regular darkly colored cracks1 which bring the ground to a soft and pleasing gray4 ,the flowers are red and pink1 and the foliage green1 turning at times to blue4 ,the bird is brightly plumaged with blue and other colors4 ,in this as in the other pieces1 the ground alone is crackled1 and the decoration has the appearance of being graved in the enamel and then filled in with the requisite colors4 ,illustration3 ,fig4 #bec--,longwy ,faience4 7,gilman ,collamore47 ,illustration3 ,fig4 #bed4--,longwy ,faience4 ,crackle4 7,g4 ,collamore47 ,parville1 of ,paris1 makes enamelled faience of the same general description2 and the vase chosen to represent it 7,fig4 #bef7 deserves attention both for the peculiarity of its form and for the illustration it gives of a ,french modification of the ,persian style of decorating4 ,the ground is a dull and sombre shade of dark-blue1 upon which the ornamentation is laid in light-blue1 white1 red1 and two shades of yellow4 ,illustration3 ,fig4 #bee4--,longwy ,faience4 ,crackle4 7,tiffany ,co47 ,illustration3 ,fig4 #bef4--,parville ,faience4 7,tiffany ,co47 ,gien faience1 like those of ,creil and ,montereau1 belongs to the class of ware with a colorless plumbiferous glaze1 and its decoration is often remarkable both in design and color4 ,in the vase with which we represent this faience 7,fig4 #beg7 the design is outlined on the biscuit1 and the colors are then applied4 ,the earlier products of ,gien are said to be imitations of the styles of ,marseilles4 ,a more artistic faience1 resembling the ,gien1 is made by ,m4 ,elysse at ,blois1 in the old ,italian styles of the fifteenth and sixteenth centuries4 ,the ,sarreguemines factory was founded in #aggj1 by ,paul ,utzchneider1 and is now carried on under the firm of ,utzchneider ,co4 ,it turns out both faience and porcelain4 ,figures and groups in porcelain biscuit and artificial porcelain are made4 ,the factory is also known by a fine white stone-ware4 ,in the fine faience of ,sarreguemines1 certain works may be found which are1 in many respects1 the most extraordinary of the present time4 ,imitations of jasper1 marble1 granite1 and porphyry1 are produced of the most beautiful description1 and other pieces resemble the jasper-ware of ,wedgwood1 with white decoration on a blue ground4 ,the vase 7,fig4 #beh7 can hardly be described in words4 ,among the varied contents of ,mr4 ,collamore's collection1 it is perfectly unique4 ,the ground is a deep and brilliant black1 upon which the decoration is laid in white1 gold1 and blue1 dotted with drops of jewel-like enamels4 ,the handles are blue and gold4 ,the design can be distinctly followed in the engraving1 but even a colored plate could hardly do justice to the enamels1 or give an idea of the general effect4 ,illustration3 ,fig4 #beg4--;,gien ,faience4 7,davis ,collamore ,coll47 ,niederviller has made faience in the ,strasburg style since at least the beginning of the eighteenth century1 and about #agfj was producing pieces with delicate flower paintings4 ,it was then under the patronage of ,baron de ,beyerl1 and afterward of ,count ,custine1 under whose proprietorship the porcelain style was farther developed4 ,a curious specimen is given by ,jacquemart1 in which the ground of the plate is painted to imitate wood1 and in the centre is a reservation simulating a sheet of white paper with a landscape in pink4 ,in #agfh the ,baron de ,beyerl was making a good quality of porcelain from ,german material4 ,under ,count ,custine1 ,franois ,lanfrey was engaged as manager4 ,charles ,sauvage1 or ,lemire1 made small figures and groups in biscuit1 and ,cyffl also executed some of his works at ,niederviller4 ,illustration3 ,fig4 #beh--,sarreguemines ,faience4 7,g4 ,collamore47 ,the name of this artist1 ,paul ,louis ,cyffl1 is1 however1 more intimately associated with ,luneville4 ,the faience workshop of ,luneville was founded about #agbi1 by ,jacques ,chambrette4 ,in #aggh it was acquired by ,keller ,gurin4 ,the styles of ,nevers and ,strasburg were both successfully followed4 ,it was here that ,cyffl made his statuettes of fine 8terre de ,lorraine40 ,in the same district are the factories of ,nancy and ,st4 ,clement4 ,the former produced faience in #aggd1 and a peculiar kind of biscuit which takes its name from the place4 ,the factory was founded by ,nicolas ,lelong4 ,very little is known of the ,st4 ,clement works1 though they are said to have been in operation in #agej4 ,in #ahce they were under the directorship of ,m4 ,aubry4 ,both ,luneville and ,st4 ,clement have been more recently known by their stanniferous faience4 ,st4 ,amand holds an important position in the history of ,french art4 ,it is one of the places1 including ,lille1 ,dunkirk1 ,valenciennes1 and the other faience-producing towns of ,flanders1 which enabled ,france to domesticate1 in a measure1 the manufacture of ware resembling that of ,delft4 ,the paste of these faiences is identical with that used in the great ,dutch establishment1 with which they very soon came into competition4 ,the history of ,st4 ,amand extends from #agdj down to the ,revolution4 ,it was founded by ,pierre ,joseph ,fauquez1 was continued by his son1 ,pierre ,franois ,joseph1 until #aggc1 and by his grandson1 ,jean ,baptiste ,joseph1 until the ,revolution4 ,the earlier style of decoration is based upon that of ,rouen2 the second is after that of ,strasburg4 ,one of the distinguishing features of this faience is the use of white enamel in relief upon the glaze1 which is faintly tinged with blue4 ,having already touched upon a few of the leading names of modern ,paris1 there yet remains to be said something of its previous history4 ,the relics discovered within the city belong to every period1 from the ,roman downward2 and it may therefore be said that the metropolitan potters have been as busy1 comparatively speaking1 in the past as they are to-day4 ,faience was made from the beginning of the seventeenth century1 and ,rverend was1 in #affd1 making imitations of ,delft1 8thin1 with a white enamel1 with clear polychrome colors1 often excessively pure40 ,this is ,m4 ,jacquemart's description4 ,notwithstanding the privilege accorded to ,rverend1 many other workshops appear to have made faience throughout the whole of the eighteenth century1 and it is generally impossible to tell them from the wares of ,rouen and elsewhere1 which they imitated4 ,artistic faience was made at ,sceaux for about forty-five years previous to #agie1 by ,chapelle and ,glot successively4 ,gros-,caillou1 ,st4 ,denis1 ,vincennes1 ,st4 ,cloud1 and ,svres were all more or less engaged in the manufacture of faience4 ,we find ,pierre ,antoine ,hannong1 from ,strasburg1 at ,vincennes in #agfg1 but he met with little success4 ,there are many other places at which faience was made1 some1 like ,nantes1 ,bordeaux1 and ,orleans1 of importance1 and others of which little is known besides their names4 ,a list of them would add nothing to our real knowledge of ,french art1 which has been chiefly influenced by the styles of which we have most fully treated4 ,to the accounts of them has been added all that could be learned regarding ,limoges1 ,creil1 ,sarreguemines1 and a few ,parisian and other workshops especially interesting to the collectors of the present day4 ,,porcelain4 ,efforts to ,make ,porcelain4--,first ,artificial ,porcelain4--,st4 ,cloud4--,lille4--,paris4--,chantilly1-- ,mennecy4--,vincennes4--,svres4--,natura l1 or ,hard1 ,porcelain4--,discovery of ,kaolin4--,various ,factories4--,limoges4--,deck4--,regnaul t4--,solon4--,pate ,changeante4--,pate-sur-,pate4 ,illustration3 ,fig4 #bei4--,st4 ,cloud ,porcelain ,salt-cellar4 7,jacquemart ,coll47 ,we have already seen that the discovery of artificial porcelain preceded that of natural1 or kaolinic1 porcelain4 ,in treating of the faience of ,rouen1 we quoted1 from the letters patent granted to ,louis ,poterat on the #cast of ,october1 #afgc1 a passage to show that he meditated the production of porcelain similar to the ,chinese4 ,a privilege was also granted to ,claude ,rverend1 of ,paris1 in #affd1 which bears that he possessed the secret of making a 8counterfeit porcelain1 as fine and finer than that which comes from the ,east ,indies40 ,all that ,rverend achieved was a very fine faience2 and ,poterat1 having met with success as a maker of faience1 probably renounced the prosecution of the search for porcelain1 although he may be said to have arrived at or very near success4 ,the first ,french artificial1 or soft1 porcelain known to commerce was that made by the ,chicanneau family at ,st4 ,cloud in #afie 7,fig4 #bei74 ,it is first noticed by ,martin ,lister1 a traveller1 in #afih4 ,henry ,trou1 having married the widow of ,pierre ,chicanneau1 became head of the manufactory of ,st4 ,cloud2 and a family quarrel having taken place1 ,marie ,moreau1 widow of one of the ,chicanneaus1 established herself in ,paris4 ,the earliest marks of ,st4 ,cloud porcelain are the sun and the letters ,s4 ,c4 and ,t41 the former dating from #agjb to #agae1 the latter from #agae to #agcj4 ,the sun was the device of ,louis ,,xiv41 and the letters afterward used were the initials of ,st4 ,cloud and ,trou4 ,the paste was close and white1 and the glaze uneven4 ,the decoration soon became varied in character1 some pieces1 with birds and flowers in relief1 resembling the ,chinese1 and others of ,french patterns in blue1 with arabesques or lace borders4 ,illustration3 ,fig4 #bfj4--,vincennes ,porcelain ,cooler4 7,duke de ,martina ,coll47 ,the attempts of ,poterat and ,rverend1 and the more perfect success of ,chicanneau1 indicate the prevalence of the desire to solve the mystery of ,chinese porcelain4 ,experiments were being conducted almost everywhere1 and the success of the potters of ,st4 ,cloud gave a new zest to the search4 ,a manufactory was founded at ,lille in #agaa2 at ,paris1 by the offshoot of the ,st4 ,cloud family1 in #agbb2 and at ,chantilly in #agbe1 where the porcelain of ,corea was taken as a model4 ,ten years later ,barbin was established at ,mennecy1 and in #agci the philosopher ,raumur1 led away by the universal search1 arrived at a devitrified glass1 which went under the name of 8,raumur's porcelain10 though in no sense deserving such a name4 ,with #agdj we reach the establishment of the royal manufactory at ,vincennes 7,fig4 #bfj74 ,two brothers named ,dubois1 formerly of ,st4 ,cloud1 offered to sell their secret to the ,intendant of ,finance1 and were given the necessary means to carry on the production at ,vincennes4 ,these men did not fulfil their promise1 and were succeeded by one of their workmen1 named ,gravant4 ,the celebrated ,madame de ,pompadour used her influence with the king to induce him to favor an enterprise the success of which would make ,france independent of ,saxony4 ,the result was that the manufacture quickly rose to eminence4 ,chemists1 artists1 and goldsmiths were engaged in designing and decorating4 ,flowers were modelled and painted in a style so closely resembling the natural that the king is said1 upon one occasion1 to have mistaken the artificial for the real4 ,in #agec1 the position of manager was given to ,eloi ,brichard4 ,louis ,,xv4 took a third of the capital upon himself1 and the name of 8,the ,royal ,porcelain ,manufactory of ,france0 was conferred upon the establishment4 ,the workshops at ,vincennes became too small1 and in #agef a removal was made to a new building erected specially for the purpose at ,svres4 ,illustration3 ,fig4 #bfa4--,old ,svres ,pate ,tendre4 7,august ,belmont ,coll47 ,illustration3 ,fig4 #bfb4--,old ,jewelled ,svres ,pate ,tendre4 ,cup diameter1 #b in42 ,saucer circumference1 #ah in4 7,mrs4 ,j4 ,v4 ,l4 ,pruyn ,coll47 ,illustration3 ,fig4 #bfc4--;,jewelled ,svres4 7,h4 ,c4 ,gibson ,coll47 ,the imitations which had annoyed ,adam1 the director who preceded ,brichard1 continued under the administration of the latter4 ,the king then took the entire establishment into his own hands1 and appointed ,m4 ,boileau director4 ,such was an eighteenth century toy of royalty4 ,the king1 accompanied by the ,pompadour1 paid regular visits to ,svres1 which was well worthy of being a royal possession4 ,everything that art could suggest in the form of gardens and groves had been done to embellish it4 ,even a private chase was provided for the artists1 where1 in hunting the boar and stag1 they relieved the labors of the studio4 ,never1 possibly1 were artists so favored by patronage and place1 and the productions of ,svres were worthy of the sunshine in which it basked4 ,its flowers and vases admit of no classification4 ,figures were also made in biscuit 7see ,fig4 #bbf74 ,chemists vied with each other in the invention of colors1 and the bleu de roi1 ,hellot's turquoise blue 7#ageb71 the ,pompadour pink 7#ageg71 violet1 greens1 yellow1 and iron-red followed each other in rapid succession1 and were employed with dazzling effect4 ,special mention need only be made of the jewelled porcelain 7,figs4 #bfb and #bfc7 on a bleu de roi ground4 ,the successive directors after ,boileau were3 ,parent1 #aggc-aggi2 ,regnier1 #aggi-agic2 ,commissioners1 with ,chanou and afterward ,salmon1 ,ettlinger1 and ,meyer1 jointly as inspectors1 down to #ahjj2 ,brongniart1 #ahjj-ahdg2 and then ,,mm4 ,ebelman1 ,regnault1 and ,robert in succession4 ,the specimen here given 7,fig4 #bfd7 is one of a pair dated #aggb and #agha respectively1 which formerly belonged to ,louis ,,xvi4 ,on his request they were sold by ,governor ,morris1 in order to raise money1 and were bought by ,dr4 ,hosack1 of ,new ,york4 ,the scene in the medallion represents ,louis ,,xvi4 in his cabinet1 and the nurse bringing in the newly born ,dauphin4 ,illustration3 ,fig4 #bfd4--,svres ,pate ,tendre 7#aggb-agha74 ,bleu de ,roi ,ground4 7,mrs4 ,c4 ,b4 ,hosack ,coll47 ,meantime the paste was still artificial1 and the researches for a natural1 or hard1 porcelain were not relaxed4 ,in #agfi the discovery of kaolin and petuntse at ,st4 ,yrieix1 near ,limoges1 led to the introduction of hard paste into ,svres4 ,in #ahjd ,m4 ,brongniart decided to abandon the manufacture of artificial porcelain1 and soon afterward regretted having taken such a step4 ,in #ahdg ,m4 ,ebelman1 ,brongniart's pupil and successor1 decided to revive the pate tendre1 and for four years made use of a body which had been prepared by ,brongniart forty-five years previously4 ,the clay1 instead of being thrown away1 as ,brongniart thought1 had been stored throughout the long period of its neglect1 and both saved the new director any trouble in experimenting1 and supplied a standard for the future4 ,the production of soft paste has been continued1 but the quantity is inconsiderable4 ,mr4 ,walters1 of ,baltimore1 has in his collection a valuable pate tendre vase dated #ahfj4 ,to give in detail the events which led to the introduction of natural porcelain into the royal factory1 we must turn back to the year #agba1 when ,wackenfeld was attempting to utilize at ,strasburg the knowledge he had brought from ,germany4 ,hannong was engaged in the same enterprise2 and his son1 ,paul ,antoine1 after endeavoring in vain to carry on the production in competition with the artificial porcelain of the royal factory1 and engaging in fruitless negotiations with ,director ,boileau1 at last retired to ,frankenthal4 ,his son afterward took the ,strasburg works in hand1 but failed4 ,all this porcelain was made from imported material4 ,that of ,paul ,antoine resembles in decoration the works of ,meissen1 and his son followed both the ,saxon and ,svres styles4 ,illustration3 ,fig4 #bfe4--;,charlotte ,corday ,vase2 ,svres ,porcelain1 ,mounted4 ,red and ,gold4 7,white ,house47 ,in #ageh an event happened of the first importance to the making of a true ,french natural porcelain4 ,this was the discovery by the ,count de ,brancas ,lauraguais of an inferior quality of kaolin near ,alenon4 ,the specimens of the ware in which it was used show a coarse body1 and decoration after the ,chinese and ,japanese types4 ,shortly afterward ,grault1 or to give his name in full1 ,charles ,claude ,grault ,daranbert1 the proprietor of a faience establishment at ,orleans1 engaged in the manufacture of porcelain4 ,a privilege had been granted to the ,orleans workshop1 in #agee1 to make a white faience1 and the making of porcelain appears to have begun about #agfd1 on the acquisition by ,grault of a kaolin mine at ,st4 ,yrieix-la-,perche4 ,in #agfe ,guettard1 chemist in the establishment of the ,duke of ,orleans at ,bagnolet1 came upon the kaolin deposit at ,alenon originally discovered by the ,count ,lauraguais4 ,within a few years1 also1 ,robert was making porcelain at ,marseilles4 ,illustration3 ,fig4 #bff4--,old ,svres1 ,mounted in ,metal4 ,dark-blue ,ground4 ,height1 #i in4 7,mrs4 ,j4 ,v4 ,l4 ,pruyn ,coll47 ,the next events of importance are ,madame ,darnet's discovery of kaolin at ,st4 ,yrieix1 and ,macquer's experiments with it at ,svres4 ,as at ,strasburg1 the mistake was made at ,svres of mixing the kaolin and petuntse in the wrong proportions1 and the result of the excess of felspar was a very translucent glassy body4 ,the first pieces and those of artificial paste were so nearly alike that1 to distinguish the former1 they were marked with the well known double ,l and crown4 ,they may also be known by the color being laid upon the glaze4 ,in the soft paste the colors appear to be sunk in the glaze4 ,when ,brongniart1 in #ahjd1 stopped the production of pate tendre1 the works of the royal factory began to assume the forms and to be decorated in the styles with which the world has been familiar for the last seventy years4 8,the largest pieces10 says ,jacquemart1 8were undertaken1 and sculpture and painting united to enrich gigantic vases4 ,plaques of forty-six by thirty-six inches were given to distinguished artists1 who reproduced in unalterable colors the frescoes of ,raffaelle1 the masterpieces of ,vandyke1 ,titian1 and of the modern school40 ,of modern ,svres we give one example 7,fig4 #bfh71 to which some interest attaches as belonging to a service presented by the ,french ,government to ,miss ,m4 ,f4 ,curtis1 distributor of funds sent from ,boston for the relief of sufferers by the war with ,germany in #ahgj-ahga4 ,illustration3 ,fig4 #bfg4--;,franklin ,vase4 ,svres4 ,blue and ,gold4 ,inscription on ,vase1 8,vue de la ,maison de ,franklin ,passy40 7,white ,house47 ,illustration3 ,fig4 #bfh4--,svres ,porcelain ,tea-,set4 7,curtis ,coll41 ,boston ,museum of ,fine ,arts47 ,to give an idea of the value of the ,svres porcelain1 it may be mentioned that ,napoleon1 following an example set by ,louis ,,xv41 sent to the ,king of ,etruria a vase worth about sixty thousand dollars4 ,tea-sets worth #ajjj1 vases at #aejj and #ejjj1 are mentioned as being in the royal collection in ,england4 ,illustration3 ,fig4 #bfi4--,washington's 8,cincinnati0 ,svres4 ,illustration3 ,fig4 #bgj4--,mrs4 ,washington's ,svres ,tea-,service4 ,there are several specimens of ,svres porcelain1 formerly preserved at ,arlington ,house1 and now in the ,patent ,office at ,washington1 to which a historical interest attaches4 ,there are1 firstly1 some pieces of the 8,cincinnati ,china0 7,fig4 #bfi7 presented to ,george ,washington by the ,french officers who fought in the continental army4 ,they are white1 with deep-blue bands of leaves and scroll-work1 and have on the bottoms or sides the figure of ,fame holding in her left hand the ,order of the ,cincinnati4 ,there are1 secondly1 several remnants of the set presented at the same time1 and by the same gentlemen1 to ,mrs4 ,washington 7,fig4 #bgj74 ,the rim of each piece is surrounded by a chain of thirteen links1 in each of which is the name of one of the original ,states4 ,in the centre of each plate and saucer1 and on the side of each of the other pieces1 is the monogram of ,martha ,washington1 surrounded by a green wreath of laurel and olive leaves4 ,a golden aureole surrounds the wreath1 beneath which is a ribbon scroll with the motto1 ,decus et tutamen ab illo4 ,the colors are at once delicate and brilliant1 and the painting admirable4 ,illustration3 ,fig4 #bga4--,limoges ,porcelain4 ,cup and ,saucer4 ,painted by ,pallandre4 7,s4 ,s4 ,conant ,coll47 ,manufactories rapidly sprung up in other ,french towns--at ,niederviller1 where ,german kaolin was used2 at several places in ,paris2 at ,bordeaux1 ,clignancourt1 ,lille1 ,valenciennes1 ,vincennes1 ,limoges1 and elsewhere4 ,fauquez made porcelain at ,valenciennes in #aghe1 and the works were taken by ,lamoninary in #aghg4 ,hannong was employed at ,vincennes in #aghf1 and marked his pieces with two pipes crossed1 with or without the letter ,h4 ,the industry was afterward protected by the ,duke of ,chartres1 when the monogram ,l4 ,p4 was adopted as the mark4 ,illustration3 ,fig4 #bgb4--,limoges ,porcelain ,plate4 ,painted by ,pallandre4 ,the porcelain of ,limoges is probably better known in this country than any other1 through the enterprise of the makers1 whose works in faience have already arrested our attention4 ,the proximity of ,limoges to ,st4 ,yrieix would alone lead us to view it as an important centre4 ,after the discovery of kaolin1 the brothers ,grellet1 ,massi1 and ,fourniera established a porcelain workshop in #aggc4 ,the mark ,c4 ,d4 occurs on many remarkable works4 ,in #aghd the manufactory was absorbed by ,svres1 ,gabriel ,grellet acting as director4 ,the paste was then very pure and white1 but deteriorated2 and ,alluaud succeeded ,grellet in #aghh4 ,another change was made in #agic1 and the works were again carried on as a private enterprise in the hands of ,,mm4 ,joubert and ,cancate4 ,in #agid the convent at ,limoges was converted into a manufactory1 and another rose in #agih1 in the hands of the elder ,alluaud1 who was succeeded by his son4 ,though highly commendable in purity of glaze and compactness and whiteness of paste1 his porcelain was inferior in decoration4 ,the next we hear of ,limoges is through ,david ,haviland1 of ,new ,york1 who went from this country to ,limoges upward of forty years ago4 ,his firm worked steadily in the manufacture of porcelain1 chiefly of a domestic character1 before they conjoined it with that of faience4 ,illustration3 ,fig4 #bgc4--,limoges ,porcelain4 7,mrs4 ,colonel ,t4 ,scott ,coll47 ,illustration3 ,fig4 #bgd4--,limoges ,porcelain4 7,gen4 ,a4 ,j4 ,meyers ,coll47 ,at the present time ,haviland ,co4 make a domestic ware of exceptional purity and of great beauty of design4 ,one set is modelled after and decorated with the water-lily1 and others are of equal simplicity and beauty4 ,the rule in these and in more strictly ornamental pieces is1 to follow a chaste and refined style1 marked by a limited use of color4 ,the rule we laid down for the decoration of porcelain--that it should never be loaded with colors less beautiful than its own glaze--is here more closely followed than anywhere else occurring to us4 ,here1 for example1 is a set of plates painted with different scenes1 such as a snow-storm1 morning1 night1 before a shower1 during a shower1 and other similar subjects4 ,the details are not wrought in with obtrusive precision4 ,something is left to imagination1 and the effect of every view is perfect4 ,they are painted by ,m4 ,bracquemond4 ,illustration3 ,fig4 #bge4--,limoges ,porcelain4 7,whitelaw ,reid ,coll47 ,illustration3 ,fig4 #bgf4--,limoges ,pate ,tendre4 7,h4 ,j4 ,jewitt ,coll47 ,we nowhere find a better successor to the 8egg-shell0 of ,china than in the delicate1 pure1 and fragile specimens of thin porcelain from ,limoges4 ,this is an exceptional fabric1 but there is elsewhere to be seen enough to substantiate the excellence of ,french porcelain for domestic use1 in point of both beauty and strength4 ,we have seen certain small coffee-cups so finely wrought1 exquisitely modelled1 and chastely colored1 that when not in use they might serve as ornaments4 ,the point to which painting on porcelain has been brought is further illustrated by a series of dessert plates ornamented with different kinds of fruit--grapes1 peaches1 and other varieties4 ,the supreme delicacy with which the requisite tints are here applied is admirable4 ,on others are different kinds of seaweed and other marine objects1 in which the artist has caught the natural hues with wonderful precision4 ,the porcelain vases are1 as a rule1 small in size4 ,no attempt1 so far as we are aware1 has been made to follow the gigantic works of ,svres1 ,meissen1 and ,berlin1 and we do not regret the fact4 ,the works with which we are presented show great skill in the colors obtained1 and the shapes are simple and sometimes severe4 ,the domestic porcelain of ,limoges deserves careful study for the sake of the refined taste which it invariably reflects4 ,illustration3 ,fig4 #bgg4--;,dinner-set in ,limoges ,pate ,tendre4 ,the most highly artistic pieces are in pate tendre1 or artificial paste4 ,considering the difficulty of manipulating the body and its liability to sink in the furnace1 many of the old ,svres pieces must be regarded as marvels of workmanship4 ,we look with a similar interest upon the examples coming to us from ,limoges4 ,it has the honor of having produced the only complete dinner-set ever made of this ware 7,fig4 #bgg74 ,its beauty is parallel with its value1 which we hardly dare estimate4 ,beautifully modelled and plumaged birds form the dish handles1 and a simple accessory decoration on the body reveals to perfection the peculiar appearance presented by pate tendre of having the colors sunk in the soft and creamy glaze4 ,haviland ,co4 have attained an exceptional success in colors4 ,a complete toilet-set of pate tendre is turquoise blue of great richness and transparent depth4 ,the modelling corresponds with an achievement in color which has been the despair of ceramic artists for centuries4 ,deck is the only ,french maker who1 before the ,havilands1 approached the old turquoise of ,china4 ,the art has long been lost in the ,east4 ,deck's pieces1 however1 are apt to craze or crack in irregular breaks1 and this was thought to be unavoidable until ,haviland made crackle closely resembling in color the rare old ,chinese4 ,of the same material are two recumbent ,psyches 7,fig4 #bgh71 one in blue1 the other in pink4 ,in no more poetic form do we remember to have met the winged nymph who turned against ,cupid the darts with which he was wont to afflict humanity4 ,a set of three graceful vases 7,fig4 #bgi7 with reticulated necks1 and each supported on a tripod of goats' feet1 is painted in blue1 gold1 and pink4 ,the forms are graceful and the coloring refined4 ,the paintings of ,poitevin and ,du ,liege on these and other pieces are characterized by the most exquisite delicacy4 ,m4 ,pallandre1 the ,parisian flower-painter1 has also lent to the porcelain of ,haviland ,co4 the beauty conferred by his dexterous brush4 ,illustration3 ,fig4 #bgh4--,psyche1 in ,blue ,pate ,tendre4 ,illustration3 ,fig4 #bgi4--,pate-tendre ,vase4 ,illustration3 ,fig4 #bhj4--;,deck ,vase4 7,g4 ,collamore47 ,an excellent domestic ware1 also made at ,limoges1 is largely imported by the manufacturers1 ,charles ,field ,haviland ,co41 of ,new ,york4 ,the greater portion of it is undecorated2 but lately the makers have been turning their attention to decoration1 and artistic work of considerable merit now comes from their establishment4 ,illustration3 ,fig4 #bha4--;,deck ,plaque4 7,g4 ,collamore47 ,before leaving ,france1 the names of ,deck1 ,solon1 and ,regnault may be allowed to stay our progress4 ,the ,messrs4 ,deck1 of ,paris1 have1 as we have seen1 made a special study of color1 and were the first1 or among the first1 to revive ,oriental decoration4 ,their ,persian ware1 or imitation of the old art of ,persia1 is characterized by much of the beauty of the original4 ,their blue1 as we have seen1 is especially commendable1 and enabled them to compete with the enterprising imitators of ,england1 the ,mintons1 who have for several years been in possession of a blue very little inferior to the turquoise4 ,it is to be regretted that ,deck was not represented at the ,centennial ,exhibition1 where1 by the richness of his palette1 he would have had an opportunity of extending his reputation in ,america4 ,m4 ,regnault1 who succeeded ,m4 ,ebelman in the directorate of ,svres1 was the inventor1 while at the ,svres manufactory1 of pate changeante4 ,the ware appears1 during the day1 like gray cladon1 and at night1 under artificial light1 changes to a beautiful pink1 whence its name4 ,illustration3 ,fig4 #bhb4--,minton ,porcelain4 ,pate-sur-pate1 by ,solon4 7,wales ,coll41 ,boston ,museum of ,fine ,arts47 ,the name of ,m4 ,solon recalls at once the peculiar style of decoration called 8,pate-sur-pate10 or paste upon paste4 ,the process has been long known in ,china1 and was first attempted in ,europe by ,m4 ,ebelman at ,svres about thirty years ago4 ,the experiments were successful1 and some very fine works were issued4 ,the process was taken to ,england from ,svres by ,m4 ,solon1 who was engaged a few years ago by the ,messrs4 ,minton 7,fig4 #bhb74 ,in ,mr4 ,a4 ,b4 ,daniells's collection at the ,centennial ,exhibition1 some examples of pate-sur-pate by ,m4 ,solon attracted general attention4 ,there were two pairs of vases of a pure ,greek shape1 with a body of a rich bronze or chocolate color4 ,on this1 in white relief1 were figures symbolizing ,fire and ,water1 and a group of the ,graces accompanied by ,cupid in a race4 ,the forms were exquisitely drawn1 and were half revealed by the semi-transparent drapery4 ,more usual grounds are a dark green and a grayish tint1 either of which has a soft effect4 ,a second specimen is given at ,fig4 #ceb4 ,this method of treatment consists in applying to the surface to be decorated white liquid porcelain as a pigment4 ,the application is repeated until the necessary relief is obtained1 when the figures are finished by carving or scraping4 ,repeated firings are necessary before glazing1 and the decoration1 which is opaque while wet1 becomes more or less transparent1 according to the thickness of the pigment4 ,the process is one of the nicest and most difficult in the entire range of ceramic art1 as a mistake once made cannot be remedied1 and the glaze has a tendency to destroy the fine outlines of the figures4 ,,chapter ,,vi4 ,,germany ,,and ,,central ,,europe4 ,early ,pottery4--,lake ,dwellers4--,early ,german4--,peculiar ,shapes4--,how ,peasants ,account for ,relics4--,roman ,epoch4--,tin ,enamel4--,leipsic4--,breslau4--,nurembe rg4--,the ,hirschvogels4--,villengen4--,hchst4--,m arburg4--,bavaria4--,switzerland4 --,belgium4--,delft4 ,the early pottery of ,germany and ,central ,europe dates from the ,stone ,age down to the ,roman incursion1 when the types change1 and the evidences of more perfect mechanical appliances become apparent4 ,the ,lake ,dwellers1 who built their huts on piles in the lakes of ,switzerland1 have commemorated themselves by hand-wrought vessels1 to the embellishment of which a decoration of the rudest kind was brought4 ,remains have been found throughout ,germany1 of which some are hand-made1 while others are evidently thrown upon the wheel4 ,these are both pre-,roman and contemporaneous with the ,roman occupation4 ,the paste varies from a friable clay to a hard1 ringing stone-ware4 ,vases of a great variety of shape have been found along with cups1 plates1 saucers1 and jars4 ,some of the vases are divided1 like boxes1 into compartments4 ,the ornaments are paintings1 mouldings1 and incised lines4 ,the painting consists of parallel lines of red1 yellow1 and black4 ,some of the smaller pieces were apparently used as toys4 ,others1 of a sepulchral character1 are thought to resemble the huts of the lacustrine dwellers4 ,one found at ,achersleben has a tall1 conical cover1 like a high-thatched roof1 and the orifice in front is covered with a plate having a ring in the centre1 through which a pin being passed fastened it on the outside4 ,the orifice was in this way closed after the ashes of the dead had been introduced 7,fig4 #bhc74 ,these and similar remains have been found in various parts of ,germany1 and have given rise to many superstitious stories among the peasantry4 ,by some they are said to be the natural produce of the soil4 ,others ascribe them to the all-powerful fairies4 ,others consider them possessed of wonderful preservative properties4 ,as to the art they represent1 we are convinced here1 as we are in a parallel manner1 though more forcibly amidst the remains belonging to ancient ,gaul1 that the ,romans were not the first to inspire the ,teutonic population with a desire for the expression of artistic ideas4 ,we find both an awakening sensitiveness to the graces of form1 and a growing appreciation of the possible beauty of surface decoration4 ,illustration3 ,fig4 #bhc4--;,ancient ,german ,hut-shaped ,vases4 ,with the ,romans we find pottery both made on the spots where they settled and imported from the seats of the ceramic industry in ,italy4 ,these display the usual ,roman characteristics1 and need not be here considered4 ,crossing the ,dark ,ages1 we find1 in the thirteenth century1 ,germany in possession of processes for the presence of which--so far removed from their accepted centres and from the regular routes by which they travelled--it might be hard to account if it were absolutely necessary to travel by the regular route4 ,we have seen this already in the case of early ,france4 ,we see it again in ,germany4 ,possibly the ,romans may have taught their barbarian subjects something about glazing4 ,possibly some wanderer to ,palestine and the ,east or to the ,saracenic settlements in the ,south of ,europe1 or some stranger from these 8foreign parts10 may have initiated the ,german potters in the higher secrets of the art4 ,in any event1 ,germany was making enamelled faience at least two centuries before ,luca della ,robbia had perfected his process in ,italy4 ,a potter of ,schelestadt1 in ,alsace1 is said by the ,germans to have discovered tin enamel4 ,even his name is now forgotten1 although his death is said to have occurred in #abhc4 ,at ,leipsic is a glazed frieze1 dated #abjg1 and at ,breslau1 in #abcj1 architectural reliefs of great excellence were produced4 ,two hundred years later1 in #adda1 ,veit ,hirschvogel was using stanniferous enamel4 ,at ,strehla1 in #aefe1 the potters were so well skilled in the working of terra-cotta1 that they had made a pulpit of that material4 ,one is almost led by these facts to question if ,germany did not lead both ,italy and ,france1 and to regret that the history of ,german ceramics has not been more fully opened up to us4 ,one danger let us guard against1 for the sake of securing the intelligent understanding of ,germany1 incompatible with either partiality or prejudice4 ,we need not confound conservative tastes with a 8very slow march of ideas40 ,one rather loves to find an artist so impressed with what is good in his own art1 that he is in no haste to leave it in order to catch the first whiff of foreign inspiration4 ,ideas evidently circulated at a tolerably high rate of speed in a country where the enamelled friezes and monumental bas-reliefs of ,leipsic and ,breslau existed in the beginning of the thirteenth century4 ,to ,leipsic1 therefore1 ,germany is indebted for its first enamelled ware4 ,the friezes above mentioned consisted of tiles with alto-relievo heads of ,christ and the ,apostles4 ,the enamel is dark green4 ,what occurs to us at once is that no art ever began with such works1 and that in them we have the successful results of long experiment4 ,breslau is made famous by a large work of the same century1 representing ,henry ,,iv4 of ,silesia1 who died in #abij4 ,the monarch lies stretched upon a tomb surrounded by twenty-one bas-reliefs4 ,the ,hirschvogels of ,nuremberg have thrown a lustre upon their birthplace by their faience decorated with enamelled reliefs4 ,the founder of the family1 ,veit ,hirschvogel1 was born in #adda1 and died in #aebe2 and one of his sons1 ,augustine1 has left some very artistic works in the prevailing style of ornamentation1 with medallions and decorations in relief4 ,one vase has green dragon handles 7,fig4 #bhd72 and the fact that this style existed in ,nuremberg at the time when ,palissy was travelling in ,germany1 has led to the supposition that he may have acquired the rudiments of his art under ,hirschvogel4 ,the same city was deservedly celebrated for its tiles ornamented with bas-reliefs1 generally of the deep green distinctive of the greater proportion of ,german pottery4 ,the style was at a later period carried to a greater extent1 as we find upon different vessels several animal forms in high relief1 and even the vessels themselves modelled after the animals of the country4 ,at ,villingen1 in the ,black ,forest1 ,hans ,kraut1 who died in #aeij1 carried the same branch of art to great perfection1 his tiles and bas-reliefs marking him as a successful and talented disciple of the school of ,nuremberg4 ,illustration3 ,fig4 #bhd4--;,german ,enamelled 8,surprise0 ,vase4 ,by ,hirschvogel4 ,hchst and ,marburg were both important seats of the industry1 and at the former we find a vase having its neck ornamented with white reliefs1 like the cameos of ,wedgwood4 ,during the seventeenth and eighteenth centuries the industry was established in many places throughout ,germany1 and styles of western and southern origin make their appearance4 ,the faience of ,anspach1 ,bavaria1 follows the style of ,rouen1 and at ,nuremberg1 in the eighteenth century1 the early ,faentine style is making itself felt4 ,the ,bavarian towns of ,gggingen and ,baireuth both produced pieces of great beauty and refinement4 ,on some from the former appear bouquets1 birds1 and arabesques1 and one from the latter is ornamented--with what delicacy of effect may be imagined--with a figure and medallion surrounded by blue arabesques laid upon the white enamel4 ,before the middle of the eighteenth century ,nuremberg had instituted its modern style1 blue arabesque borders on a bluish glaze surrounding centre-pieces of fruit1 etc4 ,,switzerland4 ,in ,switzerland we know ,zrich1 ,schaffhausen1 ,winterthur1 and one or two other places4 ,of these1 ,winterthur is probably the more ancient1 pieces occurring dated #afgh and #afhi4 ,the styles are akin to the ,italian--deep-bordered dishes with regularly arranged groups of fruit or flowers1 or blue arabesques running round the margin4 ,escutcheons or fortified castles form the centre decoration4 ,precision and stiff1 scrupulous care characterize the drawing4 ,,belgium4 ,belgium1 in at least two of the seats of its ceramic wares1 has been closely allied with ,france4 ,from ,antwerp1 the great centre of ,belgian art1 issued majolica of ,italian styles in blue and yellow1 violet and green1 and another quality after the ,oriental porcelain patterns4 ,toward the middle of the seventeenth century1 if not earlier1 ,antwerp was in close relations with ,france4 ,tournay was of ,french origin in so far as its faience is concerned1 and it was not until its workshop passed into the hands of ,peterynck1 of ,lille1 that it rose to eminence4 ,the pieces attributed to it show a compound of ,rouennais1 ,flemish1 and ,chinese decoration4 ,brussels had carried the art in #agfa to such a height1 that its faience was said to be preferable to that of ,delft and ,rouen1 with which it is possible it may sometimes be confounded by collectors4 ,at ,tervueren1 near the capital1 some pieces still in existence were made which are decorated with wreaths and bouquets and armorial bearings executed in colors of moderate purity4 ,,holland4 ,illustration3 ,fig4 #bhe4--;,delft ,blue-and-white4 ,eighteenth ,century4 ,chinese ,style4 ,height1 #ag in4 7,mrs4 ,john ,v4 ,l4 ,pruyn ,coll47 ,for our present purpose1 all ,holland may be said to be comprised in the single town of ,delft4 ,its works date from #acaj1 and may be divided into two eras1 that preceding the making of 8porcelain10 and that during and after the fabrication miscalled by that name4 ,the ,delft faience is thin and hard1 and was decorated with landscapes and scenes by the best painters of the time4 ,it was made into tiles1 large plaques1 baskets1 vases1 statuettes1 and many other forms4 ,toward the end of the sixteenth and beginning of the seventeenth centuries1 when the ,dutch were laying the foundation of their trade with ,japan1 the fine quality of faience1 which has never been equalled by any other country1 began to be produced4 ,we find this imitation of ,oriental porcelain officially recognized in #afad1 and for a hundred and fifty years it was currently referred to as porcelain4 ,in reality it was a fine faience1 modelled and decorated after the peculiar forms and patterns with which their trade with ,japan had made the ,dutch almost exclusively familiar4 ,the paste1 which consisted chiefly of the clay of ,bruyelle1 near ,tournay1 was skilfully mixed with sand and carefully manipulated4 ,the sand made it hard1 and gave it a capacity for being wrought into thin pieces suitable for table services4 ,the bluish enamel was perfectly smooth and even2 and the decoration1 chiefly in blue and iron-red1 after the ,oriental designs1 imparted to it much of the appearance of ,japanese porcelain4 ,illustration3 ,fig4 #bhf4--;,delft ,blue-and-white4 ,eighteenth ,century4 ,size1 #ba in4 by #ah in4 7,mrs4 ,john ,v4 ,l4 ,pruyn ,coll47 ,it is not to be wondered at that1 as the processes were perfected1 the reputation of ,delft increased1 and its commerce grew in proportion1 and that no symptoms of decay manifest themselves until toward the end of the seventeenth century4 ,the genius of both potters and painters ran riot among curious forms and decorations4 ,one author mentions dinner services with dish covers resembling in form and color the birds to be served in them2 a spice cupboard resembling a ,chinese ,mandarin1 and other curiosities4 ,another strange form was that of a violin1 one of which is painted in blue camaeu1 with figures engaged in a dance1 and musicians4 ,,stone-,,ware4 ,countess ,jacqueline4--,teylingen4--,graybeards4- -,fine ,stone-ware4--,grs de ,flandre4--,creussen4 ,this ware1 distinguished1 as we have seen1 by its vitrified fracture1 although long known in the ,east1 does not appear in ,europe until between the thirteenth and fifteenth centuries4 ,when it was first made in ,france has not been ascertained with sufficient exactness1 and to ,germany the credit of instituting the fabrication has generally been accorded4 ,we find it throughout the provinces on the ,rhine at a very early period1 and it probably passed down the ,rhine to ,holland and thence to ,england4 ,the name of the beautiful and unfortunate ,jacqueline of ,bavaria1 ,countess of ,hainault and ,holland1 is connected with the making of stone-ware by a very curious tradition4 ,jacqueline was the daughter of ,william ,,iv41 ,count of ,hainault and ,holland1 at whose request she married ,john1 ,duke of ,brabant4 ,this was the beginning of her troubles4 ,a jealous and disappointed suitor1 ,john of ,bavaria1 ,bishop of ,liege1 marched against ,holland1 and having compelled the countess to nominate him as her successor1 bribed her husband to transfer to him the management of her estates for a term of years4 ,the countess1 having good reason to be disgusted with men in general1 and with her husband and quondam suitor in particular1 fled to ,england after appealing in vain to ,rome for a divorce4 ,in ,england her beauty captivated the ,duke of ,gloucester1 who espoused her cause as a preliminary to espousing herself4 ,the duke marched against her husband of ,brabant1 who1 assisted by his cousin of ,burgundy1 defeated the invader4 ,gloucester deserted ,jacqueline1 fled to ,england1 and took a less involved bride4 ,the countess in the mean time was imprisoned2 but she escaped1 and on the death1 in #adbe1 of the prelate of ,liege1 resumed her rightful position4 ,then she was relieved by death of her husband1 and was again involved in war by the ,duke of ,burgundy1 whom she was forced to declare her heir4 ,a second marriage into which she entered so enraged ,philip--who1 by-the-way1 is known in history as1 par excellence1 8,the ,good0--that he arrested her husband1 and would have executed him1 had not ,jacqueline handed over her coveted property to 8,the ,good10 and in #adcc retired to the privacy of the ,castle of ,teylingen4 ,three years afterward she died1 at the age of thirty-six4 ,illustration3 ,fig4 #bhg4--;,graybeard4 ,brown ,german ,stone-ware4 ,illustration3 ,fig4 #bhh4--;,german ,graybeard1 found in ,england4 ,from what we can make out1 the countess was twice an occupant of ,teylingen1 once in #adbd1 on escaping from imprisonment at ,ghent1 and the second time1 as above mentioned1 in #adcc4 ,on both these occasions she appears to have occupied herself with the superintendence of the stone-ware works1 and even with fashioning the vessels with her own dainty hands4 ,after they were made1 we are told--although it is altogether incredible--that the flagons were thrown into the ,rhine1 either as mementos of her imprisonment1 or 8that they might in after-ages be deemed works of antiquity40 ,providing for posterity in that peculiar manner does not commend itself to one's reason1 as in any way in keeping with the career of the ,countess ,jacqueline4 ,there was a custom in ,paris for patriotic citizens to assemble in the gardens adjoining the ,seine1 and there to relieve themselves by toasting and singing and flinging the empty flasks into the river4 ,these have been found1 with the legend 8,vive le ,roi60 inscribed on them1 after the fashion of the ,moyenage potters4 ,the ,germans had a similar manner of keeping the toast from future impurity by throwing away the vessels in which it was drunk4 ,probably in this way the 8,vrouw ,jacoba's ,kannetjes0 found their way into the ,rhine and the moat of ,teylingen4 ,it is easy to imagine the potters toasting their lovely co-worker and superintendent1 and1 in the excess of their admiration and loyalty1 tossing away the flagons1 that they might never be drained to a less worthy toast4 ,the story is attractive enough1 and it is almost a pity that the pots which have been found are not of a high artistic rank4 ,none of them is ornamented4 ,illustration3 ,fig4 #bhi4--;,fine ,german ,stone-ware4 ,illustration3 ,fig4 #bij4--;,fine ,german ,stone-ware4 ,to the 8common stone-ware0 belong the pots called ,graybeards 7,fig4 #bhg71 from the bearded heads moulded on the necks4 ,many of these1 though well formed1 are rudely ornamented1 and are of a very coarse composition 7,fig4 #bhh74 ,the finer ware1 which was made after the beginning of the sixteenth century1 is divisible into two classes1 the older belonging exclusively to the sixteenth century1 and of a gray white or pale yellow1 the other of a bluish and gray tint1 made down to the present time4 ,this is the ware commonly called ,grs de ,flandre1 although1 so far as we know1 ,flanders never produced any1 and the ware so designated is a purely ,german fabrication4 ,the canettes1 or tall cups1 of a nearly cylindrical shape1 sloping slightly inward toward the top1 and belonging to the first class of yellowish white stone-ware1 are of very elegant form1 and are beautifully ornamented with reliefs1 made from moulds of wood and admirably executed4 ,the subjects are sometimes scriptural1 sometimes heraldic4 ,to the second class of blue and gray stone-ware with salt glaze belong some of the best specimens of the art 7,figs4 #bhi and #bij74 ,they date from #aejj to #afbj1 after which came the decline4 ,the ,bavarian town of ,creussen made a peculiar stone-ware ornamented with colored reliefs4 ,of this we have samples in the 8,apostle0 mugs1 so called from the reliefs surrounding them1 and in a series of jugs with hunting scenes4 ,these belong to the seventeenth century4 ,the ,bttcher stone-ware will be noticed under porcelain1 to the invention of which in ,germany it was the first step4 ,,porcelain4 ,bttcher4--,his ,first ,productions4--,meissen ,porcelain4--,decoration4--,best ,days of ,meissen4--,its ,decline4--,vienna4--,hchst4--,frstenbur g4--,hxter4--,frankenthal4 --,nymphenburg4--,berlin4--,holland4--,w eesp4--,loosdrecht4--,the ,hague4--,switzerland4--,zrich4--,nyon4 ,it will always be the distinguishing honor of ,germany that the ,saxon ,bttger1 or ,bttcher1 was the discoverer1 for ,europe1 of a true kaolinic natural porcelain4 ,the circumstances have already been detailed 7see p4 #eb74 ,while ,bttcher was prosecuting his experiments in #agjh1 he had the furnace filled with trial pieces1 which were fired for several days before a piece was withdrawn4 ,a teapot was at length taken out and thrown into cold water4 ,it was not porcelain1 however1 but a red stone-ware1 very hard1 and with a metallic ring when struck4 ,it was called 8red porcelain10 probably to suit the wishes of the experimenter and of his royal patron4 ,a teapot of this ware has been sold in ,england for sixteen pounds sterling4 ,a very good example of it is now in the possession of ,mr4 ,davis ,collamore1 of ,new ,york 7,fig4 #bia71 who was fortunate enough to pick it up in one of his ,european tours in quest of rare 8bits40 ,it is undecorated1 and shows admirably the rusty red color of ,bttcher's experimental stone-ware4 ,others of his early essays are almost black in color and are painted in relief4 ,several pieces are in the ,metropolitan ,museum4 ,illustration3 ,fig4 #bia4--;,bttcher ,stone-ware4 7,d4 ,collamore47 ,illustration3 ,fig4 #bib4--,meissen ,porcelain4 ,blue ,festoon1 ,pink ,rosette4 #agji-agbf4 7,f4 ,robinson ,coll47 ,whenever the kaolin of ,aue was discovered1 ,bttcher1 on his first attempt1 succeeded in making natural porcelain4 ,though ,meissen1 where a workshop was erected without delay after the discovery1 was kept like a prison or fortress1 and every precaution observed to insure secrecy1 although every man connected with the works was under oath to keep silence in regard to anything he might see or discover1 the precautions were all in vain4 ,the knowledge oozed out1 and in a very few years ,meissen had several rivals4 ,white ware was made down to #agah4 ,the ,nankin blue was the first colored ware imitated1 and after #agah other colors were introduced4 ,bttcher died in #agai1 and was succeeded in the directorate by ,horoldt 7,fig4 #bic71 who carried out several great improvements1 and mingled the previous exclusively ,oriental designs with some of a more purely ,european character4 ,heavy gilt borders surrounded figures1 flowers1 or the royal arms4 ,in #agca1 while the king himself was director1 ,kandler1 a sculptor1 introduced1 as an ornamentation for vases1 flower wreaths in relief1 and afterward attempted figures with great success4 ,from #agbe to #agde ,lindenir1 or ,linderer1 was painting the beautiful insects and birds which were his specialty4 ,then came1 also during ,kandler's time1 the exquisite paintings by ,european artists which brought the ,chinese style effectually to a close4 ,the brightest days of ,meissen's history were those from #agca to #agef1 before ,frederick the ,great robbed it1 for the enrichment of ,berlin1 of men1 moulds1 models1 and clay4 ,peace came too late to restore ,meissen to its pre-eminence1 as it now had rivals both at home and abroad in ,france and ,england4 ,illustration3 ,fig4 #bic4--;,dresden ,porcelain4 ,illustration3 ,fig4 #bid4--,old ,dresden ,porcelain4 7,l4 ,double ,coll47 ,the successive directors after ,horoldt were the king1 ,augustus ,,ii41 from #agca to #agcc2 ,count ,brhl from #agcc2 the count's widow from #agfc2 the king1 ,augustus ,,iii41 from #aggh2 ,count ,marcolini from #agif to #ahad2 ,bengrath ,oppal from #ahad to #ahcc4 ,the factory was1 for the second time1 plundered in #agei1 and although it subsequently attained to a high position1 it never reached its former prosperity4 ,a marked change in style is noticeable during the last quarter of the eighteenth century4 ,the forms and ornaments both assume more of a classical character4 ,this style1 borrowed most likely from ,france1 was adopted by ,marcolini1 and entirely superseded its predecessors4 ,the manufacture was now in its decline4 ,meissen had lost its prestige1 and gradually sank in importance4 ,from about fifty years ago the decoration became coarse and the works no longer paid expenses1 and at the present time ,dresden ware is a decidedly inferior fabrication4 ,according to ,jacquemart1 the manufactory is busy counterfeiting its own old productions and its old marks4 ,in comparing ,dresden with its former self1 its present position relative to other factories must not be lost sight of4 ,it still gives to commerce many works which are valuable either for their historical associations or for their intrinsic merit4 ,the candelabrum here given 7,fig4 #big7 represents a style of work once very much in vogue at ,dresden4 ,it was ,kandler who1 while superintending the modelling department under ,augustus ,,ii41 between #agca and #agcc1 introduced the beautifully fashioned flowers in relief1 of which some idea may be formed from our specimen4 ,another1 and a very curious work1 is still reproduced1 and specimens can occasionally be picked up in this country4 ,reference is made to the figures 8,count ,brhl's ,tailor0 and 8his ,wife40 ,the originals of these pieces were made by ,kandler in #agfj1 under the count's directorate4 ,with all his profligacy1 ,count ,brhl was a good deal of a wit1 and having been repeatedly requested by his tailor to accord him permission to look through the manufactory1 at length consented4 ,the tailor presented himself at the works in due time1 and was there1 to give him an appetite for farther exploration1 presented with the two figures referred to4 ,in one he saw himself astride of a he-goat1 brandishing his professional shears and carrying the other appurtenances of his business on his back1 while the goat carries his 8goose0 in its mouth4 ,the other figure was that of his wife1 with a baby in her arms1 sitting upon a she-goat4 ,the discomfited tailor saw no more of the porcelain manufactory4 ,the many elegant forms and styles of ,dresden are too numerous to be detailed4 ,they embrace vases1 candlesticks1 snuff-boxes1 butterflies1 flowers1 clock-cases1 and animal figures4 ,the miniature paintings on some of the smaller pieces are exquisitely finished and wonderfully tinted4 ,illustration3 ,fig4 #bie4--;,early ,meissen4 7,a4 ,belmont ,coll47 ,illustration3 ,fig4 #bif4--;,dresden ,cup and ,saucer4 ,marcolini ,period1 #agif4 7,j4 ,c4 ,runkle ,coll47 ,the annals of the last century contain many curious stories of runaway workmen selling their secrets1 and of the steps taken to keep down opposition and to acquire a knowledge of the manufacture by any means that offered4 ,a runaway from ,meissen led to the establishment at ,vienna of a factory in #agbj4 ,after twenty years it rose to considerable eminence1 although in both paste and glaze it is inferior to ,dresden4 ,its raised gold decorations have brought it in modern times a certain celebrity4 ,it came to an end during the directorate of ,alexander ,lowe1 who was appointed in #ahef4 ,some excellent specimens are in the collections of ,mr4 ,walters1 of ,baltimore1 and ,mr4 ,gibson1 of ,philadelphia4 ,from ,vienna the secret spread to ,hchst1 whither it was conveyed by a workman named ,ringler4 ,ringler was in the habit of carrying with him written notes regarding the manufacture4 ,his fellow-workmen at ,hchst made him drunk1 copied his notes1 and offered the secret thus obtained for sale at other centres4 ,one of these runaways founded the workshop of ,frstenburg4 ,a few of the ,frstenburg workmen attempted to establish a manufactory at ,neuhaus1 but1 on discovery1 were sent out of ,brunswick4 ,another ,frstenburger1 a flower painter1 tried to start the industry at ,hxter1 whither he had fled1 but failed1 and was followed in the endeavor by one of the defrauders of poor ,ringler4 ,this man's name was ,becker1 and he succeeded in ,hxter1 after fruitlessly hawking his secret through ,belgium1 ,holland1 and ,france4 ,he was bought up by the offer of a pension1 and his competition was thus brought to an end4 ,when ,ringler awoke to a full realization of the consequences of his folly at ,hchst1 he went to ,frankenthal1 ,bavaria1 where the factory founded by ,hannong1 of ,strasburg1 made porcelain in #agee4 ,this existed down to #ahjj4 ,in the mean time1 however1 ,ringler had left1 as we find him first at ,neudeck-,nymphenburg1 in ,bavaria1 and then1 in #ageh1 founding a factory at ,ludwigsburg1 ,wrtemberg1 which was worked until #ahba4 ,the porcelain made here was of excellent quality1 and the figure pieces were admirably modelled4 ,after this we hear no more of ,ringler4 ,in this way the industry spread over the whole of ,central ,europe--to ,anspach1 ,baireuth1 ,baden1 to ,hesse-,cassel1 ,darmstadt1 and ,thuringia1 each new workshop becoming the centre for a number of offshoots4 ,illustration3 ,fig4 #big4--,recent ,dresden ,porcelain ,candelabrum4 7,d4 ,collamore47 ,illustration3 ,fig4 #bih4--;,berlin ,porcelain4 7,d4 ,collamore47 ,berlin obtained a knowledge of porcelain by the purchase of one of the copies of the indiscreet ,ringler's notes1 and the industry was founded in #agej4 ,let us bear in mind how ,frederick carried off workmen1 artists1 tools1 and material from ,meissen1 and it is not difficult to understand the rise of ,berlin4 ,the works were taken by the ,crown in #agfc1 and were very soon yielding a handsome income4 ,berlin has been compared with ,dresden in its best days1 and its works are certainly of a high order4 ,the ,berlin rose-color is peculiar to the royal factory4 ,at the ,centennial ,exhibition the ,kniglich ,preussische ,porzellan-manufactur of ,berlin was almost the sole representative of the porcelain industry of ,germany4 ,the majority of the pieces were of an ornamental character1 large vases and plaques4 ,a mere list of them will show in what the workmen are now busying themselves4 ,there were a ,victoria vase with a picture of ,aurora1 after ,guido ,reni2 ,germania vase with pictures of ,germania cultivating the arts and sciences1 and ,prussia the shield and protectress of the empire1 after ,von ,heyden2 ,crater vase with 8,triumphal ,procession of ,king ,wine10 after ,schrdter2 ,crater vase with picture of ,helios1 after ,schinkel2 vases in ,neogrec style with paintings after ,bendemann2 ,victoria vase with 8,music10 after ,klber2 ,urbino vases1 amphora vases1 and several sets in the ,persian1 ,chinese1 and ,japanese styles4 ,all these pieces were of large size1 the largest about six feet in height4 ,besides these there were candelabra1 pictures on china enamel1 table services1 busts1 and some beautiful specimens in biscuit4 ,the collection probably represented very fairly the extent of the art practised at ,berlin1 and the best work of the ,germany of to-day4 ,in every case there were to be found great richness and admirable handling of colors1 but it requires time to become accustomed to the ,german styles of drawing4 ,many of the figures painted on the surface1 even those showing the utmost delicacy of tint1 were hardly entitled to be described as graceful4 ,others were absolutely clumsy4 ,illustration3 ,fig4 #bii4--;,berlin ,porcelain ,vase4 7,a4 ,belmont ,coll47 ,the vase from ,mr4 ,august ,belmont's collection 7,fig4 #bii7 is in both form and color a good example of the art workmanship of ,berlin4 ,the ground color is a soft and beautiful shade of green2 and the handles1 base1 neck1 and frame of the medallion are in gold4 ,the portrait in the latter is that of the ,queen of ,prussia1 the mother of ,william1 the present ,emperor of ,germany1 and is said to be a very correct likeness4 ,,holland4 ,the first natural porcelain factory in ,holland was founded in #agfd1 at ,weesp1 near the capital4 ,it was closed in #agga4 ,in the following year the business was recommenced at ,loosdrecht1 near ,utrecht1 and was carried on there1 and after #aghb at ,amstel1 with moderate success until the beginning of the present century4 ,several other establishments1 notably one in #aggh at the ,hague1 rose1 and in a few years fell4 ,the entire history of porcelain in the country may be comprised in twenty-five years1 from #agfj to #aghe4 ,in ,belgium there was1 in #agia1 a factory of natural paste at ,brussels4 ,,switzerland4 ,switzerland owed its first workshop at ,zrich to one of ,ringler's workmen from ,hchst4 ,it was carried on for five years1 until #agfh1 and the productions are after the ,german style4 ,imitations of the ,french style of ,svres came for a time from ,nyon1 where a ,frenchman established a workshop4 ,,chapter ,,vii4 ,,russia1 ,,denmark1 ,,and ,,scandinavia4 ,scandinavian ,pottery allied to ,teutonic4--,hand-shaped ,vessels4--,primitive ,kiln4--,the ,eighteenth ,century4--,st4 ,petersburg3 ,its ,porcelain4--,moscow4--,rorstrand4--,mar ieberg4--,modern ,swedish ,faience4--,denmark4--,kiel4--,copenhage n4--,imitations of ,greek4--,copenhagen ,porcelain4 ,the prehistoric pottery of the ,scandinavians is1 in its general character1 allied to the ,teutonic4 ,it is curious to find ,brongniart describing methods of shaping vessels by hand and burning them in a hole1 with hay for fuel1 as being still practised in ,scandinavia1 which it is quite probable have been transmitted from generation to generation for untold centuries4 ,a dark-gray1 calcareous1 coarse paste and herring-bone decoration are met with in the vessels of the ,stone ,age4 ,others apparently of the same age were thrown on the wheel4 ,the hut-shaped urn also occurs1 and rare specimens are surmounted by a cover4 ,illustration3 ,fig4 #cjj4--,russian ,faience4 7,d4 ,collamore47 ,from these ancient times we may descend at once to the eighteenth century4 ,in #agjj ,peter the ,great established some ,delft potters at ,st4 ,petersburg1 and a private workshop is mentioned as existing at ,revel1 but little is known of either4 ,peter the ,great was also desirous of founding the porcelain industry within his dominions1 but does not appear to have made any farther progress than bringing together a collection of ,chinese porcelain with ,russian decoration4 ,in #agef ,elizabeth established a workshop near the capital1 and some years later it was enlarged by ,catherine ,,ii4 ,about sixty years ago a number of ,svres artists were imported1 and from that time down to the present a very superior natural porcelain has been made4 ,in #agef an establishment1 also for making natural porcelain1 was founded near ,moscow4 ,the royal works made no contribution to the ,centennial ,exhibition1 but some porcelain was exhibited of fine translucent paste and most extravagant price4 ,single cups and saucers1 of fine body1 but not characterized either by remarkable elegance of shape or beauty of decoration1 were offered for #bj4 ,some small plaques of majolica were also exhibited1 of careful workmanship and tasteful ornamentation4 ,the ,st4 ,petersburg porcelain made at the royal works is so high in price that it is said to be bought only for the ,court4 ,the ,russian faience 7,fig4 #cjj7 of the present time is decorated in styles altogether peculiar4 ,it illustrates the ardent desire manifested for some years past throughout ,russia to rear a distinctively ,muscovite school of art4 ,natural porcelain has been made at ,korzec1 in ,poland1 since #agbc4 ,illustration3 ,fig4 #cja4--,swedish ,faience ,stove4 7,wm4 ,astor ,coll47 ,the first ,swedish faience factory was established at ,rorstrand in #agbg1 and is still running2 and in #agej a second enterprise was set on foot at ,marieberg1 also in the neighborhood of ,stockholm4 ,the earlier ,rorstrand wares resemble those of ,delft4 ,the decorations are in some cases delicate and well designed4 ,more lately ,sweden has produced a great variety of very beautiful faience4 ,at the ,centennial ,exhibition we had an opportunity of making acquaintance with the ,stockholm potters through works not less surprising than artistic4 ,the imitations of ,palissy's ,rustiques figulines may be passed over4 ,the most interesting pieces were of what was called 8black northern faience10 the paste of which is a skilfully manipulated fine dark-brown clay4 ,many of the tea-sets and vases might easily have been mistaken for porcelain4 ,a peculiar and very effective ornamentation consisted of blue1 gilt1 red1 and white floral designs1 the white enamel having a charming pearly appearance1 and the blue studs resembling turquoises4 ,one of the best specimens of this faience was a fireplace 7,fig4 #cja7 elaborately decorated with pale-blue and green1 of delicate shades mingled with gilt4 ,in both design and color this work was of itself sufficient to establish the character of ,swedish ceramic art4 ,it was accompanied by a pair of gigantic candelabra 7,fig4 #cjb7 of a similar style4 ,a quaintly formed vase was surrounded by medallions illustrative of the life of the old ,vikings1 from the time when the boy played with his father's sword to that when the war-worn hero was laid in his grave4 ,the design was excellent in conception and execution4 ,illustration3 ,fig4 #cjb4--,swedish ,faience ,candelabrum4 7,wm4 ,astor ,coll47 ,it is not improbable that the ,swedish works may be involved in some such confusion as that which surrounded the early wares of ,delft4 ,thus we find1 in #agbi1 ,rorstrand invested with the monopoly of making porcelain of delft1 i4 e41 faience4 ,in #agce the privilege included fayence fine et pate dure1 and in #agei ,dr4 ,ehrenrich was privileged to make porcelain and faience at ,marieberg4 ,some of the ,marieberg wares are in excellent taste1 showing exquisitely modelled flowers and fruit in relief4 ,it is singular that when1 in #aghj1 the stock at ,marieberg was sold off1 some of it was disposed of in ,london under the name of delft4 ,the works at ,rorstrand closed in #aghh4 ,a kind of faience having a resemblance to the ,swedish is manufactured near ,christiania1 in ,norway 7,fig4 #cjc74 ,it is made into table services1 and the decoration partakes largely of the classical character so widely prevalent in the ,north4 ,illustration3 ,fig4 #cjc4--,norwegian ,faience1 ,schwarzenhorn4 7,w4 ,b4 ,dickerman ,coll47 ,denmark was first known by the productions of ,kiel1 of which the thin paste is carefully prepared1 and the paintings are highly commendable4 ,the ,greek imitations by ,madame ,ipsen1 of ,copenhagen1 have been an agreeable surprise to ,americans4 ,greek vases are imitated at this establishment with equal fidelity and beauty4 ,the world appears never to tire of these forms1 and the amateurs of ,america are to-day busily engaged in attempting to follow the potters of ,denmark1 ,england1 ,brazil1 and we know not of what other countries4 ,the widow ,ipsen's works are certainly well executed2 and standing among them at the ,centennial ,exhibition1 it was hard to realize that one was under the flag of ,denmark4 ,there were many there which we might have addressed1 with ,keats3 8,what leaf-fringed legend haunts about your shape ,of deities or mortals1 or of both1 ,in ,tempe or the vales of ,arcady8 ,what men or gods are these80 ,both form and ornamentation were as purely ,greek as those of any pottery unearthed by the antiquary4 ,the biga1 quadriga1 scenes from the ,iliad and mythology1 appear just as they do on the works of the master potters of antiquity4 ,illustration3 ,fig4 #cjd4--;,ipsen ,terra-cotta4 7,ovington ,bros4 ,coll47 ,what has been said of the ,ipsen factory might be applied with equal truth to the terra-cotta works of ,wendrich ,sons1 also of ,copenhagen4 ,greek vessels of every description1 and illustrating both ancient ,greek and modern ,danish styles of decoration1 bear their name1 and can be fully studied in such a collection as that of ,mr4 ,t4 ,schmidt1 at the ,danish ,consulate1 ,new ,york4 ,the ,danish imitators1 in rivalling each other1 have left most1 if not all1 of their competitors far behind1 and the fact leads us to consider at greater length the circumstances which led a people apparently so distantly removed from the ,greeks in genius1 to follow them in this particular branch of art4 ,first among these was the weighty influence everywhere felt of the greatest of ,danish artists1 the sculptor ,thorvaldsen4 ,in him we have an instance of a single man turning1 in a measure1 the current of thought of an entire people4 ,the titles of his works show the subjects which touch his artistic sympathy4 ,instead of the ,scandinavian ,odin1 ,thor1 ,baldur1 ,sigurd1 ,freia1 ,brunhild1 or ,gudrun1 we have ,apollo1 ,mercury1 ,venus1 ,hebe1 ,ganymede1 and the heroes of the ,iliad4 ,thorvaldsen was fascinated by the classic art of ,greece1 and it obliterated from his memory the mythology and legends of the ,north4 ,while he gave us ,hebe1 it was reserved for his pupil and successor1 ,bissen1 to give us the more truly national ,valkyrie4 ,illustration3 ,fig4 #cje4--;,ipsen ,terra-cotta ,lekythos4 7,ovington ,bros4 ,coll47 ,illustration3 ,fig4 #cjf4--;,danish ,terra-cotta4 7,ovington ,bros4 ,coll47 ,a second reason may have been the possession of a fine pale-buff clay admirably adapted for imitating the antiques of ,greece4 8,in texture10 says ,boutell1 8it is so fine that it is capable of producing bas-relief medallions not larger than cameo gems1 in which the figures have the sharpness of the gems themselves1 with a surface of exquisite and silk-like softness40 ,on the one hand was the material1 on the other the ,thorvaldsen museum presenting 8the noblest models for using it with the happiest effect40 ,the way to antiquity having thus been opened up1 the ,danish potters widened the range of their art1 and found in ,etruria and ,egypt abundant models for imitation4 ,our classification must be of the most general character4 ,forms are reproduced with the most perfect fidelity1 and the natural color of the buff clay changes through tints of warm brown and red to black1 according to the original4 ,the ornamentation is exceedingly varied4 ,on some of the vases are subjects1 taken from the pottery of ,greece1 painted in red upon a black ground1 or in black upon buff1 as we find them in ,greece4 ,these comprise the first class1 and are in the strictest sense reproductions of the antique4 ,in others1 while the accessory decoration is ,greek1 the subjects are taken from the sculptures or bas-reliefs of ,thorvaldsen or ,flaxman4 ,the 8,triumph of ,neptune0 of the latter1 and the many works of the former1 being purely classical in conception and feeling1 are in perfect harmony with the motive animating the artists of ,denmark4 ,there is a third class1 in which the leading designs are essentially modern1 and no strict rule is followed in accessory decoration4 ,thus1 an amphora after the ,greek1 in form and accessories1 has a central design taken from ,thorvaldsen's bas-relief 8,autumn40 ,egyptian amphor and other black-glazed vases are painted with naturally tinted bouquets of flowers1 and thus in form and ground-color alone suggest the antique4 ,at times the several styles are mingled4 ,the colors most extensively used are red of several shades1 gold1 blue1 white1 buff1 and black4 ,illustration3 ,fig4 #cjg--,wendrich ,terra-cotta4 7,t4 ,schmidt ,coll47 ,leaving the southern antique1 the ,danish potters have also reproduced the prehistoric vessels of their native land in several simple and elegant forms4 ,the originals were found in the tombs of the ancient ,danes1 and supply their descendants with an opportunity of perpetuating an art essentially ,norse4 ,the national side of ,danish art is also seen in many of the terra-cotta statuettes and medallions4 ,we pass over the copies of ,thorvaldsen's classical sculptures in order to reach the comical figures1 full of humor1 character1 and feeling1 of the elfish ,nisser of the old ,norsemen4 ,the statuettes of these elves1 and many quaint little figures of peasants1 fishermen1 and the like1 are very attractive1 both intrinsically and as reflections of ,danish old-time superstition and ,danish life4 ,one of the ,nisser appears upon the top of a flower-stand1 and we meet with them again in the paintings upon porcelain4 ,a warm1 satisfying quietude and an elevation of tone pervade these works in terra-cotta1 which1 added to their artistic merits1 commend them to the student of household decoration1 and insure a welcome from all who can appreciate their mingled softness and chaste dignity4 ,taking ,danish porcelain as a whole1 it is both of good quality and tastefully decorated4 ,the paste is pure1 fine in texture1 and carefully worked4 ,in thin pieces1 which approach very nearly the egg-shell of the ,east1 the body is extremely translucent1 and the glaze is smooth1 hard1 and even4 ,this quality comes in fluted services1 decorated under the glaze with delicate patterns1 generally floral1 in blue camaeu4 ,in thicker pieces greater strength is gained without any sacrifice of quality4 ,styles of decoration more peculiarly ,european occur in great variety1 and illustrate the ,danish artist's capacity for handling the richer colors of the porcelain painter's palette4 ,flowers1 birds1 insects1 and landscapes are seen in medallions edged with gold2 and cupids or ,nisser1 as grotesque as those in terra-cotta1 are represented in every conceivable attitude4 ,the flower pieces are drawn with feeling1 and the coloring follows that of nature as closely as the medium will allow4 ,in the figure pieces the attitudes are1 as a rule1 expressive1 and suggestive of life and motion4 ,many of ,thorvaldsen's works1 and some of those of ,bissen and ,jerichau1 have been reproduced in biscuit statuettes and bas-relief medallions4 ,while lacking the warmth of terra-cotta1 the porcelain biscuit is sharp in outline and soft in color4 ,illustration3 ,fig4 #cjh4--;,copenhagen ,porcelain4 ,white1 ,shaded with ,blue4 7,mrs4 ,john ,v4 ,l4 ,pruyn ,coll47 ,porcelain was made at ,copenhagen 7,fig4 #cjh7 in #agfj1 where a ,frenchman named ,fournier established a workshop4 ,in #aggb another establishment was founded1 or that of ,fournier was revived1 by the ,minister of ,justice1 ,muller1 assisted by a fugitive from ,frstenburg1 named ,von ,lang4 ,in #agge it was taken into the hands of the ,government1 and is now called the ,royal ,porcelain ,works4 ,many ornamental pieces and works in biscuit are issued of different decrees of merit4 ,,chapter ,,viii4 ,,great ,,britain ,,and ,,ireland4 ,continuity of ,history4--,early ,british ,urns4--,scottish ,relics4--,irish ,urns4--,roman ,conquest4--,caistor ,ware4--,anglo-,roman ,ware4--,saxon ,period4--,after the ,norman ,conquest4--,tiles4--,dutch ,potteries in ,england4--,english ,delft4--,stone-ware4--,sandwich4--,staf fordshire ,potteries4--,early ,products4--,the ,tofts4--,salt ,glaze4--,broadwell and the ,elers ,family4--,use of ,calcined ,flint4--,wedgwood4--,his ,life4--,jasper ,ware4--,queen's ,ware4--,the ,portland ,vase4--,basaltes4--,wedgwood's ,removal to ,etruria4--,his ,death4--,minton ,co4--,their ,imitations of the ,oriental4--,pate ,changeante4--,pate-sur-,pate4--,cloison n ,enamel on ,porcelain4--,other ,reproductions4--,their ,majolica4--,their ,artists4--,minton1 ,hollins ,co4--,lambeth4--,doulton ,ware4--,terra-cotta and ,stone-ware4--,george ,tinworth4--,fulham4 --,bristol4--,leeds4--,liverpool4--,lowe stoft4--,yarmouth4--,nottingham4 --,shropshire4--,yorkshire4 ,the ceramic history of the ,british ,isles is invested with a peculiar interest by reason of its nearly perfect continuity from the early ,celtic works to the ,romano-,british wares1 the early ,saxon1 the ,norman medival imitations of ,saracenic tiling1 the lead-glazed wares of the sixteenth century1 the stone-ware of the same period1 the pottery of ,staffordshire and ,wedgwood1 the first appearance of ,english porcelain1 and so on1 downward1 to the works of ,minton1 ,doulton1 and others at the present time4 ,in no other country do we find material for an equally lucid illustration of the regular advance of the art from the primitive and rude to the elaborate1 beautiful1 and skilful4 ,england supplies us with a wonderful and in every way admirable picture of the efficacy of persistent skilled endeavor in contending with technical difficulty4 ,from the old tumuli1 or barrows1 have been exhumed urns in which were held the cinerary remains of the dead 7,fig4 #cji74 ,the differences existing among them are such1 in regard to both composition1 shape1 and ornament1 that they evidently belong to different periods and to different branches or tribes of the early ,british population4 ,they have been found all over ,england1 from the ,channel ,islands to ,northumberland4 ,they are sun-dried and hand-made1 and have wide orifices1 often expanding gradually from a comparatively narrow base to the lip4 ,they are pale in color1 either yellow or gray1 and the ornamentation consists of zigzags1 frets1 and studs4 ,in ,scotland the general character of the remains is the same as that of the ,english4 ,the appearance of a number of them suggests1 however1 the use of the wheel4 ,they have been exhumed in every part of ,scotland1 from the ,tweed to the ,orkney ,islands4 ,illustration3 ,fig4 #cji4--;,group of ,ancient ,british ,vases4 ,the ,irish urns are somewhat in advance of those found in ,england and ,scotland4 ,the red paste shows that considerable care was bestowed upon its preparation1 and the entire body is very often covered with ornaments of lines and zigzags4 ,as in the case of the ,english and ,scotch1 we are indebted for the preservation of these relics of the ,irish ,celts to a usage which our researches have shown to be almost universal1 that of employing urns in connection with the interment of the dead4 ,cremation was not resorted to in every instance4 ,the ,celts put the ashes in the urns1 or covered them by inverting the urns over the spot where the ashes were laid1 or placed their sepulchral vases round the unburnt remains4 ,illustration3 ,fig4 #caj4--;,celtic ,urn4 ,illustration3 ,fig4 #caa4--;,celtic ,pottery1 found in ,staffordshire4 ,in the first century before ,christ the tide of ,roman conquest passed the white cliffs of ,albion1 and a new element was introduced into its ceramics4 ,there1 as elsewhere1 the ,romans made and imported the ware1 of which examples have been brought to light all over the old ,roman ,empire1 from ,england to ,jerusalem4 ,the extent to which the manufacture was carried in ,england may be estimated from one fact stated by ,dr4 ,birch1 that the ,roman potteries have been traced for twenty miles along the gravel banks of the ,nen1 in ,northamptonshire4 ,caistor1 in the same county1 is an exceptionally interesting locality1 as both early ,celtic wares and the remains of a ,roman kiln have been found there4 ,under the ,romans it must have been an important seat of the manufacture1 as its productions have been unearthed at several places on the ,continent--in ,france and the ,low ,countries4 ,the ,caistor ware is very often ornamented with unusual skill and taste by means of reliefs4 ,the ,roman ,samian ware is found in many sections of ,england1 whither it was probably imported4 ,some of the specimens belonging to the latter part of the ,roman period1 and to be classed as ,anglo-,roman1 are of a thin black paste1 carefully wrought and totally devoid of ornament4 ,after the arrival of the ,saxons the pottery was more closely allied to the ,teutonic found in ,germany 7,fig4 #cad74 ,illustration3 ,fig4 #cab4--,romano-,british ,ware4 ,illustration3 ,fig4 #cac4--,romano-,british ,upchurch ,ware4 ,illustration3 ,fig4 #cad4--,saxon ,vase4 ,the urns are black1 hand-made1 and stamped with a variety of decorative designs4 ,the shapes are heavy1 and the appliances for firing were apparently of a rude kind4 ,of the ,anglo-,saxon period few relics have been discovered1 and little is in consequence known4 ,one fragment of the eleventh century1 or possibly earlier1 is described by ,mr4 ,marryat as 8of a yellow color1 coarsely made and unglazed40 ,it seems probable that the disturbances attendant upon the ,norman invasion in #ajff distracted the popular attention from the plastic art1 as the next evidences of its pursuit belong chiefly to the thirteenth century4 ,these are the tiles employed in paving the ecclesiastical edifices of the day4 ,in the greater number the patterns are inlaid1 or filled in with white paste1 and the whole then glazed yellow4 ,to this class belong the thirteenth century tiles from ,chertsey ,abbey1 in ,surrey1 and those of the fourteenth and fifteenth centuries from ,malmesbury ,abbey and ,malvern4 ,those from ,chertsey are peculiarly elaborate4 ,one has a scene representing a king and a female harper1 surrounded by a circular border1 the whole forming the inside of a square richly ornamented in the corners and on the sides4 ,the ,malvern tiles are also very elaborately decorated with designs of an apparently heraldic character4 ,another style of tile decoration1 followed from the thirteenth to the eighteenth century1 consisted of mouldings in relief4 ,the glaze is green or brown4 ,illustration3 ,fig4 #cae4--;,anglo-,norman ,vases4 ,in others the patterns are incised1 but not filled in4 ,a very good example of this style is to be seen in ,crauden's chapel at ,ely4 ,the fourth style of decoration was upon the pate-sur-pate principle--a white paste being employed as a pigment upon the body of the tile1 after which the piece was glazed4 ,the introduction of tiling for pavements and walls was evidently in a great measure due to ,english intercourse with ,spain and the ,east4 ,toward the close of the eleventh century1 while ,england had not yet recovered from the first shock of the ,norman invasion1 ,peter the ,hermit was carrying from land to land the anti-,saracenic ,gospel of the ,sword1 which led to the ,first ,crusade4 ,fifty years later1 in #aadg1 the ,second ,crusade was organized1 while ,england was still groaning under the oppression of her rulers4 ,in the first quarter of the twelfth century the ,saxon chronicler says3 8,god sees the wretched people most unjustly oppressed3 first they are despoiled of their possessions1 then butchered40 ,under ,stephen1 8,men said openly that ,christ and his saints were asleep40 ,clearly this was no time either for joining in crusades or cultivating art4 ,when1 in #aahi1 the ,third ,crusade was arranged1 ,richard the ,lion-hearted was one of the three sovereigns who joined in the ineffectual enterprise4 ,with his followers may have been brought back the incentives to art cultivation which make their effects apparent in the next century4 ,the government was1 in the mean time1 taking the form which it assumed before the end of the thirteenth century1 and which it has retained ever since4 ,political and art history here run exactly parallel4 ,given disorder and despairing apathy1 and art is unknown4 ,but let order take the place of chaos1 and constitutional rule that of despotism1 and the discarded arts again blossom into flower4 ,eastern influences manifested themselves in ,england almost contemporaneously with the revival of the ceramic art4 ,on one specimen from ,ely1 a scriptural subject--,eve offering the apple to ,adam1 while a human-headed serpent coils itself round the tree--is surrounded by several designs of clearly ,saracenic or ,moorish inspiration4 ,illustration3 ,fig4 #caf4--,old ,tile from ,salisbury4 7,boston ,household ,art ,rooms47 ,illustration3 ,fig4 #cag4--,old ,tile from ,milton ,abbey4 7,boston ,household ,art ,rooms47 ,illustration3 ,fig4 #cah4--,old ,tile from ,chester4 7,boston ,household ,art ,rooms47 ,for at least four centuries tiles formed the staple production of the potters of ,england4 ,the annals indicate a popular indifference to the domestic use of earthen-ware1 which contrasts strongly with more southern preferences4 ,in the reign of ,edward ,i4 a chance cargo from ,spain1 containing some plates and other household table-wares1 reached ,england1 but failed to affect the national use of wooden trenchers1 leathern jugs1 and metal4 ,lead-glazed pottery was1 however1 made as early as the fourteenth century1 though not to a great extent4 ,the specimens which have been preserved are generally coarse in texture1 and are covered with green or yellow glaze4 ,a ewer of the thirteenth or fourteenth century is rudely designed to represent a mounted knight4 ,other examples of the same period are jugs1 of which some are inartistically formed1 while others are not devoid of a certain gracefulness of shape4 ,costrels1 or costrils 7elongated bottles which answered the purpose of the modern flask71 occur of a red paste with red and white glaze4 ,a candlestick with white studs for ornaments has been found of the same red color4 ,as we pass to the later works of ,english potters1 we become conscious of the difficulty of following our usual plan of dividing them into pottery1 stone-ware with vitrified fracture1 and porcelain4 ,the treatment of the name of ,wedgwood alone would make such an arrangement undesirable1 as tending to break the continuity of our narrative4 ,stone-ware and earthen-ware will therefore be considered together4 ,the making of both enamelled pottery and stone-ware appears to have been an imported industry4 ,dutch potters are said to have settled at both ,lambeth and ,fulham in the seventeenth century1 and to have there originated the manufacture of what was called 8,delft10 after the name of the seat of the industry in ,holland4 ,white wine-pots of this ware date from about the middle of the seventeenth century4 ,plates1 oval and round dishes1 mugs and cups1 of the same ware appear in various collections1 some with figures in relief1 others with paintings in brown1 blue1 yellow1 and green1 and others with medallions or mottoes4 ,they generally date from between #afej and #afij4 ,delft was also made in ,liverpool and in ,staffordshire4 ,the first mention of stone-ware occurs in #aeha1 in the petition of a certain ,william ,simpson1 for 8full power and onlie licence to provyde1 transport1 and bring into this realm1 drinking stone pottes0 made at ,cologne and transported into ,england by a dealer living in ,aix-la-,chapelle4 ,as a reason why his prayer should be granted1 ,simpson stated that he would1 8as much as in him lieth1 drawe the making of such like pottes into some decayed town within this realm1 whereby many hundred poore men may be sett a work40 ,whether he found some decayed town suitable for the carrying out of his philanthropic intent does not appear2 but in #aehh a ,delft potter was carrying on his business at ,sandwich4 ,lambeth1 ,fulham1 and the ,staffordshire potteries appear among the later producers of stone-ware4 ,illustration3 ,fig4 #cai4--,posset-pot4 ,staffordshire4 ,fifteenth century4 7,bateman ,coll47 ,illustration3 ,fig4 #cbj4--,staffordshire ,tyg1 or ,drinking-cup4 ,the leading ,english centres are the ,staffordshire ,potteries1 including ,tunstall1 ,burslem1 ,hanley1 the ,fentons1 and other towns comprising ,stoke-upon-,trent1 ,lambeth1 ,fulham1 ,liverpool1 ,leeds1 ,lowestoft1 ,bristol1 ,yarmouth1 and ,nottingham4 ,of these the place of honor must be accorded to ,staffordshire4 ,it has been associated with the ceramic art ever since the ,roman invasion2 and the name of a family in the district 7,tellwright7 is adduced as a proof that under the ,saxons the advantages of the locality for the making of pottery were fully recognized4 ,the name is a corruption of tile-wright1 or potter4 ,many interesting facts relating to ,english pottery in general1 and to that of ,staffordshire in particular1 are brought together by ,mr4 ,marryat1 whose able work deserves the study of all desirous of following the gradual development of the art in ,england4 ,early specimens of ,staffordshire ware are the butter-pots of the period1 and the tall vessels 7,fig4 #cbj7 called 8,tygs40 ,about #afej1 ,thomas and ,ralph ,toft and ,thomas ,sans were making round dishes with some pretensions to an ornamental character4 ,the year #afhj was made memorable by the discovery of salt glaze4 ,the story goes that a servant of ,mr4 ,joseph ,yates1 occupant of ,stanley ,farm1 near ,palmer's ,pottery1 ,bagnall1 was boiling salt in water preparatory to using it in curing pork4 ,an earthen pot was used as a pan1 and the servant having left it for a time1 the water boiled over1 and would also appear to have all boiled away1 since the pan became red hot4 ,when it cooled it was found to be covered with what was afterward known as salt glaze4 ,the hint was quickly taken by the potters in the neighborhood1 and the process soon became common4 ,the ,burslem makers adopted it in #afij1 and called the salt-glazed ware 8,crouch-ware40 ,five years earlier1 ,mr4 ,thomas ,miles was making stone-ware at ,shelton1 and the district production from about that time increased very rapidly4 ,illustration3 ,fig4 #cba4--,teapot4 ,elers ,ware4 ,illustration3 ,fig4 #cbb4--,medallion of ,wedgwood1 by ,flaxman4 ,on ,monument in ,stoke ,parish ,church4 ,at ,bradwell1 in #afij1 the ,elers brothers1 from ,nuremberg1 who had crossed with the ,prince of ,orange1 set up one of the first establishments worked upon a regular mercantile basis4 ,it had been for some time the object of both native and ,dutch potters to imitate the red ware of ,china1 and the ,elers were the first to reach approximate success4 ,having discovered a bed of red clay1 they set about working it in conjunction with gray stone-ware1 with which they produced very fine reliefs 7,fig4 #cba74 ,notwithstanding the strictest watchfulness1 and the employment of semi-idiotic workmen1 their secret was stolen by one ,astbury1 who for several years feigned idiocy in order to be allowed to work in their place1 and in that way secure possession of their methods4 ,the competition then became so great in their neighborhood that in twenty years they closed their establishment4 ,their reliefs were remarkably sharp in outline1 and the paste was of fine quality4 ,illustration3 ,fig4 #cbc4--;,cameo ,medallion1 by ,flaxman4 ,mrs4 ,siddons as ,lady ,macbeth4 ,it is curious to find that to another accident the ,staffordshire potters were indebted for the discovery of the value of calcined flint mixed in the paste4 ,a son of the above named ,astbury was riding through ,dunstable in #agbj1 when he noticed symptoms of disorder in his horse's eyes4 ,the hostler at the inn where he stopped undertook to cure the animal by burning some flint and blowing the powder thus produced into the horse's eyes4 ,astbury saw the dust1 and it at once occurred to him that it might be useful in his business4 ,from calcined flint1 sand1 and pipe-clay colored by means of oxides1 were made the wares called 8,agate0 and 8,tortoise-shell40 ,then followed the adoption of plaster of ,paris moulds and a more general resort to mouldings in bas-relief4 ,we now approach the era made illustrious by the name of ,mr4 ,josiah ,wedgwood 7,fig4 #cbb71 the greatest of ,english potters1 of whom it has been said1 in the most unqualified terms3 8,with him the ceramic art received its highest development in ancient or modern times2 for while greater beauty of decoration in painting characterized other wares1 he produced the noblest artistic results of the moulding in clay40 ,however much others may be led by individual preference to qualify this encomium1 there is no doubt that ,wedgwood ranks among the highest names known in the history of ,english ceramic art4 ,born at ,burslem1 in ,staffordshire1 in #agcj1 of a family which had been engaged in the making of pottery for many years1 ,josiah enjoyed in early life none of the educational advantages which might have developed in him the promise of his future brilliant career4 ,it is highly probable that his schooling did not carry him farther than reading and writing1 and at the age of eleven we find him engaged as a thrower in his brother's workshop4 ,then came sickness in the worst of all its forms1 smallpox1 which left him so lame that amputation of one leg became necessary1 and ended his career at the wheel4 ,it is possible that1 in current phraseology1 this misfortune may have been a blessing in disguise4 ,he at once turned his attention to the production of ornamental pottery and the imitation of precious stones1 mixing variously compounded clays with oxides1 and otherwise experimenting4 ,illustration3 ,fig4 #cbd4--;,black ,basaltes4 7,meyer ,coll47 ,illustration3 ,fig4 #cbe4--;,black and ,white ,jasper4 7,barlow ,coll47 ,illustration3 ,fig4 #cbf4--;,early ,wedgwood4 ,blue2 ,moulded4 7,w4 ,s4 ,ward ,coll47 ,the idea must have got abroad that he had talent1 as1 at the age of twenty-two1 we find him in partnership with a ,mr4 ,harrison1 and then1 in #aged1 with ,mr4 ,thomas ,wheildon1 of ,fenton4 ,this gentleman lacked his partner's enterprise1 and in #agei ,wedgwood was in business for himself1 at ,burslem1 at first in a small way1 then in a larger1 and again in a still larger manufactory4 ,in the last he made the ware called 8,queen's-ware0--a cream-colored fabric of very delicate color1 composed of white clay mixed with flint1 and brilliantly glazed4 ,it derived its name from a specimen service having been accepted by ,queen ,charlotte4 ,his fortune was now practically guaranteed1 and his career an assured success4 ,court patronage made him the fashion in ,england1 and we also find him engaged in an export business4 ,prosperity did not rob him of any of his early enterprise1 but rather acted upon him as an incentive to farther and greater exertion4 ,he continued studying1 investigating1 and experimenting1 and with the assistance of his partner1 ,mr4 ,bentley1 pushed his business in all directions4 ,several kinds of earthen-ware and stone-ware were produced by him 7,fig4 #cbf71 and after effecting various improvements upon his table ware1 he turned his attention to those imitations of the antique1 and of cameos1 intaglios1 and seals1 with which his name is indissolubly associated4 ,with these are to be classed his fifty copies of the ,barberini1 or ,portland vase 7,fig4 #cbg74 ,the original is glass in two strata--dark blue and opaque white--and is an example of ,roman work of the second or third century4 ,it was bought by the ,duke of ,portland for #ajbi4 ,these works admit of no classification4 ,some are earthen-ware1 others stone-ware1 and others are of such a composition that they may be most correctly classed with porcelain4 ,the name 8,basaltes0 was given to a series of imitations of ,egyptian styles in black biscuit1 with reliefs in white and red 7,figs4 #cbd and #cbe74 ,more charming than these is the jasper or onyx ware from the blue or soft green ground of which the white busts 7,fig4 #cbh71 figures1 and flowers stand out in the most exquisite relief4 ,the biscuit is a porcelaneous stone-ware1 colored all through by means of oxides4 ,wedgwood made in all more than two thousand copies of antique gems4 ,illustration3 ,fig4 #cbg4--,the ,barberini1 or ,portland ,vase4 ,in #agga ,wedgwood removed from ,burslem to ,etruria1 a village which he erected in proximity to his works1 and for the accommodation of his workmen4 ,there he also built for himself a handsome residence1 which he occupied until his death1 in #agie1 in the sixty-fifth year of his age4 ,his decorated cream-colored ware had1 in the mean time1 become known all over ,europe1 in ,india1 and in this country4 ,in #agge he made a service for the ,empress ,catherine ,,ii4 of ,russia1 undervalued at fifteen thousand dollars4 ,we close our brief sketch of his remarkable career by noting that the success of the ,etruria of his foundation was based upon commerce1 and not upon royal patronage2 that his humblest works are marked by a thoroughness and fitness parallel with the artistic qualities of his higher pieces2 and that excellence of workmanship was in all cases his primary aim4 ,one of his contemporaries and successors was ,mr4 ,enoch ,wood1 who established a workshop at ,burslem in #aggj1 and was succeeded by ,messrs4 ,caldwell ,wood4 ,illustration3 ,fig4 #cbh4--,wedgwood ,jasper-ware4 7,john ,w4 ,britton ,coll47 ,the later products of the ,wedgwood factory are hardly less varied than those of its founder's lifetime4 ,the jasper-ware is still produced1 and although some of the pieces lack the exquisite finish of the original1 others show little1 if any1 inferiority4 ,the plate of blue jasper1 with white decoration1 given in the illustration 7,fig4 #ccj71 is a remarkably fine example of recent work4 ,the ,wedgwood majolica is1 both in regard to color and the modelling of the ornaments and figures1 unsurpassed by any similar ware of the present time4 ,of this the vase 7,fig4 #cca7 is an excellent illustration4 ,the body is a clear deep blue4 ,illustration3 ,fig4 #cbi4--,recent ,wedgwood ,earthen-ware4 7,d4 ,collamore47 ,in our time the ,staffordshire ,potteries maintain their old repute4 ,one well-known name is that of ,minton4 ,it occurs in three firms1 all located in the ,potteries3 ,minton ,co42 ,minton1 ,hollins ,co41 of ,stoke-upon-,trent2 and ,mr4 ,robert ,minton ,taylor1 of ,fenton4 ,the establishment of ,minton ,co4 was founded while ,wedgwood was still alive1 by ,mr4 ,thomas ,minton1 in #agia4 ,the founder of the firm had been successively an employ of ,mr4 ,thomas ,turner1 of ,caughley1 and of ,spode1 before1 in #aghh1 he went to ,stoke1 and there bought land and built a house and factory4 ,in #agij he took ,spode's manager1 ,mr4 ,joseph ,paulson1 into partnership1 and in #agic assumed a second partner1 ,mr4 ,pownall4 ,the latter retired in #ahjj1 and ,paulson died in #ahji1 after which1 for a number of years1 ,thomas ,minton carried on the works alone4 ,previous to #agih the factory made nothing but earthen-ware1 the greater portion of which was decorated in blue and white1 after the type supplied by the porcelain of ,nankin4 ,illustration3 ,fig4 #ccj4--,modern ,wedgwood ,jasper4 7,tiffany ,co47 ,in #ahag ,herbert ,minton1 a younger son of ,thomas1 was taken in as partner by his father1 and although he practically retired from the business between #ahbc and #ahcf1 he succeeded to it in the latter year on the death of the founder4 ,he went into partnership first with ,mr4 ,john ,boyle1 who subsequently joined the ,wedgwoods1 and secondly with ,michael ,daintry ,hollins4 ,at the time of his death1 in #aheh1 he had two partners1 ,hollins and ,colin ,minton ,campbell4 ,at that time fifteen hands were employed in the factory4 ,herbert had directed his attention to the wide range of works which have since given the name of ,minton a world-wide reputation4 ,these were earthen-ware1 artificial porcelain1 natural porcelain1 parian1 encaustic tiles1 azulejos1 mosaics1 ,della ,robbia ware1 ,palissy ware1 and majolica4 ,the ,mintons divide with ,copeland the honor of first making parian4 ,both firms exhibited it at the ,london ,exhibition of #ahea1 and the jury to which the question of priority was referred could not decide between them4 ,to continue the history of the firm1 ,colin ,minton ,campbell dissolved his partnership with ,hollins in #ahfh1 and now carries on the business in connection with his cousins1 ,thomas1 ,william1 and ,herbert ,minton1 the great-grandsons of the founder4 ,illustration3 ,fig4 #cca4--,wedgwood ,majolica4 7,horace ,russell ,coll47 ,the firm now ranks with the first of ,english manufacturers4 ,their enterprise has traversed a field as wide as that into which ,wedgwood entered1 and their success has been very great4 ,in the pursuit of the commercial they have not neglected the artistic4 ,it is said of ,wedgwood that he copied and imitated everything worth imitating4 ,minton ,co4 have followed a similar course1 though in a different direction4 ,twenty-five years ago we find them attempting to make natural porcelain1 but the enterprise was abandoned4 ,when the taste for ,oriental styles revived1 they were among the first to succeed in gratifying the public whim4 ,in doing so they produced specimens of color highly praiseworthy1 and of a beauty vividly recalling that of the ,oriental originals4 ,their ,persian ware and pate changeante have both excited the admiration of connoisseurs4 ,the ,mintons have also been successful in reproducing with wonderful fidelity the cloisonn enamel of ,china and ,japan1 using a porcelain base4 ,here1 as in the ,persian ware1 their turquoise blue is very effective1 and the decoration in enamels reflects faithfully the tone of ,oriental ornament4 ,leaving the ,east1 ,minton ,co4 have been no less fortunate in imitating the ,italian ,grafitto ware of the fifteenth century1 and the famous inlaid ,henri ,deux ware of ,france4 ,several specimens of the latter were exhibited by ,messrs4 ,a4 ,b4 ,daniell ,son at the ,centennial ,exhibition1 and included a teapot1 a pitcher1 and a pair of candlesticks1 all of pale yellow body inlaid with red4 ,examples are in the ,boston ,museum of ,fine ,arts1 and in the collections of ,mr4 ,walters and ,mr4 ,w4 ,l4 ,andrews4 ,a mere reference must suffice for their majolica 7,fig4 #ccd71 which is rather an independent product than an imitation of the majolica of ,italy4 ,it is peculiar both in composition and in the colors employed in its decoration1 and is fired at a very high temperature4 ,mr4 ,herbert ,minton was the first to copy the azulejos of ,spain4 ,the above are only a few of the achievements which might be adduced to show how ,minton ,co4 have boldly essayed to duplicate the choicest products of ceramic art4 ,one is forcibly reminded by them of the ,chinese workman's delight in contending with technical difficulty for the mere sake of surmounting it4 ,among their artists are ,mr4 ,solon1 ,w4 ,s4 ,stevens1 ,charles ,toft1 ,h4 ,darling1 ,j4 ,leese1 ,m4 ,mussill1 ,kirby1 ,mellor ,slater1 ,f4 ,fuller1 and ,h4 ,protat4 ,illustration3 ,fig4 #ccb4--,minton ,stone-ware4 7,d4 ,collamore47 ,the firm of ,minton1 ,hollins ,co41 of ,stoke-upon-,trent1 was founded by ,michael ,daintry ,hollins1 on the dissolution of his partnership with ,colin ,minton ,campbell in #ahfh4 ,he built extensive works1 and began to make majolica and encaustic tiles1 slabs1 panels1 and other similar wares4 ,the firm now produces an almost endless variety of tiles4 ,at the ,centennial ,exhibition this firm was represented by some pieces of great brilliancy of color and very careful drawing4 ,in one scene two finely plumaged wading-birds appeared among the water-lilies in a brook4 ,the soft gray of the feathers tipped with bright blue1 and the green of the reeds and other plants1 were thrown out well by the dark-brown background4 ,on some smaller pieces birds of tropically gay plumage were painted upon a sombre chocolate ground4 ,on others were flowers and butterflies upon a pale ground4 ,the style of treatment is purely ,oriental4 ,drawing and color are paramount4 ,the ground is merely intended for contrast with1 or the heightening of1 the superimposed decoration4 ,some beautiful heads of dogs1 lions1 and asses were marvellous examples of animal portraiture1 and illustrated the capacity of tiling for the reception of that style of decoration4 ,in them was seen the work of an artist who fully understood that1 given the requisite mastery of color1 a tile may be employed as a more lasting substitute for canvas4 ,it is also worth noting that whenever tiles are used for covering a large surface1 and each one is treated as a unit1 the result is an artistic blunder4 ,the eye wearies with monotonous repetition1 and no minuteness of finish in the single tile can relieve the bewildering effect of the mass4 ,minton1 ,hollins ,co4 have been fortunate in designing fire-places of tiling1 with side paintings of birds and flowers1 and larger scenes above the mantel1 of a character in keeping with their place in a household4 ,illustration3 ,fig4 #ccc4--,minton ,plaque1 by ,mussill4 7,tiffany ,co47 ,illustration3 ,fig4 #ccd--,minton's ,prometheus ,vase4 7,corcoran ,art ,gallery47 ,from the ,trent we pass to ,lambeth1 near ,london4 ,it was here that in #afdj the ,dutch makers of stone-ware and delft settled4 ,at one time there were twenty different establishments1 but on the rise of ,staffordshire their number decreased under the weight of competition4 ,some of the early ,lambeth ware is very skilfully painted1 the tiles with a blue ground being especially commendable4 ,at the present time ,lambeth is best known by its ,doulton ware and ,lambeth faience4 ,the ,doulton or ,lambeth pottery was founded by ,mr4 ,john ,doulton1 who was born at ,lambeth in #agic4 ,he served an apprenticeship with ,white of ,fulham1 and in #ahae associated ,mr4 ,john ,watts with himself in establishing the present pottery4 ,mr4 ,watts died in #aheh1 and ,mr4 ,doulton in #ahgc1 and the business is now in the hands of ,messrs4 ,henry and ,james ,d4 ,doulton1 sons of the founder4 ,in #ahgj they first issued an artistic ware1 and in #ahgb turned out the first specimen of what they have called 8,lambeth faience40 ,the 8,doulton ware0 may1 without detracting from the originality of much of the decoration1 be described as a revival in both composition and style of the ,german stone-ware1 miscalled ,grs de ,flandre4 ,like other stone-wares the body is highly silicious1 close in texture1 and very brittle4 ,the necessary firing takes several days to accomplish1 and the glaze is made by throwing salt into the kiln1 according to the process discovered1 as we have seen1 in ,staffordshire1 and long practised at ,lambeth4 ,the body-tints are the result of washing the pieces in a preparation of oxides1 varied according to the shade desired4 ,the ornamentation is fourfold4 ,it consists either of incrustations1 indented designs1 incised figures or scenes1 or colors4 ,these methods are occasionally combined4 ,the ,lambeth faience is a finer ware1 and is decorated under the glaze with paintings of flowers1 landscapes1 portraits1 and figures4 ,the ,messrs4 ,doultons' artists are all taken from the ranks of pupils in the ,lambeth ,school of ,art4 ,among them are ,miss ,hannah ,b4 ,barlow1 a very skilful animal painter1 ,mr4 ,arthur ,barlow1 ,mr4 ,frank ,a4 ,butler1 ,mrs4 ,sparkes1 and ,mr4 ,george ,tinworth4 ,illustration3 ,fig4 #cce4--;,doulton ,ware4 7,w4 ,b4 ,dickerman ,coll47 ,illustration3 ,fig4 #ccf4--;,doulton ,ware4 7,w4 ,b4 ,dickerman ,coll47 ,a great deal of the ,doulton ware very closely resembles the ,grs de ,flandre in its decoration1 but even to these specimens is to be accorded the originality resulting from a modified development of the fundamental style4 ,a larger experience may lead to something more perfectly original4 ,the present tendency appears to be toward an excess of ornament1 in some instances not a single square inch being left uncovered4 ,studs and bosses are affixed in bands1 are led over the surface in floriated designs1 and give the arched handles a peculiar serrated appearance4 ,a very ingenious design consists of incised broad leaves overlapping each other1 and becoming more sharply pointed and elongated as they rise up the neck to the lip4 ,studs are then laid in vertical bands from top to bottom1 the lines converging as the leaves become smaller4 ,in many cases1 however1 the reliefs destroy the outline1 and mar the beauty of a host of otherwise admirable shapes4 ,in the matter of form1 the ,messrs4 ,doulton1 in fact1 leave little to be desired4 ,many of their vases display a pure1 classical gracefulness1 and others are possessed of a quaintness and novelty almost equally attractive4 ,canettes1 goblets1 and small covered jars decorated with plain or ornamental bands1 and dotted with flower-like studs1 are to be classed among the best examples of the more characteristic or distinctive style of ,lambeth decoration4 ,illustration3 ,fig4 #ccg4--,lambeth ,faience4 ,the plaques and tiles of ,lambeth faience deserve separate notice4 ,some of the smaller pieces illustrate the capacity of the ware for portraiture4 ,the drawing is invariably careful1 and the coloring is applied with both taste and delicacy4 ,the colors will probably be improved in time1 and become more decided without losing anything in softness4 ,the pieces we have seen inspire us with this hope1 and that here again experience may lead to greater excellence4 ,a large tile-piece1 by ,mrs4 ,sparkes1 representing the departure of the ,pilgrim ,fathers1 and painted upon two hundred and fifty-two tiles of ,lambeth faience1 was exhibited at the ,centennial ,exhibition4 ,the lady-artist is deserving of all praise for her composition and drawing4 ,the perspective was very well managed1 and the figures were brought out in strong relief against a sky glowing with the rays of the setting sun4 ,illustration3 ,fig4 #cch4--,lambeth ,faience4 7,d4 ,collamore47 ,the ,messrs4 ,doulton have achieved some wonderful results in the combination of terra-cotta with their stone-ware4 ,at the ,centennial ,exhibition they had a brown terra-cotta fireplace and mirror-frame1 with tiled panels and hearth and terra-cotta fender4 ,in another mantel-piece1 of oak1 a set of tiles in the panels showed admirably designed and executed illustrations of scenes and characters from ,shakspeare4 ,in these and other similar works a great deal of taste and ingenuity was shown in the combination of material4 ,a magnificent example of the union of terra-cotta with ,doulton ware is now in the ,smithsonian ,institute at ,washington 7,fig4 #cdj74 ,it is a pulpit of red and light buff terra-cotta with ornaments of blue stone-ware4 ,the balusters on the stairs leading up to the pulpit are ,doulton ware ornamented with bands of terra-cotta4 ,under the base of the balustrade1 and round the pulpit under the panels in front and on the sides1 are bands of ,doulton ware4 ,a similar band surrounds the alcoves or panels4 ,the latter are by ,mr4 ,george ,tinworth1 of ,london1 and illustrate scenes in the life of ,christ1 from the offering in the ,temple of 8a pair of turtle-doves or two young pigeons0 to the ascension4 ,of this artist's execution1 also1 are the panels in a baptismal font which accompanies the pulpit4 ,these and other similar works are so deeply sunk that they have the appearance of groups of figures separately modelled and placed in the recess rather than of mouldings in relief4 ,they are in every way admirable4 ,the expression and attitudes of some of the faces and figures are marvellously life-like and forcible4 ,illustration3 ,fig4 #cci4--,lambeth ,faience4 7,d4 ,collamore47 ,fulham owes the beginnings of its pottery to the ,dutch4 ,in #afhd ,mr4 ,john ,dwight was making stone-ware1 earthen-ware1 statues1 and porcelain4 ,the latter was very soon discontinued4 ,the production of other wares was carried on by descendants of the founder4 ,the history of ,bristol pottery is said to go back to the commencement of the thirteenth century1 but its first piece with a date is five hundred years later4 ,it is delft-ware1 and is dated #agjc4 ,a ,german1 named ,wrede1 or ,reed1 is said to have made stone-ware about the same period4 ,otherwise ,bristol is unimportant in so far as earthen-ware is concerned4 ,leeds is one of the towns which1 toward the close of the last century1 were adopted as fields for a pottery enterprise4 ,it did an extensive trade with the ,continent in a cream-colored ware4 ,illustration3 ,fig4 #cdj4--,terra-cotta ,pulpit4 7,smithsonian ,institute47 ,liverpool begins its history1 in #agaf1 with the manufacture of delft4 ,the first event of any importance is the invention by ,mr4 ,john ,sadler1 in #agec1 of a method of printing upon earthen-ware4 ,wedgwood was in the habit of sending ,queen's-ware to ,sadler to be printed4 ,in #ageb ,mr4 ,richard ,chaffers set up an earthen-ware establishment1 but soon turned his attention to porcelain1 which he succeeded in making after discovering the necessary material in ,devonshire4 ,on his death the enterprise came to an end4 ,the next name of distinction is that of ,pennington1 who1 about #agfj1 made delft bowls and vases1 some of which were painted by an artist named ,robinson4 ,pennington ultimately returned to ,worcester4 ,in #agid the 8,herculaneum ,pottery0 was opened at ,birkenhead1 and was worked until #ahda4 ,illustration3 ,fig4 #cda4--,lambeth ,faience4 7,dr4 ,h4 ,g4 ,piffard ,coll47 ,mr4 ,herolin ,luson made an ineffectual attempt to establish a pottery at ,lowestoft in #agef4 ,his failure is to be attributed to the infidelity of his workmen1 who were induced by the ,london manufacturers to spoil the ware4 ,notwithstanding the opposition which led competitors to resort to similarly unworthy devices1 ,walker1 ,brown1 ,aldred1 and ,rickman founded a workshop within a year of ,luson's failure1 and by taking the necessary precautions against treachery1 placed it upon a permanent basis4 ,it made ware of every grade4 ,the ,lowestoft earthen-ware was usually decorated with blue1 and occasionally with red4 ,the early porcelain was painted in the same colors1 and the later pieces were ornamented with flowers4 ,the latter are artistically drawn and colored1 and equal the best work found on ,english porcelain4 ,plain ,chinese ware was imported and decorated at ,lowestoft2 but the production ceased about the year #ahcj4 ,illustration3 ,fig4 #cdb4--,lowestoft ,pottery4 7,f4 ,robinson ,coll47 ,it is questionable if ware of any kind was ever made at ,yarmouth1 although it is certain that a decorating establishment and kiln existed there probably about #ageb4 ,it is more than possible that this workshop was in part supplied with ,lowestoft biscuit4 ,nottingham manufactured pottery from about #afej1 and the business was continued for at least a century4 ,the precise period at which it came to an end is not known4 ,the ,shropshire factories were offshoots of those of ,staffordshire4 ,the ,brosely establishment was founded by ,mr4 ,richard ,thursfield1 of ,stoke1 in #agac1 and passed from his family into the hands of the ,roses of ,colebrookdale about #agii4 ,a black stone-ware decorated with gilt or with reliefs was the chief product4 ,mr4 ,francis ,place1 of the ,manor-house1 ,york1 made fine pottery or stone-ware in the latter part of the seventeenth century4 ,the well-known 8,rockingham ware0 took its name from a brown pottery made upon the estate of the ,marquis of ,rockingham1 at ,swinton1 in ,yorkshire4 ,the production originated in #ageg1 and the enterprise was subsequently carried on by ,mr4 ,william ,malpass 7#agfe72 ,mr4 ,thomas ,bingley 7#aggh72 ,messrs4 ,john and ,william ,bramfield 7#ahjg-ahdb71 when the works stopped4 ,the brown teapots of this factory were at one time very fashionable in ,england4 ,of these and other works each had its specialty of decoration or composition1 but to detail them in full would only complicate a sketch in which it is intended to give merely salient points1 on a comprehensive plan4 ,,porcelain4 ,plymouth ,hard ,porcelain4--,cookworthy4--,bow4--,chels ea4--,derby4--,worcester4 --,minton4--,pate-sur-,pate4--,spode4--, copeland4--,bristol4--,tunstall4 --,caughley4--,nantgarrow4--,swansea4--, colebrookdale4--,pinxton4--,shelton4 --,belleek4--,general ,character of ,manufacture in ,great ,britain4 ,it may be as well to premise that the porcelain now made in ,england all belongs to the soft1 or1 according to our classification1 the artificial class4 ,its composition has already been described4 ,the leading seats of the industry are ,bow1 ,chelsea1 ,derby1 ,plymouth1 ,bristol1 ,worcester1 and a few workshops in the midland counties and ,wales4 ,with the possible exceptions of ,lowestoft and ,bristol1 ,plymouth stands alone as the only place in ,england at which a manufactory of hard1 or natural1 porcelain ever existed 7,fig4 #cdc74 ,this distinction is due to the enterprise of ,william ,cookworthy1 who was born near ,plymouth1 in #agje4 ,cookworthy was a chemist and druggist1 and was led into his porcelain venture by the discovery of kaolin and petuntse near ,helstone1 in #agee4 ,five years later his manufactory was running at ,coxside1 but meeting with no adequate commercial support1 he sold his patents1 in #aggb1 to ,richard ,champion1 of ,bristol4 ,the production then ceased4 ,cookworthy's first attempts were not encouraging1 but perseverance brought a certain measure of success1 and his later works are of fine quality4 ,he procured a ,svres painter1 and also employed ,bone1 the enameller and artist1 and by their help turned out many valuable services and pieces richly ornamented after the prevailing ,oriental styles1 with birds1 flowers1 and insects4 ,illustration3 ,fig4 #cdc4--,plymouth ,hard ,porcelain ,coffee-pot4 ,before ,cookworthy embarked in his porcelain enterprise at ,plymouth1 artificial porcelain was made at ,stratford-le-,bow and ,chelsea4 ,the beginnings of the industry at neither place have ever been satisfactorily freed from obscurity1 and it is not known to which the priority belongs4 ,thomas ,frye1 an ,essex artist1 superintended the works at ,bow for some time1 and is said to have been the first who succeeded in making ,english porcelain4 ,he died in #agfb4 ,probably the ,bow and ,chelsea works both started about twenty years before that date4 ,it is certain that both stopped after less than fifty years existence4 ,the porcelain made at ,stratford-le-,bow1 and designated 8,bow china10 is of coarse paste1 and is often found decorated with a bee either painted or embossed 7,fig4 #cdd74 ,the painting of flowers and scenes is not of a high order1 but the reliefs are frequently effective and well executed4 ,the ,bow artists also made figure groups4 ,illustration3 ,fig4 #cdd--;,bow cream-jug4 ,the decoration of early ,chelsea porcelain closely followed the ,chinese1 which it was intended to rival4 ,the business there did not attain to any eminence1 nor did the art rise to a noticeable height1 until the works were patronized by the ,court of ,george ,,ii and supported by the ,duke of ,cumberland4 ,between #agej and #agfe1 ,chelsea porcelain most closely approached its great ,continental rivals 7,fig4 #cde74 ,after #agej the manufacture could hardly be called an ,english enterprise1 since material and workmen were both imported from ,germany4 ,the management also was in the hands of a foreigner named ,spremont4 ,the articles produced included all the forms of ,svres and ,dresden1 table services1 candlesticks1 figures1 vases1 and the numberless designs among which the inventive ingenuity of ,continental artists was exercised4 ,in #aghd the works stopped4 ,the ,chelsea paste was extremely soft1 and the glaze was vitreous and liable to crack4 ,the colors were superb1 and included some of the choicest found on ,svres porcelain1 besides at least one other1 a claret color1 peculiar to ,chelsea4 ,very high prices have been obtained for this porcelain at auctions1 more than a thousand dollars having been given for a pair of vases4 ,in design1 workmanship1 color1 and decoration1 there are pieces of ,chelsea porcelain unexcelled by any other establishment1 either ,english or foreign4 ,illustration3 ,fig4 #cde4--;,chelsea ,porcelain ,vase4 ,illustration3 ,fig4 #cdf4--;,derby ,porcelain4 ,third ,duesbury ,period4 7,f4 ,robinson ,coll47 ,mr4 ,duesbury1 who purchased the ,chelsea works in #agfi and finally transferred them to ,derby1 had been making porcelain in the latter place since #agej4 ,he had also bought and transferred the ,bow works1 and carried on a most extensive business1 taking the place in public estimation of the two establishments he had consolidated4 ,the elder ,duesbury died about the year #aghh1 and the subsequent proprietorship is not very clear4 ,he appears1 however1 to have been succeeded by his son1 who died in #agih1 and the works then fell to the third ,duesbury1 who carried them on in conjunction with ,michael ,kean until they were acquired by ,robert ,bloor in #ahae4 ,bloor kept them until he died in #ahdi1 and then ,locker ,co4 held them until #ahei1 when they were assumed by ,stephenson ,hancock1 of which firm ,mr4 ,hancock1 the surviving partner1 came into sole possession in #ahff4 ,the ware was called ,chelsea-,derby from #agfi to #aggc1 when it received the name of ,crown-,derby1 a crown having been added to the mark after a visit of the king and queen4 ,the ,derby paste was very fine and translucent1 and in the production of biscuit figures it was unrivalled4 ,the best of the old ,derby colors was a beautiful bright blue4 ,illustration3 ,fig4 #cdg4--;,bloor-,derby ,porcelain4 7,f4 ,robinson ,coll47 ,illustration3 ,fig4 #cdh4--,old ,worcester ,porcelain4 7,robert ,hoe1 ,jun41 ,coll47 ,illustration3 ,fig4 #cdi4--,worcester ,porcelain4 7,g4 ,collamore47 ,illustration3 ,fig4 #cej4--,worcester ,porcelain4 7,d4 ,collamore47 ,the ,worcester works were founded in #agea1 by a company headed by ,dr4 ,wall4 ,to this gentleman has been ascribed the invention of printing on porcelain1 which we have already found in use on pottery in ,liverpool in #agec4 ,the matter is involved in doubt1 as the process was in vogue at ,battersea about the same period1 and it is improbable that it was simultaneously invented at three different establishments so far apart4 ,however this may be1 ,dr4 ,wall availed himself of the invention1 and handled it with great skill and precision4 ,steatite obtained from ,cornwall was first used by the company in #aggj1 and in #aghc the ,messrs4 ,flight bought up the original establishment1 which had found competitors in the ,chamberlains1 who had commenced business as decorators in #aghf4 ,in #aghh the works were visited by ,king ,george ,,iii41 who became a patron of ,flight1 and were afterward called the ,royal ,worcester ,porcelain ,works4 ,one of the ,flights died in #agia1 and a partnership was formed by the survivor with ,martin ,barr in #agic4 ,the concern was carried on under the firm of ,flight ,barr until #ahjg1 when it became ,barr1 ,flight ,barr1 ,jun41 and in #ahbi another change was made to ,flight1 ,barr ,barr4 ,it retained that form until #ahdj1 when an amalgamation was effected with the ,chamberlains4 ,in #ahfb a joint-stock company was formed1 under which ,mr4 ,r4 ,w4 ,binns1 the author of a history of ,worcester potting1 acted as superintendent of the artistic department4 ,it is estimated that at present upward of four hundred workmen are employed in the ,worcester establishment1 which is made all the more interesting by reason of its being one of the few survivors of the old ,english works4 ,every effort is made to bring the porcelain to perfection1 and the body and decoration are both very fine4 ,the ,worcester paste does not appear at first to have equalled that of some other ,english centres1 but its yellowish tinge made it very well suited for the brilliant color demanded by the ,oriental styles of decoration4 ,the process of transfer printing is said to have been perfected by ,josiah ,holdship1 who was assisted by his brother ,richard in engraving the plates4 ,robert ,hancock was also an engraver in the factory4 ,some rare specimens of transfer printing are found painted with colors and gold1 by which means good imitations of ,dresden were made4 ,this success led to the adoption of the ,dresden mark1 a practice to which the ,worcester manufacturers seem to have been too much addicted1 as the marks of several of the leading workshops are found upon their wares4 ,at the present time the ,worcester factory is turning out a great deal of excellent work4 ,the table ware1 of which an example is given 7,fig4 #cea71 is generally tastefully and often brilliantly decorated4 ,the colors in the specimen given are yellow1 red1 blue1 green1 and gold1 very judiciously combined1 and have a warm and rich effect4 ,the portrait plaque 7,fig4 #cdi7 is by ,a4 ,handley1 and is executed in flat colors4 ,the flesh-tint is especially soft and refined4 ,it is a highly satisfactory example of its class4 ,illustration3 ,fig4 #cea4--,worcester ,porcelain4 7,d4 ,collamore47 ,a work widely differing from either of the above is the basket vase 7,fig4 #cej71 with rustic handles and feet1 and decorated with leafy branches in relief4 ,the only color used is a pale shade of blue1 which deepens in the interstices of the wicker-work4 ,these examples have been chosen not for any exceptional qualities1 but for the purpose of illustrating the average products of a factory which ranks among the first in ,england4 ,the ,mintons1 although devoting themselves chiefly to stone-ware and earthen-ware1 made porcelain at an early period of their history4 ,this occurred in #agih1 when a semi-translucent porcelain of inferior quality was made4 ,the production ceased in #ahaa1 and was taken up subsequently by ,herbert ,minton4 ,their pate-sur-pate has been noticed under ,france1 but we here give a superb specimen of their decoration in that style by ,mr4 ,solon 7,fig4 #ceb74 ,illustration3 ,fig4 #ceb4 ,pate-sur-pate1 by ,solon4 7,h4,c4 ,gibson ,coll47 ,another famous firm working at ,stoke-upon-,trent is that of the ,copelands4 ,it was founded in #aghj by the first ,josiah ,spode1 who established himself in the works which had been occupied by ,banks ,turner4 ,he appears to have been chiefly engaged in the manufacture of blue printed willow-ware1 and imitations of the more famous works of ,wedgwood1 especially his cream and jasper wares4 ,he died in #agig1 and his son and namesake carried on the business1 and first turned his attention to porcelain about the beginning of the present century4 ,the body he used was of great purity1 and the ware was chiefly decorated with gold and flowers after the fashion of his day4 ,in this venture he was very successful1 and devoted every energy to pushing his enterprise4 ,in #ahje he achieved another triumph by what he described as 8a sort of fine ware1 called opaque porcelain10 which was extensively consumed on the ,continent1 to the great detriment of the makers of ,french faience4 ,in #ahjf the honor was conferred upon him of being appointed potter to the ,prince of ,wales1 and in #ahbg he died1 after amassing a large fortune4 ,the firm consisted for some time of ,josiah ,spode1 ,william ,spode1 and ,william ,copeland1 and in #ahcc the concern was bought by a son of the latter1 ,william ,taylor ,copeland4 ,he was joined by ,mr4 ,garrett in #ahdc1 and the firm consisted of ,copeland and ,garrett until #ahdg1 when ,mr4 ,copeland again became sole proprietor1 and continued so until #ahfg1 when he was joined by his sons4 ,the works are now carried on under the firm of ,copeland ,sons1 and have attained to great dimensions1 covering about twelve acres of ground1 and giving employment to about nine hundred operatives4 ,illustration3 ,fig4 #cec4--;,copeland ,vase4 7,tiffany ,co47 ,mr4 ,abraham1 art director of the ,copeland works1 has furnished much of the above information1 and of that which follows regarding the wares of both ,spode and ,copeland4 ,according to ,mr4 ,abraham1 one of ,spode's most celebrated wares was the stone china already referred to1 an opaque or nearly opaque compact body of a blue-gray tint resembling ,oriental china4 ,it was fired at a much higher temperature than earthen-ware1 and in reproducing it at the present time it is fired in the porcelain kiln4 ,it was decorated by ,spode in various ways1 the qualities most highly prized being the 8old ,japans0 and oven blues of different shades4 ,spode's stone china and ivory bodies are exceptionally well adapted for treatment in which oven blue is employed4 ,this stone china has never been entirely out of use1 but for a long time it did not receive the attention it deserved1 and has only been recently revived4 ,when receiving least attention its manufacture was restricted to matching sets1 the possessors of which were so sensible of its high qualities as a table ware1 that they were desirous of making up deficiencies in their services whenever practicable4 ,the name of ,copeland is now well known wherever commerce has carried the ceramic wares of ,england4 ,some of the most artistically designed and finely decorated pieces found in the collections of the present time are from this workshop4 ,the ,copelands have rivalled the most prominent houses of ,england1 we might say of ,europe1 both in the many-sidedness of their enterprise and in its results4 ,the best artists and modellers are employed1 and the products may be compared with any in ,europe4 ,what may be considered a specialty of the ,copelands is the employment of royal blue upon porcelain1 both in arbitrary designs and in landscape and figure painting4 ,they have it so perfectly under control that the most delicate tints and the greatest depths of which the color is capable are produced at will1 without the overflowing of the color on the one hand1 or on the other the harshness and poverty of tone so common in works decorated in this blue4 ,illustration3 ,fig4 #ced4--;,copeland ,parian4 ,illustration3 ,fig4 #cee4--;,copeland ,parian4 ,a great deal of the ,copeland jewelled ware is exceedingly beautiful4 ,we have chosen one specimen as being exceptional1 both in its design and decoration 7,fig4 #cec71 and it would certainly be difficult to lavish upon it too much praise4 ,the base is gilt1 the body is of two shades of blue1 and the gracefully expanding neck pale brown dotted with brown of a darker tint4 ,the handles consist of golden butterflies resplendent with jewels4 ,the effect is rich1 but harmonious and charming1 and the piece may be regarded as one of the most favorable illustrations of what the ,english artists of our time can accomplish4 ,illustration3 ,fig4 #cef4--;,copeland ,reticulated ,porcelain4 7,w4 ,b4 ,dickerman ,coll47 ,in approaching the ,copeland parian 7,figs4 #ced and #cee71 we find ourselves among some of the finest works in that material yet given to the world4 ,an enumeration of the artists regularly or specially engaged in this department would include many of the highest names in the profession4 ,this branch of art has developed rapidly1 partly on account of the rivalry between manufacturers1 but chiefly by reason of the welcome everywhere extended to the works issued4 ,among the subjects chosen by the ,copelands1 many1 possibly the greater number1 are ideals--such personifications as those of ,music and ,poetry4 ,it could not be expected that all these would be of equal merit1 and fault may occasionally be found with attitudes and proportions2 but they are1 as a whole1 admirably executed4 ,yet another branch of art in which the ,copelands have been eminently successful is represented by the perforated or reticulated ware of which the ,chinese supply the types4 ,the potting difficulties and risk in making this double surface ware are greater or less according to the intricacy and delicacy of the perforations4 ,in the cup and saucer here given 7,fig4 #cef7 the manipulation and firing were exceptionally delicate and hazardous1 far more so than in the case of the honey-comb perforation4 ,held up to the light1 the inner surface appears to be as thin as egg-shell2 and it seems a perfect marvel that1 when the heat has softened the body1 the upper surface does not sink down upon that below4 ,where plugs can be used to keep them apart1 or where the perforated surface is strongly arched1 or where the article can be placed upright1 the danger is manifestly less than in such a piece as the saucer1 with its pointed leaf-work bending downward rather than arching4 ,it is also necessarily placed flat in the kiln4 ,many pieces of the same kind have been made by the ,copelands4 ,we have already seen that ,cookworthy sold his patent to ,mr4 ,r4 ,champion1 of ,bristol4 ,it appears1 however1 that he retained an interest in it after ,champion started his manufactory in that city until the year #aggc1 when he relinquished his right on payment of a royalty4 ,the ,bristol workshop was founded a few years previously1 but no natural porcelain was put upon the market until that date4 ,the fact that ,champion was1 in #aggf1 making artificial porcelain indicates that he very soon found his hard porcelain venture would not be remunerative4 ,he was1 according to one authority1 associated with a company of ,bristol gentlemen in his enterprise1 and it appears to be certain that when he applied for the extension of his patent he did not stand alone4 ,in #agha or #aghb he resigned his right to a company of ,staffordshire potters1 and was appointed ,paymaster of the ,forces1 under his friend ,mr4 ,edmund ,burke4 ,he died in #aghg1 at ,camden1 ,south ,carolina4 ,the ,bristol china is chiefly valuable by reason of its rarity4 ,the decoration is after ,continental and ,chinese styles1 and the paste is inferior4 ,the company which purchased ,champion's patent continued to make natural paste until #ahaj1 first at ,tunstall and afterward at ,shelton4 ,it was called 8,new ,hall china40 ,artificial porcelain was made until #ahbe4 ,when1 in #ahjg1 the ,bramelds acquired the ,swinton works1 they conjoined the manufacture of ,rockingham and fine pottery with porcelain of excellent quality4 ,they endeavored to make a ware of the finest sort in both body and decoration1 but fell into financial difficulties in #ahbf1 and1 although assisted by ,earl ,fitzwilliam1 finally succumbed1 as we have already seen1 in #ahdb4 ,caughley is the earliest and most important of the ,shropshire porcelains4 ,the workshop would be deserving of remembrance were it only for one reason--that it was here ,mr4 ,thomas ,turner originated1 in #aghj1 the willow pattern4 ,the manufacture of porcelain at ,caughley was inaugurated soon after the middle of the eighteenth century4 ,turner took the management about #aghj1 although he had been interested in the works for some years previously4 ,he effected great improvements1 introduced printing1 raised the quality of the ware1 and engaged the most skilful decorators4 ,he also made white ware for other decorating establishments1 especially those of ,worcester4 ,the ,caughley works were1 in #agii1 amalgamated with those of ,colebrookdale4 ,a factory was founded at ,nantgarrow in #ahac1 by ,walker ,beely1 or ,billingsley1 and was carried on1 in conjunction with ,mr4 ,w4 ,young1 until #ahbh1 when it was bought by ,mr4 ,john ,rose1 of ,colebrookdale4 ,the 8,cambrian ,pottery0 of ,swansea was founded in #agej1 and began to make 8opaque china0 in #agij1 and from #ahad to #ahai was making porcelain4 ,young and ,billingsley1 the ,nantgarrow artists1 both appear to have been employed at ,swansea1 by ,mr4 ,dillwyn1 who had bought the works in #ahjb4 ,in #ahbj they passed into the possession of ,mr4 ,rose1 of ,colebrookdale4 ,at this place1 or ,coalport1 as it is alternatively called1 the ,caughley1 ,nantgarrow1 and ,swansea factories were thus consolidated in the hands of ,mr4 ,john ,rose1 a pupil of ,turner of ,caughley1 and a man of great enterprise4 ,he took with him the best artists of the works successively absorbed1 and it is here that we again meet ,walker and ,billingsley as superintendents4 ,the present proprietor is ,mr4 ,w4 ,f4 ,rose4 ,the ,messrs4 ,daniell1 of ,london1 are among the leading supporters of the factory1 and have incited ,mr4 ,rose to some of his most successful experiments in color4 ,of these the ,dubarry rose1 one of the most famous and beautiful colors of ,svres1 is probably the most important4 ,billingsley worked first at ,derby1 then successively at ,pinxton1 ,mansfield1 ,worcester1 ,nantgarrow1 ,swansea1 and ,coalport4 ,he died at the last mentioned place in #ahbh4 ,the ,pinxton factory here mentioned was established in #agie1 by ,mr4 ,john ,coke1 who transferred it to ,billingsley1 from whom it passed to ,mr4 ,cutts4 ,it was closed in #ahab4 ,illustration3 ,fig4 #ceg4--;,english ,porcelain4 ,brown1 ,westhead1 ,moore ,co4 7,d4 ,collamore47 ,brief mention has already been made of ,tunstall and ,shelton4 ,the latter place is less known in ,america1 in connection with the working of the ,champion patent1 than by the names of ,ridgway and ,brown1 ,westhead1 ,moore ,co4 7,fig4 #ceg74 ,job ,ridgway was a ,shelton potter in the latter part of the last century1 and was1 in #ahad1 succeeded by his sons ,john and ,william1 who were followed by the above firm4 ,the porcelain of both firms is well known in this country4 ,with ,shelton1 although there are or have been many other factories in ,england1 we close our sketch of that country4 ,illustration3 ,fig4 #ceh4--;,belleek ,porcelain4 7,tiffany ,co47 ,a peculiar ware from ,belleek1 ,lough ,erne1 ,fermanagh ,county1 ,ireland1 has made its appearance in ,america within the past ten years1 and has been received with considerable favor both here and in ,canada4 ,it is carefully and artistically wrought into ornamental pieces and services4 ,its chief peculiarity is an iridescent glaze of a silvery1 lustrous appearance4 ,in the specimen 7,fig4 #ceh7 the pedestal is unglazed1 and its dead white contrasts admirably with the lustrous flowers1 base1 and top4 ,the ware is obtained from a combination of clays found in the neighborhood from which it takes its name4 ,it is a true porcelain and very translucent1 and in thin lustred pieces rivals the egg-shell of the far ,east4 ,it is equally beautiful in biscuit or glazed4 ,illustration3 ,fig4 #cei4--;,belleek ,porcelain4 7,tiffany ,co47 ,several original designs appear among the table services of this ware1 which are rendered very attractive by the peculiar glaze4 ,exceedingly beautiful imitations of shells 7,fig4 #cei7 are made of ,belleek ware1 a purpose for which it is especially suited by reason of the similarity the glazed surface presents to the inside pearly lining of a shell 7,fig4 #cfj74 ,a ware somewhat similar in appearance is made in ,england and ,france1 where an artificial metallic glaze is employed to produce the madreperla lustre4 ,illustration3 ,fig4 #cfj4--;,belleek ,porcelain4 7,tiffany ,co47 ,the ceramics of ,england are of special interest to the ,american reader4 ,in many of our old homes are to be found samples of ,english pottery and porcelain brought to this country long before ,revolutionary times4 ,many of them are1 like heirlooms1 passed on from generation to generation1 the remnants being all the more highly prized as they become fewer in number4 ,a great deal of the earthen-ware and porcelain used here within the last century has come from the centres of which we have been treating4 ,to the student of the art1 also1 ,england has an interest all its own4 ,the workmen of ,england have1 from the earliest times1 shown that moral as well as mental capacity for coping with mechanical and scientific difficulties which marks the typical ,english character4 ,wedgwood was a remarkable instance of a man who1 with materials usually considered of inferior quality for artistic embellishment1 steadily aimed at producing works which should be1 and actually were1 the best of their kind4 ,so it is with the ,mintons and ,doultons of our day4 ,they surround themselves with the best artists they can find1 and have taught ,england1 which was still disposed to reserve its warmest admiration for works executed in the long-coveted and only recently possessed porcelain1 to forget the medium in the art it conveys4 ,illustration3 ,fig4 #cfa4--,tile-piece1 by ,f4 ,t4 ,vance4 ,,book ,,iv4--,,america4 ,,chapter ,i4 ,,south ,,america4 ,antiquity of ,american ,people4--,scope of ,inquiry4--,,peru3 ,its ,old ,inhabitants4--,course of ,ceramic ,art4--,doubts regarding ,origin of ,peruvian ,civilization4--,periods4--,the ,incas4--,pizarro4--,geological ,evidence of ,antiquity4--,unbaked ,bricks4--,pachacamac4--,its ,graves4--,opposite ,types4--,effect of ,religion4--,symbols4--,forms of ,pottery4--,water-,vessels4--,human ,forms4--,leading ,features of ,decoration4--,colors ,employed4--,processes4--,customs ,learned from ,pottery4--,,brazil3 ,ancient ,specimens4--,modern ,ware4--,bricks and ,tiles4--,talhas4--,moringues and other ,water-,vessels4--,colombia4 ,the ceramics of ,america bring us into a field hitherto unexplored1 and showing few footprints of the investigators who have been led to its borders4 ,we are here confronted by a state of things to which we have hitherto been strangers4 ,as creatures belonging to the ,new ,world we have been taught to look with a respect in which ,america has no share upon the aged civilizations of ,egypt1 ,assyria1 and ,china4 ,their ancient inhabitants were the patriarchs of the world1 the pioneers of civilization2 we are the latter-day heirs to the arts and sciences of which they laid the foundations4 ,the present citizens of those lands are the children of ons1 we the mushroom growth of centuries4 ,research has already partially succeeded in endowing ,america with so much of the venerable as can be conferred by age4 ,such notions as those above referred to are being rapidly dissipated4 ,we have long known that the hemisphere we inhabit was styled new1 not because its geological formation is of later growth than those of the ,old ,world1 nor because its inhabitants are the after-math of the world's population1 but because five hundred years ago it was new to the navigators of the ,east4 ,we now know that1 from ,lake ,superior to ,peru and ,chili we can traverse the sites of old settlements and find the vestiges of peoples who lived we cannot tell how many hundred or thousand years ago4 ,in the history of ceramic art ,america in no way differs from ,europe or ,asia4 ,we can begin with the sun-dried bricks of the ,peruvians1 or ,mound-builders1 and end with the porcelain of ,greenpoint4 ,as ,europe loosed its hold upon the earlier arts of ,greece and ,rome1 was dismembered1 and was for centuries plunged in darkness by the incursions and dispersal of barbarians1 and then1 as it revived1 developed a new artistic sense and greater strength1 so ,america passed through a precisely similar ordeal4 ,two thousand years ago--possibly many more--art and civilization existed here1 and continued to expand until ,europeans came and checked their farther growth4 ,america is not even singular in this1 that a broad chasm divides the old from the new4 ,there are thus two great periods which we shall be called upon to consider4 ,there is1 first1 the ancient1 when the aboriginal people were building curious and wonderful monuments of their presence1 and modelling the quaint vessels now found in our museums4 ,there is1 then1 the second period1 limited to little more than half a century1 in which art wears a modern guise1 when the products of ,american potteries become a recognized item in the industry of the country1 and the manufacture is substantially founded upon a broad commercial basis4 ,our inquiry will not1 therefore1 be entirely confined to a recent past and a present chiefly remarkable for the promise that it contains4 ,we shall1 in a hasty review1 turn back across the centuries intervening between the present time and the advent of ,europeans with ,columbus1 ,cortez1 and ,pizarro1 across the barbarism of the ,indian period1 across even the earlier times1 when the ,aztecs in the ,north1 and the ,peruvians under the ,incas in the ,south1 were cultivating their peculiar forms of civilization1 to a more remote past occupied by those elder children of ,time1 to whose heritage these peoples appear to have succeeded4 ,afterward will come the indulgence of the characteristic tendency of the nineteenth-century ,american1 who is more addicted to looking to the future than to the past4 ,in the mean time1 we must try to accustom ourselves to the fact that1 for the purposes of a continuous history1 the potters of our own time are the successors of those who deposited their urns in the mounds of the ,mississippi valley and in the tombs of ,peru4 ,it will probably be both the only historically consequent and the most lucid method to treat the different countries from south to north4 ,we begin with ,peru4 ,we need not go into the theories1 mostly fanciful1 by which an origin and genealogy are found for the ancient inhabitants of ,america4 ,we cannot even undertake to solve the question whether the ,new ,world may not be the ,old4 ,illustration3 ,fig4 #cfb4--,peruvian ,water-vessels4 ,the evidence in support of ,america's having been the resting-place of the lost tribes of ,israel1 of its having been visited from the ,pacific by ,malays1 from the ,atlantic by ,phnicians1 of the truth of the old legend of ,atlantis1 a land which lay beyond the ,pillars of ,hercules1 is in great part composed of inferences from assumptions4 ,reason would point to ,behring ,strait as the point at which the first inhabitants entered1 but even that supposition may account for nothing more remote than the arrival of the ,indians of ,north ,america4 ,or1 to find a genealogy for the same people1 we might adopt ,mr4 ,griffis's very plausible theory of a ,japanese descent1 based upon the fact that 8for twenty centuries past ,japanese fishing-boats and junks1 caught in the easterly gales and typhoons1 have been swept into the ,kuro ,shiwo1 and carried to ,america40 ,it is more pertinent to our purpose to find that1 amidst a civilization which bears a stamp of originality1 ceramic art followed the course it had taken in ,europe1 ,africa1 and ,asia4 ,similarity in forms1 even in symbols1 may argue nothing more than a mysterious identity in the workings of humanity toward artistic and religious expression4 ,they cannot1 without other evidence1 be held to prove an identity of origin4 ,this preliminary observation is made that we may not fall into the baseless theorizing which is the bane of science4 ,external resemblances have1 before this day1 sadly misled scientists1 with whom possibilities have become probabilities1 and probabilities have unconsciously passed into assumed facts4 ,let us take the parallel supplied by the search for the primitive tongue before language became the subject-matter of a science4 ,for centuries the idea was entertained that the honor of priority was to be accorded to the ,hebrew4 ,in the sixteenth century ,goropius1 of ,antwerp1 proved1 beyond a peradventure1 that the language of ,paradise was ,dutch4 ,erro advocated the claims of ,basque2 and about a century after ,goropius had settled the question1 it was gravely recorded in the minutes of the ,chapter of ,pampeluna1 that1 though it could not be asserted with confidence that ,basque was the primitive language of mankind1 yet 8it was impossible to bring forward any reasons or rational objection to this proposition1 that it was the only language spoken by ,adam and ,eve in ,paradise40 ,assume the positive1 and leave it to objectors to prove the negative6 ,science came afterward1 and found that not fanciful verbal resemblances1 but similarity of grammatical construction1 was the test of radical affinity1 and all the above fine theories were exploded4 ,the rule will hold good with pottery4 ,if two potters at two places far remote from each other1 possibly as far removed in point of time1 should produce similar forms1 it would be rash at once to conclude that they were inspired by the same idea or followed the same model4 ,the adoption of such a course would amount to a resuscitation of the extinct philological rule of comparing the words in different tongues to demonstrate relationship4 ,we shall find a point for this caution as we proceed4 ,when ,peruvian civilization began we have no means of ascertaining4 ,repeated changes have swept over it4 ,it rose and fell1 and rose and fell again1 at epochs only partly within our ken4 ,of the overwhelming antiquity claimed for it some of the facts brought together by ,mr4 ,j4 ,d4 ,baldwin may give an idea4 ,montesinos1 a ,spaniard1 who believed ,peru to be the ,ophir of ,solomon1 dates its ancient history from the year ,b4,c4 #bejj4 ,his first period extends down to the first or second century of our era1 when the ancient kingdom was broken up into fragments1 and shorn of its earlier glory4 ,then came a long interval of confusion1 strife1 and internecine struggle1 which ended with the advent of ,inca-,rocca1 the first of the ,incas4 ,the ,incas had extended their sway over the old limits of ,peru1 when ,pizarro came1 in #aeca1 and with his ,spanish followers swept everything back into chaos4 ,a greedy lust for gold was the sole impulse of the treacherous and brutal invaders4 ,perfectly dead to every sense of honor1 stained with the reddest hues of crime1 too rapacious to withhold their hands from the commission of any brutality1 too crassly ignorant to care for knowledge1 the ,spanish buccaneers turned ,peruvian progress back in its course1 and struck such a blow at the vitality of the country that it has never recovered4 ,it will at once be thought that ,b4,c4 #bejj is a very remote date at which to begin the history of a country in the ,new ,world1 but let us see what countenance science lends to such a chronology4 ,professor ,orton says3 8,geology and archology are combining to prove that ,sorata and ,chimborazo have looked down upon a civilization far more ancient than that of the ,incas1 and perhaps coeval with the flint flakes of ,cornwall and the shell mounds of ,denmark4 ,on the shores of ,lake ,titicaca are extensive ruins which antedate the advent of ,manco ,capac 7the second of ,montesinos' oldest dynasty of kings71 and may be as venerable as the lake-dwellings of ,geneva40 ,mr4 ,james ,s4 ,wilson1 in #ahfj1 found 8ancient1 or fossil1 pottery0 on the coast of ,ecuador4 ,to help in assigning it an age1 the fact is all-important that it was found below a marine deposit several feet in thickness4 ,this pottery1 then1 was made2 the land was submerged at a rate almost incalculably slow2 it was covered with a marine deposit2 the land was then upheaved to its former level1 again at a very slow rate1 and seventeen years ago1 the pottery came to light1 like a fossil taken from the rocks1 to tell us that at an age so remote that it is hard even for imagination to reach it1 the ,peruvians were accustomed to working in clay4 ,compared with this people the ,incas are creatures of yesterday1 and the earliest date of ,montesinos is hardly medival4 ,the difficulty is to assign an exact1 or even an approximate1 date to the ceramic remains we possess4 ,many of them belong to an era preceding that of the ,incas1 but no more precise language can be employed in specifying their age4 ,the conditions1 moreover1 are such that an erroneous deduction might easily be made4 ,the great road from ,quito to ,chili1 for instance1 is built chiefly of stone4 ,the same material was used for the inns along its course1 and for many other buildings4 ,this road must1 at least in part1 be ascribed to a period anterior to that of the ,incas4 ,at a later date1 when the least ancient part of ,pachacamac1 the ruined city of the ,incas1 near ,lima1 was built1 sun-dried bricks appear as the chief building material4 ,pachacamac was originally built by the natives of the coast1 and among its ruins are those of one of their temples1 composed of adobes painted red4 ,the ,inca ,mamacuna on the same site is composed of the same material4 ,this is a reversal of previous experience4 ,we have hitherto associated unbaked bricks with the earliest attempts of the potter4 ,if we argue from ,asiatic or ,european usage1 the most ancient ,peruvians would appear as primitive settlers ignorant of art1 which we have already seen they were not4 ,the best articles of pottery have been taken from the tombs4 ,the connection of moulded clay with the burial of the dead was thus universal4 ,we have seen the ,egyptian mummy surrounded by vases and jars1 urns holding or covering the ashes of the ancient ,british dead1 the hut-shaped urn of the ,teuton1 the remains of the ,roman legionary deposited in an olla covered by tiles or bricks1 and the tuguria of ,etruria2 and here1 in ,peru1 is a precisely similar custom regulating the burial rite4 ,at ,pachacamac ,mr4 ,squier found three strata of mummies4 ,most of these were taken from little vaults of adobes1 roofed with sticks and rushes4 ,in one of them he found1 lying beside the dead family1 the implements of the husband's business as fisherman1 the wife's domestic articles1 including a primitive spindle1 a girl's work-box under her body1 small contrivances of hollowed bone for cosmetics1 and between her feet the dried body of a pet parrot4 ,an infant's body had a rattle beside it4 8,besides the bodies there were a number of utensils1 and other articles in the vault2 among them half a dozen earthen jars1 pans1 and pots of various sizes and ordinary form 7,fig4 #cfc74 ,one or two were still incrusted with the soot of the fires over which they had been used4 ,every one contained something4 ,one was filled with ground-nuts1 familiar to us as peanuts2 another with maize1 etc41 all except the latter in a carbonized state40 ,probably the nuts and maize were deposited for the use of the deceased in the future1 and the supposition helps to increase the illusion that we are away from ,peru1 and back among the graves of ,ancient ,egypt4 ,to this superstition1 common1 as we have seen1 to nearly all peoples1 we are therefore indebted1 not only for our knowledge of ,peruvian pottery1 but for much of our information regarding the people themselves4 ,no other place could have equalled the grave in safety for the preservation of the records which have been passed from its secrecy into our hands4 ,the imaginary wants of a future state led the poor and the ,inca to be laid in their respective vaults with the articles they had used here1 and which they were supposed to stand in equal need of hereafter4 8,every ,inca10 says ,mr4 ,ewbank1 8had his cooking utensils in his cemetery2 not only his gold and silver ware1 but1 observes the native historian1 #8the plates and dishes of his kitchen4'0 ,the favorable conditions of soil and climate under which they were interred increase the difficulty of telling their age by examination merely4 ,they might from their appearance have been buried for generations or for ages4 ,it is1 however1 evident1 from the character of the deposits and the assumed wants they anticipated--corn1 cooking-vessels1 toys1 pets1 fishing-lines1 spindles--that the ,peruvians shared the belief held by ,christians1 that here they were strangers and sojourners4 ,they prepared for the next life by taking all their movables with them1 as if merely changing their place of abode4 ,illustration3 ,fig4 #cfc4--,pottery from ,pachacamac4 ,the tombs being thus the great receptacles of ,peruvian antiquities1 what do we find to be the general character of the art represented in the pottery8 ,the same that is found in the architecture or statuary of the country1 viz41 the greatest possible disparity in both design and workmanship4 ,on one hand are creations of art1 the conception of an artist carried out by an artist's hand2 on the other are the most outrageous concessions to an idolatrous barbarism4 ,in a similar manner1 earthen-ware vessels of diametrically opposite types are found side by side in the same tomb4 ,to perplex us still farther1 ,french writers have advanced the theory that for a very long period art in ,south ,america gradually but surely declined4 ,they state that from a primitive simplicity and purity of style it sank step by step into barbarism4 ,this may or may not be true1 but in any case the two sets of facts may be thus explained4 ,we have seen that in ,egypt religion set a limit to art4 ,practically the matter resolved itself into this1 that the potter-artist could rise above neither the god he worshipped nor the sacred symbol he revered4 ,priestcraft is necessarily conservative4 ,change and improvement involve a departure from the old1 and the ancient gods might be left behind and their shrines deserted1 were art to rise above the delineation of the artistic abominations which were encased in sacred tradition as the symbols of deity4 ,the image cannot change any more than the god4 ,in ,egypt nearly every form of life--bird1 beast1 and plant--was monopolized by its religious system and petrified into a traditional form4 ,it is possible that a similar influence was at work in ,peru4 ,the rude forms may really have been what we have styled them1 8concessions to an idolatrous barbarism40 ,it is necessary in the case of ,peru1 as in that of ,china or ,egypt1 to make an attempt to discover the essentials of its religion1 that we may understand its ceramic art4 ,with ,peru1 however1 we must in part work backward1 by first constructing a system from what we find upon pottery4 ,mr4 ,squier gives much valuable information on this point4 8,to them10 he says1 referring to the sacred vessels of pottery devoted to religious and mortuary services1 8in default of other probable or possible means of recording a religious symbolism1 we must look for all the scanty illustrations we are ever likely to obtain of the religious ideas and conceptions of their makers40 ,pachacamac took its name from the chief divinity of the people prior to the coming of the ,incas1 and means1 8,he who animates the universe10 8,the creator of the world40 ,the idea of a supreme being may thus be inferred to have been the foundation of a system which1 like many other ancient religions1 resorted to symbols1 and thence by an easy transition assumed in popular practice the form of idolatry4 ,we thus find that when the ,inca ,yupanqui invaded the ,chimus1 he called upon them to renounce their worship of fishes and animals1 and turn to that of the sun4 ,there is no reason for believing that the creed of the ,incas was superior to that of the ,chimus4 ,it appears rather that1 in broadly condemning that people for their worship of animals1 the ,inca mistook the use of symbols for the adoration of the animals so used4 ,our researches in ,egypt and elsewhere would lead us to the conclusion that if the worship of animals existed anywhere1 it resulted from a misapprehension by the ignorant of the purpose of symbolizing by living things the attributes of a higher power4 ,as in ,egypt1 so in ,peru the religion may be said to have been dual4 ,on the one hand is the worship of a supreme power1 and the personification of visible agencies in air1 earth1 and water4 ,on the other is a lower form1 an idolatry bordering upon fetichism4 ,under the higher form water is personified1 and the god thus constructed is accompanied by befitting symbols of his domain--the turtle1 fish1 or crab2 the earth is personified1 and has as symbols the serpent and lizard2 the air is also personified1 and the figure carries in his hand a spear1 as representing the thunder-bolt1 his symbol4 ,mr4 ,squier gives an engraving of a design upon a ,chimu vase1 in which the powers of earth and sea are arrayed in combat4 ,the latter is armed with the claws and shell of a crab1 hence assumed to be his symbol4 ,the former bears on his front a serpent's head1 wields a horned serpent in one hand1 and has two similarly horned reptiles hanging at his back3 hence the serpent is accepted as his symbol4 ,probably coeval with a form of belief which sought such expression1 was another under which images were resorted to1 and set up as the recipients of the worship originally directed to a higher power4 ,it is not impossible that the worship of a supreme being1 and of his attributes and symbols1 may have been coexistent among the same people4 ,on the contrary1 such actually appears to have been the case2 and if the highest form of belief existed along with the lowest form of expression1 it is not hard1 as already pointed out1 to find a reason for the coexistence of the highest and lowest forms of art4 ,as to the ,french theory of a long-continued decline of ,peruvian art1 if we assume its truth1 it may be explained in the light of ,peruvian history4 ,the supposition has reference1 apparently1 to the earliest ,peruvian elevation1 prior to the dismemberment of the empire4 ,before the coming of the ,incas art must have suffered from the civil discord1 and under the ,incas its recovery was probably hindered by the wars which extended down to the ,spanish conquest4 ,after ,pizarro--a second death4 ,illustration3 ,fig4 #cfd4--,peruvian ,water-jar4 7,smithsonian ,institution1 #ecda47 ,let us now examine some of the forms of ,peruvian pottery4 ,it would be impossible to classify or enumerate them all4 ,nature and religion contributed decorations and forms4 ,the beings of earth1 sea1 and air--men1 fishes 7,fig4 #cfd71 animals1 and plants 7,fig4 #cfe7--were modelled in clay1 and decorations were drawn from the same sources and from the customs of the people4 ,the only classification of a comprehensive character is that into coast and inland4 ,the former of these divisions comprises the greater part of the specimens now existing1 including1 of course1 all from ,pachacamac1 ,huacho1 ,santa1 and ,truxillo1 or ,chimu4 ,the latter includes all that comes from ,cuzco 7,fig4 #cfg7 and other places in the interior4 ,illustration3 ,fig4 #cfe4--,peruvian ,pottery4 ,visitors to the ,centennial ,exhibition may remember to have seen a large array of vases and household utensils sent from ,lima4 ,in the collection of ,mr4 ,w4 ,b4 ,colville were several clay idols1 belonging to the period before the advent of the ,incas4 ,some of these were wrapped in cloth1 and none possessed any claims to artistic finish or design4 ,a similar image was exhibited by ,brown ,university1 in the ,rhode ,island section4 ,all were mere caricatures of the human form4 ,along with them1 in the space allotted to ,lima1 were several hundreds of quaintly shaped water-vessels and bottles4 ,in some of these were to be found those compound typical forms distinctively ,american4 ,in others appeared forms which at once recalled the ,egyptian4 ,of the latter the most remarkable were the double or twin bottles joined together by bands at the neck and base1 after a fashion observed in ,egypt and also in ,mexico4 ,it is unnecessary to conclude from this fact that ,egypt had an ancient connection with ,peru4 ,sometimes on one of the bottles a head was placed as a cover to the orifice1 others had both necks plain and open4 ,illustration3 ,fig4 #cff4--,peruvian ,drinking-vessel4 ,stag and ,doe4 ,the more characteristic forms belonged to the class comprising the water-vessels4 ,of these the favorite form appeared to be what might be described as a pot-bellied graybeard ornamented with a rude semblance of the human face1 hands1 and feet4 ,it was made of all sizes4 ,another might be taken as the prototype of the modern round-bodied glass water-bottle1 or carafe4 ,a third had the arched syphon handle characteristic of an entire class2 and on the body1 under the span of the arch1 was the figure of an animal1 too rudely modelled for us to give it a name4 ,on a small proportion of those mentioned weak and undecided colors were applied in a primitive style of decoration1 and in others the ornamentation consisted of lines and dots or studs4 ,illustration3 ,fig4 #cfg4--,vases from ,cuzco4 ,the ,peruvian potters bestowed a large share of their inventive talent upon water-vessels1 and the reason is not difficult to find4 ,according to its present limits1 ,peru extends from the third to the twenty-first degree south latitude4 ,in the sixteenth century it included the entire territory now divided into ,ecuador1 ,bolivia1 ,peru1 and ,chili4 ,the country in which its remains are found extended over two thousand miles south of the equator4 ,in some parts of this vast territory rain occasionally falls1 in others never4 ,in this fact we see the necessity for ample means of slaking thirst4 ,the quaint forms are largely due to the dread of small creeping animals finding their way into the jars or flagons4 ,the latter were1 therefore1 made in the comparatively intricate shapes already described1 and in others still more complex and more highly ornamental4 ,illustration3 ,fig4 #cfh4--;,coiled ,water-vessel4 ,peru4 7,smithsonian ,institution1 #adjc47 ,the largest class comprises those with the bifurcate spout1 which serves at the same time for a handle4 ,this is found attached to vessels of every conceivable form4 ,the simplest shape is that seen in the specimen from the ,smithsonian ,institution 7,fig4 #cfh71 the body of which1 however1 is somewhat peculiar1 by reason of its rising from the base in a coil of spiral folds4 ,several modifications of this style are seen in the engraving 7,fig4 #cfi74 ,the presence of this spout in any of its forms is of special interest as distinctive of pottery from the coast settlements4 ,its modifications include a vast number of interesting examples more or less artistic4 ,from the single vessel with bifurcate spout we may pass to others in which there are two openings joined together by a handle4 ,higher than these are the vases1 in which1 with only one orifice1 the body is double4 ,illustration3 ,fig4 #cfi4--;,ancient ,peruvian ,pottery4 ,illustration3 ,fig4 #cgj4--,peruvian ,pottery4 ,in one the receptacle for the water consists of a series of four chambers1 with pointed bases arranged in a circle1 and joined together 7,fig4 #cgj74 ,the handle is the arch1 with spout on the top4 ,in some the vessel assumes the form of a fish1 with a handle on the ridge of the back1 or of an animal with semi-human face4 ,the twin shape is exceedingly varied4 ,a very fine specimen has the bottles with round1 flattened bodies1 and one of them surmounted by a diminutive human figure holding a cross on the right shoulder1 while from the left the handle crosses to the tall1 slightly tapering neck of the twin bottle4 ,the flat sides of the bottles are decorated with studs and zigzags1 which might be construed into serpentine forms4 ,a bird sitting in the cavity of one neck sometimes takes the place of the heads already alluded to4 ,in some of the double bottles the communication is through the handle4 ,in others it is effected by joining the bodies together1 as in the curious specimen 7,fig4 #cga71 in which the rudely modelled kneeling figure of a man eating and drinking is joined to the twin compartment at the back by the passage-way between the two sections4 ,there are many other varieties2 but the most remarkable specimens are those in which an attempt is made to simulate the human head and form4 ,the former is carved in coarse lines covering the entire expanse of a heavily formed vase1 the handles of which1 low down on the body1 represent the ears4 ,even lower than this1 and parallel with the most primitive bessa of ,egypt1 are other wide-mouthed jars of a type altogether different1 designed to serve a purpose entirely distinct from those last considered4 ,from these as a base we can rise to what we must regard as the chefs-d'uvre of ancient ,american art4 ,illustration3 ,fig4 #cga4--,peruvian ,water-vessel4 7,smithsonian ,inst41 #acii47 ,illustration3 ,fig4 #cgb4--;,greek ,drinking-cup4 ,it is curious to observe1 en passant1 a similarity of usage between ,peru and ,greece 7,figs4 #cgb and #cgc7 in selecting the human head as the model of a drinking-cup2 but let us observe the ,peruvian type4 ,in one 7,fig4 #cgc7 the head is thrown back1 and from the forehead to the crown passes the syphon handle4 ,to balance this backward weight the face is thrust forward1 and the expression is affected by the position4 ,we see that the artist has made allowance for this in the lines round the mouth and the slightly parted lips4 ,a faint suspicion of weakness is thus left upon the countenance4 ,taking it in profile1 one almost wonders where the artist found a model for the large but well-formed nose and strong underjaw4 ,even finer is another head 7,fig4 #cgd71 covered with a close-fitting cap falling in heavy flaps behind4 ,in this the face is1 we would say1 of the best ,saxon type1 full of strength1 vigor1 and determination4 ,not a weak line can be found4 ,with it before us1 all wonder as to the civilization of ancient ,peru is at an end4 ,apart altogether from the workmanship1 there are moral qualities traceable in the model which convince us that with such men civilization was a condition of life2 not a labor1 but a necessity4 ,the face wears the placid1 self-confident1 powerful expression of one born to be a ruler of men4 ,that the artist has caught such a look of strength in repose may imply either his mastery of portraiture or his familiarity with a high type of manhood4 ,illustration3 ,fig4 #cgc4--,peruvian ,drinking-vessel4 ,illustration3 ,fig4 #cgd4--,peruvian ,water-vessel4 ,illustration3 ,fig4 #cge4--;,head of ,ruminhauy4 ,belonging to a lower order of the same class is that given in the engraving 7,fig4 #cge71 the head of a man whose whole history is written in indelible lines in his face4 ,the head is that of ,ruminhauy1 or ,rumminaui1 a ,peruvian cacique4 ,the piece is from the collection of ,senhor ,barboza1 ,rio de ,janeiro1 and originally belonged to ,general ,alvares1 8the last ,spanish political chief and commandant of the province of ,cuzco40 ,mr4 ,ewbank saw it at ,rio1 and gives a description of it1 and a sketch of the monster whose features are thus preserved4 ,the piece is of reddish clay1 modelled by hand1 nine inches in height1 and with an internal depth of six inches4 ,everything indicates that the work is a likeness4 ,little peculiarities1 such as the want of a tooth and a scar on the cheek1 cannot be explained upon any other hypothesis4 ,the piece is comparatively recent4 ,when1 in #aeca1 ,pizarro entered ,peru at ,tumbez1 the ,inca1 ,huayna ,capac1 had divided his kingdom between his two sons1 ,huascar and ,atahualpa1 between whom a struggle ensued for the sole power1 and resulted in the death of ,huascar4 ,atahualpa was afterward seized by ,pizarro1 and1 under circumstances of gross treachery and brutality1 was put to death4 ,it was then that ,ruminhauy comes upon the scene in the history of ,garcilasso de la ,vega4 ,scheming to succeed ,atahualpa1 he invited his brother and children to a banquet1 and1 after making them drunk1 murdered them4 ,with the skin of ,atahualpa's brother he covered a drum1 and left the scalp hanging to it4 ,his next atrocity was the burying alive of a number of women1 young and old4 8,thus10 says ,garcilasso1 as quoted by ,mr4 ,ewbank1 8did this barbarous tyrant discover more inhuman cruelty and relentless bowels by this murder committed on poor silly women1 who knew nothing but how to spin and weave1 than by his bloody treachery practised on stout soldiers and martial men4 ,and what farther aggravates his crime was1 that he was there present to see the execution of his detestable sentence1 being more pleased with the objects of his cruelty1 and his eyes more delighted with the sad and dismal sight of so many perishing virgins1 than with any other prospect4 99 99 99 ,thus ended these poor virgins1 dying only for a little feigned laughter1 which transported the tyrant beyond his senses4 ,but this villany passed not unpunished2 for1 after many other outrages he had committed during the time of his rebellion against the ,spaniards1 and after some skirmishes with ,sebastian ,belalcaar 7who was sent to suppress him71 and after he had found by experience that he was neither able to resist the ,spaniards1 nor yet1 by reason of his detestable cruelties1 to live among the ,indians1 he was forced to retire with his family to the mountains of ,antis1 where he suffered the fate of other tyrannical usurpers1 and then most miserably perished40 ,these details1 beside giving a ghastly kind of interest to the object engraved1 enable us to form an opinion of the artist's ability4 ,aside from the possibility that the piece has preserved the actual features of the monster1 it certainly gives expression to all the bad qualities with which the historian has clothed ,ruminhauy1 and contrasts strongly with those given above1 and with that 7,fig4 #cgf7 from the ,smithsonian ,institution4 ,illustration3 ,fig4 #cgf4--,peruvian ,water-vessel4 ,illustration3 ,fig4 #cgg--,peruvian ,water-vessel4 7,smithsonian ,institution1 #gbdb47 ,after these individual examples a few of the leading points of ,peruvian decoration and technique must be noticed4 ,we have seen that in forms the leading tendency was toward the reproduction of the natural object4 ,mingled as the high is with the low1 the ultimate aim appears to have been the excellence contained in similitude4 ,in decoration we find designs with which old-world experience has made us more or less familiar4 ,the vessels on which they appear illustrate the tendency not toward a purely ornamental art1 but toward the artistic embellishment of the useful4 ,like all other nations1 the ,peruvians rose from use to beauty1 and having devised the shape best subserving the useful object1 they then attempted its ornamentation4 ,in doing so they resorted to decoration closely allied with the ,european and ,asiatic4 ,their fret is the same as that distinguished by the name 8,grecian10 although it originally came from ,asia4 ,their scrolls also occasionally bear a close resemblance to the ,european4 ,the faces already referred to are either incised1 engraved1 or laid upon the surface4 ,those engraved leave the impression of having been cut into a body made sufficiently thick to permit of the successful application of such a method of decoration4 ,they have no appearance whatever of having been made from a mould4 ,of the same general character is the drinking-vessel 7,fig4 #cgg74 ,the design1 the import of which it is difficult to determine1 is graved in a panel covering the greater part of one side of the piece4 ,other pieces have the figures similarly graved upon panels studded with dots1 for the evident purpose of heightening the relief4 ,on one of this class is a long-billed bird1 and on another1 which is here given 7,fig4 #cgh71 the design consists of a nondescript animal4 ,a singular resemblance to a ,chinese habit is discoverable in the employment of monkey forms1 either for handles or otherwise1 where the ,chinese used those of lizards4 ,on one of the double-bellied bottles common to ,peru1 ,china1 and ,japan1 we find two monkeys clinging to the upper sphere1 as if supporting it4 ,illustration3 ,fig4 #cgh4--,peruvian ,pitcher4 7,smithsonian ,institution47 ,the chief colors employed were red1 black1 and brown4 ,it appears probable that they were mineral colors fixed by firing1 since we cannot otherwise account for their preservation4 ,the ,chilians are said 7,hartt7 to have baked their pottery in holes dug in the hill-sides1 and to have applied to it a sort of varnish made of mineral earth4 ,it is worth noting1 however1 that the ,peruvians possessed vegetable dyes of which we have no practical knowledge4 ,all the wonderful colors used for dyeing cloth1 which preserved their original hue and brilliancy after ages of exposure or burial in the tombs1 are vegetable4 ,the lasting quality alone does not1 therefore1 compel the conclusion that the colors on pottery are mineral4 ,illustration3 ,fig4 #cgi4--,the ,caballito1 from ,chimu4 ,the consideration of the uses of these colors1 and of several other kinds of decoration1 may be combined with that of the customs and tastes of the ,peruvians as reflected in their clay records4 ,travellers reaching ,peru from the sea tell of encountering1 as they neared the shore1 numbers of the natives paddling their caballitos4 ,these quaint apologies for boats are merely bundles of reeds tied together1 across which the boatman strides1 and rows1 ,indian fashion1 with a double-bladed paddle4 ,the prow is turned up in front4 ,so crazy a craft would seem to be among the things least calculated to inspire the potter with an idea4 ,it did1 however1 prove suggestive 7,fig4 #cgi71 and the caballito has been found in clay on the sites of different coast settlements4 ,illustration3 ,fig4 #chj4--,trumpet4 ,baked ,clay4 ,illustration3 ,fig4 #cha4--,tambourine ,player4 ,we also learn from their ceramic decorations that the ,peruvians of ,chimu lived in buildings of a single story with slanting roof1 and having a hole in the gable for light or ventilation4 ,that they had a taste for music is placed beyond dispute by their vessels and instruments of clay 7,fig4 #chj74 ,some of their ruder devices are very singular4 ,mr4 ,ewbank mentions a whistle formed in the body of a small bird of baked clay4 ,the relic1 he says1 was very old1 and the head missing4 8,the tone was shrill and clear1 and was pleasantly modified by partially or wholly closing with the finger an opening in the breast40 ,the water-vessels are also sometimes so constructed that the handle passes from the spout on one side to a similar projection on the other1 on which is a bird or animal's head4 ,the air rushing through a hole left in the latter1 as the vessel is being filled or emptied1 frequently causes a sound resembling that peculiar to the bird or animal4 ,to this class of 8whistling jars0 belongs the double vessel 7,fig4 #cga7 representing a man at lunch4 ,musicians and musical instruments are painted upon vases1 and1 as in the cut 7,fig4 #cha71 the vessel itself may be a representation of a musician4 ,illustration3 ,fig4 #chb4--;,black-ware4 ,peruvian4 7,smithsonian ,inst41 #agja47 ,illustration3 ,fig4 #chc4--,peruvian ,cup1 found at ,arequipa4 7,smithsonian ,inst41 #ahab47 ,illustration3 ,fig4 #chd4--,peruvian ,pottery4 ,illustration3 ,fig4 #che4--,peruvian ,vessels4 ,the decorations hitherto observed have consisted of gravings in the paste1 dots1 and colors4 ,the black-ware jar 7,fig4 #chb7 is a farther exemplification of the first of these methods4 ,the head and the ears of corn which divide the surface into four sections have all been apparently carved in an originally thick body4 ,by cutting it down the ears are left in high relief4 ,the specimen is evidently very old4 ,the vessels decorated with paintings are generally of a totally different artistic order1 although a few1 such as the cup here given 7,fig4 #chc71 combine painting with a rude attempt at modelling4 ,the handle consists of a monkey with its forepaws1 or hands1 resting upon the edge of the cup4 ,it was taken from a grave at ,arequipa1 eleven feet below the surface of the soil1 and was brought to this country and presented to the ,smithsonian ,institution by ,united ,states ,consul ,eckel1 ,talcahuana1 ,chili4 ,the decoration is dark brown on a creamy ground4 ,similar to it1 but having the mitred head of an ,inca on the handle1 is the cup on the left of the adjoining cut 7,fig4 #chd74 ,the other vessels1 with the exception possibly of the lower one1 have been used as pans or boilers1 the largest showing marks of the fire1 and all being destitute of ornament with the exception of the painted stopper of the largest specimen4 ,it thus appears the ,peruvians used earthen-ware for culinary purposes1 and several vessels of this kind are elaborately painted in black and red on the yellow ground4 ,in the illustration 7,fig4 #che7 ,nos4 #a and #c are of this class4 ,they were apparently designed either to be suspended above an open fire1 or to rest in a stove-cover perforated for their reception4 ,to serve the purpose of a lid hollow stoppers1 like ,no4 #d1 were used4 ,the lower part of the vessels is undecorated4 ,the flat-bottomed pitcher and bowl1 ,nos4 #b and #e1 are especially worthy of attention for their decoration4 ,the light red body of the former is covered with a dark chocolate ground-color1 in which the design appears in white--a mingling of the star1 circle1 and chain pattern4 ,other varieties are seen in the pieces 7,fig4 #chf7 from ,senhor ,barboza's collection4 ,on the left is a caldron1 flat-bottomed and with side rings4 ,the greater part of its ornamentation has been worn away4 ,the remaining three pieces are supposed to have been used for carrying liquids1 and that on the right has1 besides the rings on the body1 perforated ears immediately below the lip4 ,the decoration of the small round-bottomed pichet consists of incised lines4 ,the long-necked bottle is ornamented in colors1 in regard to the arrangement of which the piece may be taken as representing a large class of vessels in which the decoration--consisting of squares1 the larger containing the smaller--is arranged vertically4 ,the art is of the same order as the geometrical designs and concentric circles of ,phnicia and early ,greece4 ,we find it again in the shallow ladles 7,fig4 #chg71 notably in that on the right1 which was found near ,st4 ,sebastian1 ,cuzco1 in #ahbj4 ,illustration3 ,fig4 #chf4--,peruvian ,pottery4 7,senhor ,barboza ,coll47 ,illustration3 ,fig4 #chg4--,peruvian ,pottery4 7,barboza ,coll47 ,on these pieces yellow is combined with the red1 white1 brown1 and black we have hitherto met4 ,a yet richer palette was brought to the decoration of the flat circular bottle 7,fig4 #chh71 the upper part of which is painted upon the red paste in black1 white1 green1 and purple lines4 ,as to the processes to which the ,peruvians resorted1 ,marryat quotes a passage from ,southey's 8,history of ,brazil0 which gives a little light4 8,the ,tupinambas10 he says1 8were in many respects an improved race4 ,the women were skilful potters4 ,they dried their vessels in the sun1 then inverted them1 and covered them with dry bark1 to which they set fire1 and thus baked them sufficiently4 ,many of the ,american tribes carried this art to great perfection4 ,there are some who bury their dead in jars large enough to receive them erect4 ,illustration3 ,fig4 #chh4--,peruvian ,pottery4 7,barboza ,coll47 8,the ,tupinambas1 by means of some white liquid1 glazed the inside of their vessels so well1 that it is said that the potters in ,france could not do it better4 ,the outside was generally finished with less care4 ,those1 however1 in which they kept their food were frequently painted in scrolls and flourishes1 intricately intertwisted and nicely executed1 but after no pattern2 nor could they copy what they had once produced4 ,this earthen-ware was in common use2 and ,de ,lery observes that in this respect the savages were better furnished than those persons in his own country who fed from trenchers and wooden bowls40 ,other ,indian tribes used water-colors after burning1 and also a vegetable varnish4 ,how far these customs extended we cannot define by geographical limits4 ,it shows the tendency of this people1 already remarked in the ,peruvians1 to making beauty subservient to use4 ,an inside glaze in connection with a rough exterior is something rarely to be found elsewhere4 ,that the ,peruvians used moulds is almost certain4 ,mr4 ,hartt is of the opinion that many of their vessels were moulded in two parts and then luted together1 and that some of the moulds were made from natural objects4 ,he also suggests that the mould was sometimes made from a pattern vessel1 and then baked4 ,to conclude as to ,peru1 its ceramics may yet be more fully and systematically studied4 ,at present it is instructive to remark how1 on the assumption of its art being original and not derivative1 it sought expression in ways so nearly identical with those of the ,old ,world4 ,a theory of chronology cannot1 in the present condition of our knowledge1 be constructed4 ,the works passed in review evidently belong to epochs far apart from each other1 and probably to different branches of the people inhabiting ,peru4 ,some of the specimens are undoubtedly very old1 and others1 including the painted wares1 cannot be ascribed to a very remote era4 ,the head of ,ruminhauy cannot be referred to a more distant date than the middle of the sixteenth century1 and the modern work1 though inferior to that we have noticed1 is too closely allied to it1 in composition and the style of decoration1 for us to feel justified in according to much of the older painted pottery a greater age than two or three hundred years4 ,illustration3 ,fig4 #chi4--;,brazilian ,pottery4 ,illustration3 ,fig4 #cij--;,brazilian ,coroados ,chief1 in ,funeral ,urn4 ,of modern ,brazil we would expect much1 if we take its ruler1 the indefatigable and enlightened ,dom ,pedro1 as a representative of his people4 ,our knowledge is extremely meagre4 ,in an otherwise admirable section at the ,centennial ,exhibition1 the pottery was of little consequence4 ,the best works were unglazed terra-cottas1 ,greek in form1 and decorated with ,greek subjects4 ,there were also some vases of red clay representing native ,brazilian forms decorated with reliefs1 medallions1 and faces1 in light-brown clay4 ,in others the colors were reversed1 the light brown clay forming the body and the red the ornaments4 ,some of the better specimens are now in the ,smithsonian ,institute1 at ,washington4 ,illustration3 ,fig4 #cia4--,modern ,brazilian ,pottery4 ,of the ancient ,brazilian pottery ,mr4 ,thomas ,ewbank describes a basin 7,fig4 #chi7 in the ,rio ,museum4 ,it is made presumably by hand1 as no marks of the wheel are observable1 of a grayish yellow clay imperfectly burned1 covered with a light and poor kind of glazing1 and is overrun by minute cracks4 ,it is colored inside and out with red1 yellow1 and brown4 ,the outside was black with smoke1 and suggests that the vessel may have been used as a pot or caldron4 ,the decoration consists of a dark-red band just below the rim1 and a tangled mass of lines and dots4 ,some of the tribes1 and among them the ,coroados of the ,parahiba ,river1 used earthen jars for the reception of the mummies of their chiefs 7,fig4 #cij74 ,mr4 ,ewbank also gives some interesting details regarding the making and quality of modern ,brazilian pottery4 ,on one estate which he visited he found a number of female slaves engaged in making bricks and tiles4 ,the native ,brazilian gives no encouragement to foreign trade1 preferring the pottery of his own country as better suited to the domestic usages among which he lives4 ,water-vessels form the staple of the industry1 entire cargoes sometimes consisting of talhas and moringues1 for holding water and drinking4 ,the large centre piece in the illustration 7,fig4 #cia7 is a talha1 and may be seen in almost any ,brazilian house4 ,it will hold from ten to fifteen gallons4 ,the four vases in the engraving1 two on either side of the talha1 are varieties of the same vessel4 ,of the drinking-vessels the most common is that called the 8monkey0 7,fig4 #cib1 a74 ,although it holds from a gallon and a half to two gallons and a half1 it is used without the intervention of a tumbler1 the smaller spout being applied to the lips4 ,in the same engraving1 b1 c1 d1 and e are table moringues1 as are those at i1 i4 ,the decanter1 h1 is common porous earthen-ware1 admirably suited for keeping its contents cool4 ,the ewer and basin1 f and g1 are highly colored earthen-ware from ,bahia1 and between them stands an ,indian moringue of ingenious construction4 ,it is filled from the bottom by means of the tube marked by a dotted line4 ,the cup-like vessel at k is one of the ordinary kind of censers4 ,illustration3 ,fig4 #cib4--,modern ,brazilian ,pottery4 ,illustration3 ,fig4 #cic4--;,corrugated ,ware4 ,colombia4 7,smithsonian ,institution1 #ae1ceb47 ,to show that the ,peruvians did not necessarily use mineral colors for their pottery1 ,mr4 ,w4 ,h4 ,edwards's description of the processes he found among the wild tribes on the ,amazon may be referred to4 ,their colors were of the simplest kind3 indigo blue1 black from the juice of the mandioca1 green from another plant1 and red and yellow from clays4 ,a small kind of palm was made into a brush to apply the pigments4 ,the designs consisted of squares1 circles1 and rudely drawn figures4 ,a resinous gum was rubbed over the vessels after they had been warmed1 and answered all the purposes of a glaze4 ,before leaving the ,south ,american continent attention may be directed to a single specimen from ,colombia4 ,it is 7,fig4 #cic7 an unpainted bowl of corrugated ware1 and is of importance to the present inquiry1 as belonging1 apparently1 to a class of pottery of which examples have been found in many parts of the ,north ,american continent4 ,these will be treated of hereafter4 ,,chapter ,,ii4 ,,central ,,america4 ,connection with ,peru4--,nicaragua4--,ometepec4--,modern ,potters4--,guatemala4--,ancient ,cities4--,who ,built ,them4--,copan4--,quirigua4--,palenque4- -,mitla4 ,illustration3 ,fig4 #cid4--,red-ware ,vase4 ,ometepec4 7,smithsonian ,institution1 #bh1iad47 ,passing the ,isthmus we reach the archaeological wonderland comprising ,central ,america and ,mexico4 ,it is not improbable that there was an early connection between the ancient occupants of these regions and the ,south ,americans4 ,as they appear to us in their architectural remains1 however1 there is little beyond the grandeur common to their undertakings to suggest affinity4 ,at the time of the ,conquest the natives of the ,isthmus had undoubtedly relations with ,peru4 ,it was there that ,balboa and the more successful ,pizarro first heard anything definite of that country4 ,on ,pizarro's second attempt to reach the rumored land of gold1 he met one of the ,peruvian balsas laden with textile fabrics1 silver mirrors1 vases1 and general merchandise4 ,it is curious to find ,mr4 ,squier describing the same primitive craft in the ,gulf of ,guayaquil1 more than three hundred and fifty years later4 ,these rafts could hardly have been used for distant voyages1 but were apparently the means of carrying on a coast trade between ,peru and the north4 ,the inhabitants of the ,isthmus had a tolerably intimate acquaintance with ,peru1 and ,balboa1 according to ,mr4 ,baldwin1 gained clear information in regard to that country from natives who had evidently seen it4 ,from this it may be inferred that the intercourse between the two peoples was sufficiently close to account for any similarity between the pottery belonging to ,central ,america and that of ,peru4 ,illustration3 ,fig4 #cie4--,nicaraguan ,vase4 ,ometepec4 7,smithsonian ,institution1 #bh1dcf47 ,illustration3 ,fig4 #cif4--,painted ,tripod4 ,ometepec4 7,smithsonian ,institution1 #bh1dgi47 ,passing northward through ,costa ,rica1 where many specimens have been found1 we reach ,nicaragua4 ,dr4 ,j4 ,f4 ,bransford1 ,u4 ,s4 ,n41 exhumed from the graves on ,ometepec ,island1 in ,lake ,nicaragua1 a number of very interesting relics1 which are now in the ,smithsonian ,institution4 ,they are especially worthy of study as having been discovered in different deposits marked by successive layers of volcanic matter4 ,one of the oldest 7,fig4 #cid7 was taken from a grave below the low-water level of the lake4 ,making due allowance for the fact that the lake lies in a region dotted in every direction with volcanoes1 the grave and its contents must still possess a very respectable antiquity4 ,generally the old burying-grounds occupy elevated sites4 ,the design resembles the double cross1 and is graved in the paste4 ,a similar style of decoration appears on another vase 7,fig4 #cie7 from the same district4 ,the red clay is covered with a creamy enamel1 overrun with incised lines4 ,these are carried round the body in two bands of three lines each1 and are otherwise disposed over the surface without any apparent method in the arrangement4 ,the colors found upon many of the ,peruvian vessels1 red1 creamy buff1 and black1 are seen upon the tripod 7,fig4 #cif71 also from ,ometepec4 ,whatever may have been the purpose for which this vessel was employed1 its use was not confined to ,ometepec4 ,at ,gueguetenango1 in ,guatemala1 ,mr4 ,stephens found one of polished ware of the same general design4 ,it was taken from a vault containing bones1 under a religious--probably a sacrificial--pyramidal structure4 ,the specimen from ,ometepec was found in a grave4 ,illustration3 ,fig4 #cig4--;,burial ,urns from ,ometepec4 ,the urns of the ancient ,nicaraguans are generally of one shape 7,fig4 #cig71 and have been found containing both ashes and unburned bones4 ,terra-cotta vessels of all kinds1 some of them painted1 have been dug up both within and beyond the bounds of the cemeteries4 ,they occasionally take the form of men 7,fig4 #cih7 and animals4 ,illustration3 ,fig4 #cih4--,terra-cotta from ,ometepec-- size4 ,the present inhabitants are skilful potters4 ,they follow methods of decorating practically identical with those of the ,brazilians1 and such as they have been acquainted with for at least three centuries4 ,the wheel is unknown among them4 ,colors and a kind of glaze are both brought into requisition4 ,the old inhabitants of ,guatemala have left clay idols and urns4 ,one of the former1 from ,santa ,cruz del ,quiche1 and here given in front and profile 7,fig4 #cii71 is hollow1 very hard and smooth4 ,it is said to be the image of ,cabuahuil1 one of the old deities of the country4 ,from the same district come the terra-cotta heads 7,fig4 #djj71 one of which--that on the left--is hollow1 and the other is solid4 ,they are well polished and extremely hard4 ,illustration3 ,profile of ,figure4 ,fig4 #cii4--,terra-cotta ,hollow ,figure1 from ,santa ,cruz del ,quiche1 ,guatemala4 ,illustration3 ,fig4 #djj4--,terra-cotta ,heads1 from ,santa ,cruz del ,quiche1 ,guatemala4 ,resembling the burial urns of ,ometepec is one taken from a mound at ,gueguetenango 7,fig4 #dja74 ,the chief differences are the handle and a decoration in relief on the unpolished surface4 ,it was accompanied by a vase or cup 7,fig4 #djb7 of polished ware tastefully decorated with bands and a graved design4 ,illustration3 ,fig4 #dja4--,vase found at ,gueguetenango1 ,guatemala4 ,illustration3 ,fig4 #djb4--,vase found in a ,mound at ,gueguetenango1 ,guatemala4 ,over this entire region1 extending from ,nicaragua to ,mexico1 and only partially explored1 there are evidences of successive changes having taken place between the ,spanish conquest and a remote antiquity4 ,as in ,peru1 dates are purely conjectural4 ,epochs are marked by broad divisions1 such as make it clear that the changes which took place were deeply felt4 ,history1 properly so called1 gives us but little aid4 ,we are told of a time when the ,chichimecs inhabited the country--a rude1 ignorant people1 classed as aboriginal4 ,the name ,chichimecs is applied to all savage tribes4 ,they may have been either the original inhabitants of the country1 or wanderers from the ,peruvian centre of civilization1 from which they had been separated so long that they had relapsed into barbarism1 or detached portions of the original settlers who travelled from the north to the south4 ,in any event1 civilization came to ,central ,america with the ,colhuas1 who introduced the arts and industries1 and left the grandest monuments to be found in that strange land4 ,who were the ,colhuas8 and whence did they come8 ,no positive answer can be returned to these questions1 and that is selected which appears most reasonable1 viz41 that they came by sea from the northern parts of ,south ,america4 ,tradition points in this direction4 ,after the ,colhuas the ,toltecs arrived1 and reduced their predecessors to subjection at a suppositious epoch1 ,b4,c4 #ajjj4 ,for some reason or other1 possibly on account of both internal disorganization and attack from without1 the ,toltec power is said to have decayed a few centuries before the ,aztecs appear on the scene4 ,several hundred years later 7#aeai7 ,cortez arrived1 and the results marking ,pizarro's conquest of ,peru followed in ,mexico4 ,that the ,aztecs were a people of great intelligence cannot reasonably be doubted2 that they equalled their ,toltec or ,colhuan predecessors may be questioned4 ,all the evidence goes to show that they went upward from the ,south1 where they had existed as a semi-civilized tribe1 and that1 on reaching the seat of the ,toltecs1 they subjugated them1 and availed themselves1 to the best of their ability1 of all the knowledge and attainments with which conquest brought them in contact4 ,the beginnings of ,central ,american civilization are buried in an antiquity which even to the ,aztecs was remote4 ,to measure it1 we must bear in mind that forests grow upon the ruins of cities which were as inaccessible to the ,aztecs as they are to the modern explorer1 and that the science and art of which they are the monuments must have required many centuries to develop4 ,we have already glanced at a few of the ancient settlements on the ,pacific slope4 ,the remains found among the ruins of ,yucatan and the entire sweep of country between the ,sierra ,madre and the ,gulf and ,caribbean ,sea were also taken from the tombs4 ,they are usually of a red paste1 and present an endless variety of form and1 if those found together are contemporaneous1 an equally wide range of taste4 ,of the leading cities it is necessary to mention only ,quirigua1 ,copan1 and ,palenque4 ,of these the first named is considered the most ancient1 and ,palenque the most modern4 ,copan is situated in the western part of ,honduras1 and many urns of the prevailing red color have been taken from the recesses of its arched tombs4 ,at ,palenque and ,mitla a silico-alkaline glaze covers some of the specimens of gray earthen-ware4 ,the shapes include grotesque images of deities and priests1 and rudely modelled snakes and other animals4 ,found at places far apart1 and presenting widely varying characteristics1 these potteries admit of no classification1 either by date or character4 ,in ,central ,mexico bricks were used alternatively with stone for facing the gigantic pyramidal mounds which there abound4 ,the ,tlascalans1 who aided ,cortez in his war upon ,montezuma1 burned their bricks4 ,at ,palenque1 farther to the south1 the ceramic remains are of a higher artistic order4 ,at the risk of invading the domain of architecture1 we may mention the stucco or plaster figures with which the buildings were embellished4 ,in other places were statuettes1 one of which is described as 8made of baked clay1 very hard1 and the surface smooth1 as if coated with enamel40 ,at ,mitla we again meet with the phenomenon which we found so strange in ,peru--the association of two entirely different orders of art1 the most magnificent architecture and exquisite inlaid decoration with rude paintings of the figures of idols4 ,the knowledge of coloring materials is nowhere better illustrated than in ,yucatan1 where red1 yellow1 blue1 green1 and brown appear in the wall-paintings4 ,we find the pottery of ,nicaragua compared with that of ,mexico and ,peru1 but far more enthusiastic language was employed by the ,spaniards in regard to what they saw4 ,cortez1 in #aebj1 compared the pottery of ,tlascala with the best of ,spanish manufacture1 and ,herrera finds in ,faenza ware the best parallel with that of ,chulula4 ,should farther explorations be made of the cities buried by the forests which have sprung up around the ruins we have indicated1 a more connected history of the ceramics of the entire region may be written4 ,at present one is liable to be lost in conjecture1 and to launch into speculations such as that which very plausibly attributes to ,central ,america a civilization the most ancient in the world4 ,,chapter ,,iii4 ,,the ,,mound-,,builders4 ,who were they8--,their supposed ,central ,american ,origin4--,the place they occupy in the present ,history4--,recent ,discoveries4--,pottery of the ,lower ,mississippi4--,deduction from ,comparison with ,peruvian4 ,illustration3 ,fig4 #djc4--,mound-builders' ,vases1 from ,southern ,missouri4 ,centre piece1 height1 #i inches4 7,mrs4 ,j4 ,v4 ,l4 ,pruyn ,coll47 ,in the central part of the ,north ,american continent1 along the valleys of the ,mississippi and the ,ohio1 from the ,gulf of ,mexico to the ,great ,lakes1 the land was1 in a very remote age1 settled by a people akin to those of ,mexico and ,central ,america4 ,their name is now unknown1 and to designate them they are1 from the great mounds of earth which they have left1 called 8,mound-builders40 ,whence they came or whither they went is unknown4 ,it is conjectured that they are the same people whom we have called ,toltecs2 that therefore they passed up from the south1 and then1 in course of ages1 deserted their northern settlements on the incursion from the north-west of the ,asiatic tribes known as ,north ,american ,indians4 ,it is surmised that they were then in part absorbed by the invaders of their lands1 and that they in part sought refuge in the south1 whence they had issued centuries before4 ,their long absence had given them all the appearance of a distinct people4 ,the evidence in favor of these several surmises may be condensed into the following form3-- ,that the mounds of ,north ,america were intended apparently for both religious and defensive purposes1 and are practically identical with those of ,central ,america2 ,that their most populous settlements were in the southern part of the ,mississippi valley1 whence they passed upward until they reached and overspread the valley of the ,ohio2 ,that1 according to old books and traditions1 the ,toltecs reached ,central ,america from the north-east2 ,that the reason given for the ,toltecs deserting their settlements in the north-east1 designated ,huehue-,tlapalan1 was the successive attacks of ,chichimecs4 ,we have already seen that the name ,chichimecs was applied to all barbarians1 and would in this case point to the ,north ,american ,indians4 ,illustration3 ,fig4 #djd4--,mound-builders' ,vase4 7,boston ,museum of ,fine ,arts47 ,the question is an important one1 since in the above view the ,mound-builders would1 as we shall hereafter see1 form the link connecting the ancient people of ,south and ,central ,america with the pottery-making ,indians of our own time in ,new ,mexico1 ,colorado1 and ,arizona4 ,illustration3 ,fig4 #dje4--,missouri ,mound-builders' ,vase4 7,smithsonian ,institution1 #bg1ici47 ,now and again new discoveries are made which act as stimuli to fresh researches4 ,a few months ago a terra-cotta tablet covered with written characters was reported to have been brought to light in ,stoddard ,county1 ,missouri4 ,it was said to bear the appearance of having been impressed with its undecipherable characters while the clay was still damp1 to have then been hardened and glazed4 ,a hint is all that is needed to originate speculation4 ,we can turn to the terra-cotta tablets of ,assyria and ask if there is no connection between them and this ,missouri relic1 and if the partially submerged continent in mid-,atlantic of old writers is really mythical4 ,such a hint was dropped at the time of the discovery4 ,it might possibly be better to compare the tablet with some of the inscriptions of ,central ,america4 ,it concerns us more at present to find that the ,mound-builders used sun-dried bricks in rearing their giant structures4 ,in the ,lower ,mississippi and along the ,gulf these bricks appear to have been generally employed to strengthen the embankments4 ,one in ,mississippi is described as having a supporting wall of 8sun-dried brick two feet thick1 filled with grass1 rushes1 and leaves40 ,on some appears the impress of human hands4 ,as to their pottery1 it may be said in general terms to compare well with that of the ,south ,americans4 ,in the ,peabody ,museum at ,harvard1 an extensive collection has been brought together4 ,some of the vases are admirably finished1 and of good design4 ,others are quaintly designed1 but somewhat rudely worked1 and would appear to indicate that fictile art had little attraction for that people4 ,we have seen numberless specimens showing a partiality even in the humblest vessels for imitations of animal and human forms4 ,examples of this and other kinds are given in the preceding illustrations4 ,illustration3 ,fig4 #djf4--,mound-builders' ,jar4 7,boston ,museum of ,fine ,arts47 ,illustration3 ,fig4 #djg4--,mound-builders' ,vases4 ,from a comparison of the pottery of the ,mound-builders with that of ,south and ,central ,america1 the conclusion will be inevitably reached that the view already taken of the migrations of the former people is correct4 ,between the ruder works of the two peoples there is often a striking and close resemblance4 ,to this class belongs a great deal of the pottery of the ,mound-builders to be seen in collections4 ,among them we find nothing equal to the best ,peruvian art2 but in the details of decoration and the tendency of the potter toward certain typical forms1 specimens may be discovered such as we might expect from a nation composed of emigrants1 and far removed from the centre where the rudiments of their art were acquired4 ,,chapter ,,iv4 ,,indian ,,pottery4 ,successors of the ,mound-builders4--,opinion of ,professor ,marsh4--,pueblos descended from the ,mound-builders4--,natchez and ,mandan ,tribes4--,pueblos of ,colorado1 etc4--,pottery found at ,el ,moro4--,zuni4--,further ,discoveries4--,immense ,quantities of ,fragmentary ,pottery4--,corrugated ,pottery of ,colorado4--,painted ,pottery4--,moquis of ,tegua4--,modern ,pueblos4--,trade in ,pottery4--,resemblances between ,potteries of ,south1 ,central1 and ,north ,america4--,indian ,pottery from ,illinois4--,louisiana1 and how ,pottery made4--,new ,jersey ,indians4--,tennessee4--,maryland4--,oth er ,indian ,tribes4 ,after the ,mound-builders came the ,indians4 ,a distinction must be observed between the real ,north ,american ,indians and those tribes in ,new ,mexico1 ,colorado1 and ,arizona1 of whose pottery specimens belonging to the present day have been obtained4 ,it is clear that whether or not the ,mound-builders and ,toltecs were the same people1 the former had no affinity of race with the ,indians4 ,they were undoubtedly an ,american race1 while the ,indians were as undoubtedly ,asiatic1 for whom no ancestry can with any show of reason be traced to the ,mound-builders4 ,were the resemblance between the ,indians and the nomadic tribes of ,siberia beyond ,behring ,strait to be set aside as proving nothing1 we should yet have the tradition common to many tribes pointing to a north-western source1 to fall back upon in disposing of the question of the origin of the red man4 ,we may1 therefore1 leave him out of farther present consideration1 and turn to the successors of the ,mound-builders4 ,professor ,o4 ,c4 ,marsh in a recent lecture touched upon this point1 and at the same time hinted at a possible community of race among all the ancient peoples of ,america4 8,on the ,columbia ,river10 he said1 8,i have found evidence of the former existence of inhabitants much superior to the ,indians at present there1 and of which no tradition remains4 ,among many stone carvings which ,i saw1 there were a number of heads which so strongly resemble those of apes that the likeness at once suggests itself4 ,whence came these sculptures1 and by whom were they made8 ,another fact that has interested me very much is the strong resemblance between the skulls of the typical ,mound-builders of the ,mississippi valley and those of the ,pueblo ,indians4 ,i had long been familiar with the former1 and when ,i recently saw the latter1 it required the positive assurance of a friend who had himself collected them in ,new ,mexico to convince me that they were not from the mounds4 ,in a large collection of ,mound-builders' pottery1 over a thousand specimens which ,i have recently examined with some care1 ,i found many pieces of elaborate workmanship so nearly like the ancient water-jars from ,peru1 that no one could fairly doubt that some intercourse had taken place between the widely separated people that made them40 ,according to this view the ,mound-builders would have a relationship with the ,peruvians on the one hand1 and with the ,pueblos on the other4 ,when the ,mound-builders retreated from their upper settlements1 they maintained for some years their occupancy of territory along the lower ,mississippi1 before finally retiring toward the south4 ,it is hardly possible that they disappeared en masse before the invaders1 or that those lingering behind the main body should have been utterly exterminated4 ,it would be difficult in that case to account for such exceptional ,indian tribes as the ,natchez and ,mandan4 ,both tribes were skilful workers in clay4 ,the ,natchez1 at the time when the ,west was first opened up by ,europeans1 over three hundred years ago1 were making pottery comparable with that of ,europe4 ,they found the requisite clay on the banks of the ,mississippi1 and were acquainted with the use of color4 ,the ,mandans employed earthen-ware in their households1 almost as extensively as any modern people4 ,they baked pots in such a way that they were as capable of resisting the action of heat as the metal utensils of the present day4 ,these were hung over the fire for purposes of cooking and numberless other articles of earthen-ware were seen in their lodges4 ,the ,mandans were making pottery on the upper ,missouri forty-five years ago1 and probably continued doing so until a late date4 ,the ,pueblos of ,new ,mexico1 ,colorado1 and ,arizona present us with another problem1 which can only be solved by one of two suppositions1 either that they are the descendants of emigrants from ,central ,america who degenerated through contact and association with ,indians1 or that they represent a remnant of the ,mound-builders who sought in the west the security which the main body of their countrymen found in the south4 ,we shall find additional reason hereafter for believing that if there was no extensive amalgamation of the races1 the ,indians at least borrowed some of the customs of their predecessors4 ,if it be well understood that the ancient occupants of the territory extending from the mouth of the ,mississippi northward and westward to ,arizona had a common origin1 and that their victorious barbarian successors were in certain districts modified by absorption1 such facts as a similarity between the pottery of ,louisiana or ,illinois and ,colorado need not be received with either hesitation or bewilderment4 ,and1 besides1 the historical necessity for ascribing it to a specific age is thereby materially lessened4 ,the ,pueblos1 or ,village ,indians1 of ,new ,mexico and ,arizona have left many interesting pieces of earthen-ware1 and many others of the present time come from the same section4 ,there is abundant proof that this entire district was inhabited at a very ancient date1 and the relics of successive degrees of civilization are found in the ruins4 ,el ,moro1 in ,new ,mexico1 was visited by ,lieutenant ,simpson in #ahdi1 and afterward by ,lieutenant ,whipple4 ,pottery was found painted in zones and wavy lines1 and occasionally highly polished4 ,following the same parallel westward1 ,lieutenant ,whipple discovered other ruins to which no age could be ascribed1 although some were clearly more ancient than others1 indicating that the region must have been inhabited throughout a long series of years4 ,more pottery was collected1 brightly colored1 and painted after patterns resembling those noticed at ,el ,moro4 ,the paintings occasionally assumed the forms of animals and insects4 ,still farther to the west1 at ,zuni1 and at places beyond it in the same direction1 the examples of the ceramic work of the early inhabitants multiplied4 ,sun-dried bricks were found to have been employed in building1 and in addition to painted pottery1 an older indented kind was met with4 ,an extended exploration of the same region1 but somewhat farther north1 was made in #ahge1 under the auspices of the ,united ,states ,geological and ,geographical ,survey of the ,territories4 ,mr4 ,w4 ,h4 ,holmes and ,mr4 ,w4 ,h4 ,jackson subsequently presented notices of the results of their examinations of the ancient ruins within an area of six thousand square miles1 chiefly in ,colorado1 but partially also in ,new ,mexico1 ,arizona1 and ,utah4 ,their joint evidence regarding the immense quantities of fragmentary pottery seen in the course of their explorations must create great astonishment4 ,in speaking of the ruins of a village in ,new ,mexico1 situated on the ,rio de la ,plata1 about twenty-five miles above its junction with the ,san ,juan1 ,mr4 ,holmes says1 8,the soil was literally full of fragments of painted and ornamented pottery40 ,near the same locality1 and while riding through a desert-like district1 he observed 8fragments of pottery strewed around10 and 8on the high dry table-lands1 on all sides1 fragments of pottery were picked up40 ,writing of the ,montezuma caon in ,utah1 ,mr4 ,jackson says1 8,as the valley widened it was dotted in many places with mounds thickly strewed over with the ever-accompanying ceramic handiwork of the ancient people in whose footsteps we are following1 and occurring so frequently and of such extent as to excite astonishment at the numbers this narrow valley supported40 ,the same writer says1 8,all who have ever visited this region1 which extends from the ,rio ,grande to the ,colorado and southward to the ,gila1 have been impressed with the vast quantities of shattered pottery scattered over the whole land1 sometimes where not even a ruin now remains1 its more enduring nature enabling it to long outlive all other specimens of their handiwork40 ,illustration3 ,fig4 #djh4--;,ancient ,corrugated ,pottery of ,colorado4 ,the presence of such immense quantities of fragmentary pottery can possibly be explained upon the hypothesis that the vessels were liable to fracture when exposed to the fire1 and that those cracking under the heat were thrown away when taken out of the primitive and open kiln4 ,illustration3 ,fig4 #dji--;,fragment showing ,manner of ,making ,corrugated ,pottery4 ,illustration3 ,fig4 #daj4--;,ancient ,corrugated ,pottery1 from ,utah4 ,the specimens obtained1 both fragmentary and entire1 give abundant opportunity for studying the processes and decoration of these old-time potters4 ,as illustrating the fertility of their talent for shaping and ornamenting their wares1 ,mr4 ,holmes observes that on one occasion1 when encamped in the ,mancos ,caon1 he found1 within a space of ten feet square1 fragments of fifty-five different vessels1 and adds that1 8in shape these vessels have been so varied that few forms known to civilized art could not be found40 ,the clay varies according to locality1 in some cases being of an apparently fine quality mixed with sand and shells1 and in others coarse and more friable4 ,all this old pottery was made by hand1 and fired1 although no remains of kilns have been discovered4 ,illustration3 ,fig4 #daa4--;,handle of ,twisted ,clay4 ,the smaller pieces1 such as cups and jars1 are usually covered with a peculiar thin1 hard1 and smooth glaze or enamel1 and then painted4 ,the larger pieces1 which apparently answered the purpose of the ,egyptian amphora1 present a rough1 corrugated surface1 are seldom glazed and never painted4 ,a specimen of the latter class1 found among the dbris in one of the cliff-houses of the ,mancos in ,colorado1 is given in the illustration 7,fig4 #djh74 ,its rough exterior is to be attributed to the process of making4 ,the potter began by drawing the clay into strips1 and then commencing at the bottom1 wound the strips spirally and pressed each layer down upon that below it1 indenting the outside with a stick or with his thumb4 ,the illustration 7,fig4 #dji7 may serve to elucidate the method of construction4 ,the inside is perfectly smooth1 and so well are the strips worked together1 that they show no division on fracture4 ,an attempt was made at decoration or variety1 by running the strips a few times round without indenting them and by attaching scrolls or spirals immediately below the neck4 ,all the pottery of this description is ancient4 ,a jar of similar construction to the above1 but of a better shape1 was found in ,epsom ,creek1 ,utah 7,fig4 #daj74 ,the fragment of a handle 7,fig4 #daa7 would appear to indicate that the ancients were familiar with the well-known cable pattern of modern porcelain manufacturers4 ,it is made by twisting together three rolls of clay4 ,a ladle 7,fig4 #dab7 and what seems to have been a pipe 7,fig4 #dac7 will tend to show farther the extent of the resources of the aboriginal potters of the west4 ,illustration3 ,fig4 #dab4--,pottery ,ladle4 ,illustration3 ,fig4 #dac4--;,clay ,pipe4 ,illustration3 ,fig4 #dad4--,painted ,mug4 ,illustration3 ,fig4 #dae4--,pitcher1 from a ,grave on the ,san ,juan4 ,illustration3 ,fig4 #daf4--,small ,jug1 from ,ruins on the ,de ,chelly4 ,illustration3 ,fig4 #dag4--7;,entire74 ,illustration3 ,fig4 #dah4--7,restored74 ,illustration3 ,fig4 #dai4--7,restored74 ,illustration3 ,fig4 #dbj4--7;,fragment74 ,illustration3 ,fig4 #dba4--7;,extended to show ,pattern74 ,in the specimens of their painted pottery we have the best means of judging their art4 ,the painting is generally black laid upon the white enamel or glaze2 and however the color was obtained1 it was very durable4 ,although the fragments1 as we have seen1 have lain on the ground exposed to the action of the weather for at least several centuries1 the color1 in very few cases1 shows any symptom of decay4 ,in one piece the white ground has actually worn away1 leaving the black decoration in relief4 ,the designs show a vast amount of ingenuity on the part of the artists4 ,they are nearly all modifications of the fret and scrolls4 ,a very common style 7,fig4 #dad7 consists of a series of enclosed squares1 the alternate borders being composed of crossed lines and straight lines1 and having undecorated bands between4 ,a remarkably fine specimen 7,fig4 #dae71 both in shape and the simplicity of its decoration1 was taken from a grave on the banks of the ,san ,juan1 near the mouth of the ,mancos4 ,its excellent form1 and the throwing of the classical fret round the widest part of the body1 bear witness to an artistic sentiment of considerable refinement4 ,the artists of the time appear to have chiefly directed their attention to tasteful combinations of lines in triangular1 rectangular1 and other odd forms1 in which the two latter are united or conjoined with straight bands of color4 ,a fine specimen 7,fig4 #daf7 was found in a heap of rubbish at a cave ruin on the ,de ,chelly4 ,its perfectly rotund form argues a skill in manipulating the clay which one can hardly conceive possible without the assistance of the wheel4 ,for the purpose of farther illustrating the decorations and shapes1 a few fragments are presented in a restored and extended form 7,figs4 #dag-dbj74 ,in nearly every case the decoration is on the inside of the vessel1 sometimes covering the entire surface1 but more frequently taking the form of a band round the lip2 when it appears on the outside1 it generally consists of a narrower band 7,fig4 #dbb74 ,it will be observed that1 so far1 we have not met with a single attempt at decoration by painting animal or floral forms4 ,mr4 ,w4 ,h4 ,jackson says that only one fragment has been found exemplifying such a style 7,fig4 #dbc74 ,it was found in the upper caon of the ,montezuma1 and has the figure painted on the inside4 ,a rudely modelled frog on the outside of a fragment of a cup 7,fig4 #dbd7 is from the same district4 ,in this case the ornamentation is in relief on the outside4 ,illustration3 ,fig4 #dbb4--,outside ,decoration of ,ancient ,pottery4 ,illustration3 ,fig4 #dbc4--;,fragment of ,pottery1 with ,painting of ,animal4 ,it would be interesting to inquire if the modern ,moquis of ,tegua are the degenerate descendants of the ancient inhabitants of the cave-dwellings and cliff houses of the valleys of the ,san ,juan and its tributaries4 ,the probabilities are in favor of such a supposition1 just as the semi-civilized dwellers in modern ,zuni are the descendants of the old ,pueblos4 ,there are evidences of decay scattered throughout the entire region4 ,illustration3 ,fig4 #dbd4--;,fragment of ,pottery1 with ,frog in ,relief4 ,illustration3 ,fig4 #dbe4--,painted ,water-vessel1 found at ,tegua4 ,in architecture the inhabitants of the present day are certainly inferior to their old-time predecessors1 and in the ceramic art there is a similar decadence4 ,a very peculiar and altogether exceptional piece 7,fig4 #dbe7 was found by ,mr4 ,w4 ,h4 ,jackson among the ,moquis of ,tegua1 about which its possessors could give him no information4 ,he concluded that it had been made at ,zuni by the ,pueblos1 and a color of probability is lent to this supposition by the fact1 previously noted1 that the ,pueblos of ,zuni make use of insect and animal forms in decorating their pottery4 ,the specimen mentioned is evidently of modern manufacture4 ,the upper part is white1 the lower red1 and the figures are red and black4 ,more nearly resembling1 although far inferior to1 the ancient works is a piece 7,fig4 #dbf7 made by the ,moquis of ,tegua4 ,the decoration is after the ancient type1 but more crowded and complicated1 and covers both the inside and the outside of the vessel4 ,it is a fair example of the modern work1 of which two further examples are given 7,figs4 #dbg and #dbh74 ,illustration3 ,fig4 #dbf4--,pottery of the ,moquis4 ,illustration3 ,fig4 #dbg4--,modern ,pottery1 from ,zuni4 7,united ,states ,geological ,survey47 ,the modern ,pueblos are exceptional both for the comparative excellence of their work1 and by reason of the fact that they make pottery for the purposes of trade1 as well as for their own use4 ,this appears from ,gregg's work1 published about twenty-five years ago1 entitled 8,commerce of the ,prairies40 ,the author says3 8,they manufacture1 according to their aboriginal art1 both for their own consumption and for the purpose of traffic1 a species of earthen-ware not much inferior to the coarse pottery of our common potters4 ,the pots made of this material stand fire remarkably well1 and are the universal substitutes for all the purposes of cookery1 even among the ,mexicans1 for the iron castings of this country1 which are utterly unknown there4 ,rude as this crockery is1 it nevertheless evinces a great deal of skill1 considering that it is made entirely without lathe or any kind of machinery4 ,it is often fancifully painted with colored earths and the juice of a plant called guaco1 which brightens by burning40 ,illustration3 ,fig4 #dbh4--,modern ,moqui ,pottery1 from ,zuni4 7,united ,states ,geological ,survey47 ,to revert for a moment to ,professor ,marsh's remarks1 there appears to be abundant reason for considering a great proportion of the old pottery of ,america as belonging to one class1 and that the old inhabitants were originally of one race4 ,the corrugated ware which we first found in ,colombia reappears among the ,pueblo ,indians1 and has also been found in ,utah4 ,the ,indians made it in ,new ,jersey1 ,pennsylvania1 ,delaware1 ,georgia1 ,florida1 and ,district of ,columbia1 having probably acquired the art from their predecessors4 ,professor ,rau says it was widely known in ,north ,america1 and ,mr4 ,hartt shows the wide spread of the practice of coiling throughout ,south ,america4 ,the latter states upon authority that the tribes on the ,araguaya ,river all coil1 using the hand1 water1 and a bamboo trowel4 ,the same process is found among the tribes of the ,orinoco section4 ,the red and dark brown painted ware we have traced from ,peru to ,nicaragua1 and thence to the ,moqui settlements4 ,the ,moquis of ,arizona make great numbers of the shallow ladles with short handles terminating in animals' heads1 similar to those of ,peru4 ,we have seen the ,brazilians and ,moquis both using vegetable colors on pottery1 and it is probably only our ignorance of ,peruvian and ,central ,american methods which hinders our tracing these processes back to antiquity4 ,it is difficult upon any other hypothesis than that of a community of race to explain these facts4 ,we have said that the ,moquis may be descendants of ,mound-builders seeking safety in the west4 ,they may also have come directly from the south1 and having passed the country lying between the ,gulf of ,mexico and the ,sierra ,madre1 have reached the ,colorado ,river1 along the upper affluents of which their settlements extend4 ,an interesting discovery was made some years ago by ,mr4 ,charles ,rau on the ,cahokia ,creek in ,illinois1 in the rich alluvial strip of land known as the 8,american ,bottom40 ,he there found the place where pottery had been made by some former inhabitants1 and saw the clay-pit1 and the heaps of shells to be ground or broken and mixed with the clay4 ,the vessels were all round-bottomed1 and do not appear to have differed much in shape from those of the ,san ,juan ,valley4 ,the painting deserves particular notice4 ,it was laid upon the outside so as to cover it1 and sometimes on both sides1 and in either black1 dark brown1 or a beautiful red1 only one color being used on each article4 8,it is evident that the coloring preceded the process of baking1 and the surfaces thus coated are smooth and shining1 the paint replacing to a certain extent the enamel produced by glazing40 ,covering the entire surface with one color does not suggest much ingenuity1 but on the pieces where incised lines and indentations form the decoration1 there are fuller evidences of artistic feeling4 ,the lines were either drawn straight round the vessels1 or formed zigzags or figures of greater or less simplicity4 ,without insisting upon any relationship between the potters of the ,cahokia and the ,mound-builders1 ,mr4 ,rau believes the pottery he found to be equal to that taken from the mounds of the ,mississippi valley4 ,some of the unpainted vessels were made in basket moulds1 and other remains1 such as the fragment of a toy canoe1 show that modelling was practised to some extent4 ,the age of this pottery is left to conjecture4 ,the same writer quotes from ,dumont1 who wrote about a century and a quarter ago1 a description of the method of making earthen-ware adopted by the inhabitants of the large tract of country then called ,louisiana4 ,the passage is here given in full3 8,after having amassed the proper kind of clay and carefully cleaned it1 the ,indian women take shells which they pound and reduce to a fine powder2 they mix this powder with the clay1 and having poured some water on the mass1 they knead it with their hands and feet1 and make it into a paste1 of which they form rolls six or seven feet long and of a thickness suitable to their purpose4 ,if they intend to fashion a plate or a vase1 they take hold of one of these rolls by the end1 and fixing here with the thumb of the left hand the centre of the vessel they are about to make1 they turn the roll with astonishing quickness around this centre1 describing a spiral line2 now and then they dip their fingers into water and smooth with the right hand the inner and outer surface of the vase they intend to fashion1 which would become ruffled or undulated without that manipulation4 ,in this manner they make all sorts of earthen vessels1 plates1 dishes1 bowls1 pots1 and jars1 some of which hold from forty to fifty pints4 ,the burning of this pottery does not cause them much trouble4 ,having dried it in the shade1 they kindle a large fire1 and when they have a sufficient quantity of embers1 they clean a space in the middle1 where they deposit their vessels and cover them with charcoal4 ,thus they bake their earthen-ware1 which can now be exposed to the fire1 and possesses as much durability as ours4 ,its solidity is doubtless to be attributed to the pulverized shells which the women mix with the clay40 ,it will be observed that this is practically the same method of construction described by ,messrs4 ,jackson and ,holmes as existing in the ,san ,juan valley4 ,in a valuable paper upon 8,the ,stone ,age in ,new ,jersey10 by ,dr4 ,c4 ,c4 ,abbott1 of ,trenton1 and published in the report of the ,smithsonian ,institution for #ahge1 much interesting information is given of the ,indian pottery of that ,state4 ,dr4 ,abbott describes a small round vase with flaring rim1 decorated before firing with lines roughly made with a pointed stick4 ,he then gives a caution which it is well to bear in mind when examining the pottery comprehensively styled ,indian4 ,the vase is in size similar to those found in western mounds1 but less carefully ornamented4 ,difference in decoration is not1 however1 always a safe test to apply in order to distinguish the pottery of the ,mound-builders from that of the ,indians4 8,in gracefulness of outline the ,new ,jersey vase is the equal of that of the ,mound-builders1 while we have seen a drawing of a large vase found in ,vermont which exceeds in elaborateness of detail any figured by ,messrs4 ,squier and ,davis4 ,the ,mound-builders were never inhabitants of what is now known as ,new ,jersey nor of the ,state of ,vermont1 but pottery is sometimes found in these sections the equals in some instances of the pottery of the west in style of decoration1 while in all cases it is as hard and durable40 ,a pipe1 the bowl of which slopes outward and with the underside of the stem flattened1 is also described by ,dr4 ,abbott4 ,it is made of fine yellow clay4 ,a fragment of another pipe with a quadrangular bowl was made of the paste generally used by the ,indians1 a mixture of clay1 mica1 and shells4 ,some of the fragments of pottery are curiously marked with dots and lines4 ,in one case a spear of grass had been employed to make bead-like studs in rows on the surface4 ,a discovery was made a few years ago in ,tennessee1 by which we learn something of the ,indian processes 7,dr4 ,j4 ,f4 ,wright on 8,antiquities of ,tennessee10 ,smithsonian ,report1 #ahgd74 ,it consisted of an excavation six or eight feet in diameter1 and four or five feet deep1 and was apparently a kiln or oven for baking pottery4 ,unwrought clay1 charcoal1 fragments of pottery1 and pieces of bark more or less charred were found among the sand in the excavation4 ,the pottery was peculiarly marked on the inside1 and investigation led to the conclusion that the vessels had been moulded round an interior core of beech bark1 the corrugations of which corresponded exactly with the impressions on the pottery4 ,the ,maryland ,indians 7,paper by ,o4 ,n4 ,bryan1 ,smithsonian ,report1 #ahgd7 are thought to have baked some of their pottery in nets4 ,many others of the ,indian tribes practised the fictile art1 very few1 so far as is known1 being entirely ignorant of it4 ,moulding in clay was not1 however1 a practice likely to commend itself or to offer any attractions to the nomadic red man1 and it fell into desuetude1 whenever the introduction of metal utensils rendered its continued pursuit not absolutely necessary4 ,some of the tribes which followed the buffalo possibly never engaged in it1 but left the practice to their corn-raising brethren 7,dr4 ,w4 ,e4 ,doyle on 8,indian ,forts and ,dwellings10 ,smithsonian ,report1 #ahgf74 ,the exceptional tribes of ,new ,mexico and ,arizona1 which cannot1 as already pointed out1 be identified with the ,north ,american ,indians1 are chief among the few which still continue to make pottery4 ,we have seen that they adhere in a great measure to the ancient shapes and primitive decorative patterns4 ,the fact of chief importance in connection with the old potters of the ,west and the processes to which they resorted is their employment of a glaze4 ,it is considered by ,dr4 ,emil ,bessels as the most striking peculiarity of the pottery found near the ruins4 ,it is regular1 very hard1 sometimes opaque and whitish1 at others transparent and tinged with blue4 ,neither this glaze nor the colors have been accurately analyzed1 but of the latter the reddish-brown and brown are undoubtedly mineral1 derived from iron and manganese4 ,the black was probably an organic substance1 such as charcoal made into a pigment by being mixed with fine clay4 ,,chapter ,v4 ,,united ,,states4 ,the ,future of ,america4--,obstacles in the ,way of ,progress4--,commercial ,conditions ,illustrated by ,tariff4--,expense of ,artistic ,work4--,lack of ,public ,support4--,american ,marks4--,misrepresentation of ,american ,wares4--,materials4--,early ,use in ,england by ,wedgwood1 etc4--,cookworthy and a ,virginian4--,native ,use of ,clay4--,new ,jersey4--,value of ,clay ,deposit ,illustrated4--,american ,kaolin4--,vague ,use of ,word4--,analysis4--,opinions of ,american ,deposits4 ,we now approach the potters and artists of the present day4 ,that there is a brilliant future in store for the ceramic art of ,america may be inferred from the rapidity with which it has been pushed forward to the stage it has already reached4 ,with a limitless wealth of material at his command1 and gifted with enterprise1 originality1 and taste1 the ,american artist can look confidently forward to taking his place beside the best the world has produced4 ,and here it may be profitable to consider some of the obstacles in his way4 ,the first of these is commercial4 ,with a high protective tariff the home manufacturer is barely enabled to compete with the foreign producer in plain domestic wares4 ,the import duty does not cover the greater expense of working in this country4 ,statistics show that in the items of labor and material the ,american manufacturer1 as compared with the ,european1 labors under a disadvantage of about one hundred per cent4 ,in works of art this disadvantage is vastly increased4 ,the makers of the tariff draw a distinction of only ten per cent4 between white granite and decorated porcelain1 or1 in other words1 they give the makers of artistic porcelain protection greater by twenty-five per cent4 than that accorded the makers of granite4 ,a distinction to the extent of five per cent4 is drawn in the tariff between undecorated and decorated porcelain and parian4 ,art work1 therefore1 is benefited to the extent of one-ninth more than plain goods of the same material4 ,it need not be pointed out that art is thus protected less than workmanship1 since the proportionate cost of artistic work1 as compared with skilled and unskilled labor1 is far greater here than in ,europe4 ,as a consequence1 there is little to induce manufacturers to turn to art unless some profit can be drawn from the reputation which it brings4 ,it is not intended to discuss here the question of protection versus free trade4 ,the tariff is merely brought forward to illustrate the difficulty of rearing up something worthy of being called an ,american art4 ,to demonstrate this by example1 here 7,fig4 #dbi7 is a porcelain plate made at ,greenpoint on a challenge4 ,it is a copy of a plate now in the possession of ,mr4 ,george ,such1 of ,south ,amboy1 by whom it was purchased at the sale of the effects of ,louis ,philippe4 ,the original is from ,svres1 and is decorated chiefly in gold4 ,the ,greenpoint copy was made in order to test the question whether it were altogether unreasonable to entertain the hope that ,american decoration might not--at some future day1 of course--equal that of ,svres4 ,those who saw both had some difficulty in distinguishing the original from the copy1 and in some instances could not do so without examining the ware as well as the decoration4 ,the copy is a remarkably fine specimen of decorative art1 and would lead us to entertain great expectations regarding the work of the artist when his skill is devoted to original designs4 ,illustration3 ,fig4 #dbi4--;,greenpoint ,porcelain4 ,svres ,decoration4 ,the challenge made was1 therefore1 fully answered4 ,should it be asked why1 under these circumstances1 similar work should not be done regularly1 the answer is simple4 ,the existing state of the market1 in so far as the demand for ,american artistic work is concerned1 is such that prices will barely bring back the actual cost of production4 ,toward lessening that cost the efforts of manufacturers must be directed2 and in connection with this subject a remark may be quoted1 made by ,president ,t4 ,c4 ,smith at the ,convention of the ,potters' ,association3 8,foreign clays can be put down in ,new ,york tide-water cheaper than you can buy ,pennsylvania clays1 by about fifteen per cent40 ,the great expense attending the production of works of art is not1 however1 the only drawback with which the ,american manufacturer has to contend4 ,it may1 in fact1 be said that the impediments to the rapid advancement of ceramic art in ,america have not yet been touched upon4 ,they consist of neither the lack of capital1 enterprise1 experience1 nor skill4 ,it is a singular fact that while native manufacture advances with rapid strides1 and finds on all sides a public ready to give it a hearty reception1 native art must force its way to recognition4 ,its first honors must be won abroad4 ,it must bear a foreign stamp to be accepted at all in the home of its birth4 ,the cause of this is not far to find4 ,the ,american market is a good market1 and is so regarded by the world at large4 ,foreign artists send their works to it1 and are sure of a welcome4 ,competition by a native superior is thereby made difficult2 by an equal almost impossible2 by an inferior1 an absurdity4 ,the foreign competitor comes branded as a genius1 and home critics hesitate about issuing a verdict in favor of a countryman4 ,they appear to have a lack of confidence in their own judgment1 and would rather endorse or modify another's opinion1 than take the responsibility of issuing an independent one of their own4 ,patrons suffer from a similar diffidence4 ,on the one hand they see certainty1 on the other uncertainty4 ,on this side is the work of one who has won the praise of all ,europe2 on the other1 nothing but that of one who makes a direct appeal to their own discrimination4 ,under such conditions it is difficult for an art to struggle into existence4 ,french art is to a ,frenchman the finest and best the world ever saw4 ,englishmen support ,english art because it is their own4 ,they are satisfied with it1 if all the universe should wonder what it is they nurse and cherish4 ,it is good to them1 and that is enough4 ,if their own opinion should change1 it will then have become a curiosity1 and therefore doubly worthy of their care4 ,american art may be good1 even equal to the best1 but unfortunately it is ,american4 ,receiving no notice1 the artist loses even the benefit of criticism1 and concludes that his own people compliment themselves by believing that no work of art can be produced among them4 ,this may appear overdrawn1 but the facts are eloquent4 ,it has been said that1 as a rule1 ,americans take a pride in their own manufactures4 ,that of pottery is an exception4 ,almost anywhere granite-ware can be seen bearing as a mark the royal arms of ,england1 with the motto in full--in this case very appropriately--honi soit qui mal y pense4 ,it is a curious mark for an ,american potter1 or at first sight seems so4 ,the ware may have been made at ,trenton1 or anywhere else in ,america1 and the explanation is simple4 ,the dealers will not buy it without that mark1 and first suggested its use as they would order a certain style of decoration4 ,inquiry among the dealers brings out the whole truth4 ,their customers look for the ,english mark1 and finding it1 are satisfied4 ,after this we need not inquire if the ,english granite-ware is superior to the ,american4 ,there is no question of superiority or inferiority1 but only one of the potency of a name4 ,again1 in the matter of porcelain1 that made and decorated in this country is sold every day for ,french1 ,german1 or ,english4 ,it is1 in fact1 8all things unto all men10 according to the requirements of the purchaser and the ingenuity of the dealer4 ,in some cases it is bought plain1 and decorated1 after it leaves the factory1 in the various foreign styles4 ,no objection is ever made to its appearance1 its finish1 purity1 durability1 or decoration1 only it has the misfortune to be ,american1 and its parentage must be concealed at all hazards1 and even in spite of the manufacturer's mark4 ,here1 again1 there is no question of quality1 but only one of the effect of a name4 ,to discuss the objectionable part of misrepresentation is away from the present purpose1 and the deduction from these facts is the only thing now requiring to be made4 ,they argue that upon their merits there are wares produced in ,america which1 if made anywhere else1 would cope with the corresponding qualities now imported4 ,for artistic works the struggle is still harder4 ,in their case the test is not practical1 but critical4 ,they demand taste1 and not use1 to be appreciated2 and1 as a consequence1 very rarely receive the recognition to which they are entitled4 ,art grows slowly1 and1 especially in a country so largely interested in commerce as ,america1 is long in reaching its maturity4 ,looking at it aright1 there is all the more reason why1 when it makes its appearance1 it should be received with warmth and treated with deferential respect1 in order that its growth may be hastened and not retarded4 ,america is1 in this respect1 an exception to the nations of the earth4 ,the question may be looked at from various points of view4 ,the patriotic course would certainly be to encourage1 and not by neglect to stifle1 a budding art4 ,if the art be poor1 it stands in all the greater need of encouragement1 in order that1 for ,america's sake1 it may rise to an equality with that of other countries4 ,in ,france1 ,germany1 ,prussia1 ,russia1 ,italy1 ,china1 and ,england1 the ceramic art received the support of governments and wealthy patrons1 and the result has been recorded4 ,in ,america such support is neither given nor required4 ,what is chiefly needed is appreciation4 ,in the ,republic the people are the rulers and patrons4 ,in their hands are both power and wealth1 to be used in the rearing of art1 surely with as much discrimination and judgment as in the monarchies of ,europe and the ,orient4 ,we might say from another stand-point that the earliest works in any branch of the arts are those of the highest value in the future4 ,they reveal to the historian the foundations of the eminence from which he views the past1 and that eminence ,america will undoubtedly attain4 ,the skill now being developed1 and the taste now being cultivated1 are the legacy of the present generation to the next1 and future attainments will be but the interest of present struggle and endeavor4 ,these considerations1 however1 are1 in a certain sense1 extraneous4 ,the ,american artist and artist-manufacturer demand no exceptionally favorable position1 nor that their works shall be viewed in any other than a fairly critical and commercial light4 ,prejudice in art is the end of criticism2 prejudice in commerce is suicidal4 ,the materials for making every kind of ware are found in different parts of the country1 and the industry is for that reason well distributed4 ,as early as #agff ,american clays were imported into ,england1 captains on their return voyages often taking samples from the ,carolinas1 ,georgia1 and ,florida4 ,many of these reached ,wedgwood1 who1 in allusion to one of them1 says1 8,it will require some peculiar management to avoid the difficulties attending the use of it40 ,he elsewhere avows his willingness to make all necessary experiments with ,american clays4 ,these trials turned out well1 as we find him making arrangements for a regular supply from ,ayor1 in the country of the ,cherokees1 about three hundred miles from ,charleston4 ,he desired a monopoly by patent or parliamentary grant1 but ultimately sent out an agent1 of whom we learn nothing more1 except that he began his journey to the ,cherokee deposit4 ,in ,october1 #agfh1 a cargo of ,carolina clay reached ,liverpool1 and the trade became general both in the ,cherokee and ,pensacola clays1 ,wedgwood apparently giving the preference to the latter4 ,what use he made of it is not precisely stated4 ,more interesting is the fact that ,america contributed to ,cookworthy's invention of natural porcelain in ,england in #agfj4 ,it is said that an ,american showed ,cookworthy1 in #agde1 specimens of both kaolin and petuntse found in ,virginia1 and samples of the ware made from them4 ,cookworthy's own account of it is slightly different1 inasmuch as lie only mentions having seen specimens of the manufactured china4 ,he says3 8,i had lately with me the person who has discovered the china earth4 ,he had with him several samples of the china ware1 which ,i think were equal to the ,asiatic4 ,it was found on the back of ,virginia1 where he was in the quest of mines2 and having read ,du ,halde1 he discovered both the petuntse and the kaolin4 ,it is this latter earth which he says is essential to the success of the manufacture4 ,he is gone for a cargo of it1 having bought from the ,indians the whole country where it rises40 ,mr4 ,cookworthy was not favorably impressed by the gentleman from ,virginia1 of whom no more is heard4 ,nor does it appear that he returned to ,england with the cargo1 which he thought he could land there at about sixty-five dollars per ton4 ,there is one purely ,american feature of the story1 and that is the purchase from the ,indians of 8the whole country where it rises40 ,the final practical effect of ,mr4 ,cookworthy's association with this ,american was the foundation of the ,english porcelain industry4 ,the acknowledgment is thus made in the catalogue of the ,museum of ,practical ,geology3 8,the great advance of the porcelain manufacture in ,england is due to the discovery of the kaolin of ,cornwall by ,william ,cookworthy1 of ,plymouth1 about #agee4 ,he apparently had his attention directed to the subject by an ,american1 who showed him samples of china-stone and kaolin from ,virginia1 in #agde40 ,one hundred and thirty-two years later1 the country from which the suggestion came is importing kaolin from that which received and acted upon it4 ,new ,jersey is the only ,state of the clay deposits of which we know much historically or have any precise information4 ,the facts here presented are gleaned from a report issued by the ,state ,geological ,survey1 and will give an idea of the value of our native clays4 ,it is stated1 on the authority of ,mr4 ,samuel ,dally1 of ,woodbridge1 that the clay there was known to the soldiers before and during the ,revolution1 and that1 when stationed at ,perth ,amboy1 they called it fuller's-earth1 and used it for cleaning their buckskin breeches4 ,in #ahjj the ,south ,amboy clay was dug for making stone-ware1 and after #ahab the use of ,new ,jersey clays for fire-bricks and other refractory materials began4 ,soon after #ahaf1 ,mr4 ,price was shipping fire-clay from ,woodbridge to ,boston1 to be used in making fire-bricks4 ,about #ahbj1 ,mr4 ,jacob ,felt1 of ,boston1 bought fifty tons of ,woodbridge clay from ,jeremiah ,dally1 at twenty-five cents per ton1 and so started a regular trade1 which was maintained for many years4 ,the ,woodbridge deposit is very rich1 and is now extensively worked1 the clay being suitable for different purposes4 ,it can be used as fire and pipe clay1 or for white-ware1 and also meets the requirements of paper-makers4 ,in #ahce the same clay was in use by ,howell ,bros41 ,philadelphia1 for satining wall-paper4 ,gordon1 in his ,gazetteer 7#ahcc71 speaks of a discovery of extensive beds of white pipe-clay between ,woodbridge and ,amboy2 but even in #ahdj its extent and uses were not fully known4 ,coming down to #ahee1 we find clay for fifty millions of fire-bricks being taken from the pits at ,woodbridge1 ,perth ,amboy1 and ,south ,amboy2 #bjjj tons for the paper-makers2 #bjjj tons for making alum1 and a large quantity for fine pottery4 ,in #ahfh the aggregate production had doubled4 ,in #ahgd #bfe1jjj tons of fire-clay were dug1 and brought1 at an estimated average price of #c #ej per ton1 #ibg1jjj2 #bj1jjj tons of ,south ,amboy stone-ware clay1 at #d per ton1 brought #hj1jjj4 ,these figures are sufficient for the formation of an opinion of the worth of a good clay deposit4 ,with regard to the materials to be obtained in this country1 it may be premised that1 from a vague use of words having an otherwise definite meaning1 it has been difficult to obtain satisfactory information upon some of the most interesting points4 ,the following extract is taken from a report upon the pottery industry1 by the secretary of the ,united ,states ,pottery ,association to the ,industrial ,directory for #ahgf3 8,the clay1 or kaolin1 mines of the ,united ,states have been wonderfully developed the past few years4 ,rich and inexhaustible beds of fine kaolin are now being worked in the following ,states3 ,delaware--three extensive deposits2 ,pennsylvania--three very fine mines are worked1 and the whole of ,chester ,county abounds with as fine a deposit as ,england can boast2 ,illinois1 ,missouri1 and ,indiana can boast of rich deposits also now being worked2 ,new ,jersey abounds in ball-clay1 common white-ware clay1 and all kinds of fire and retort clays2 while ,maine1 ,connecticut1 and ,maryland furnish felspar in abundance1 and ,pennsylvania and ,maryland endless quantities of quartz or silica4 ,every section of the country1 from the ,rocky ,mountains to the ,state of ,maine1 has raw material in great variety1 as yet unimproved40 ,in view of these statements1 it may appear singular that the ,union ,porcelain ,works at ,greenpoint are consuming large quantities of imported kaolin4 ,to explain this1 we must believe the word kaolin in the above extract to be applied to the native clay as found1 and before it is freed from any impurity4 ,this belief is supported by ,m4 ,ch4 de ,bussy1 one of the ,french members of the ,international ,jury at the ,centennial ,exhibition4 ,in his report he says3 8,les matires premires pour la poterie sont abondantes aux tats-,unis4 ,des dpts de kaolin sont exploits dans un grand nombre d'tats1 principalement dans ceux de ,new ,jersey1 ,delaware1 ,pennsylvania1 ,illinois1 ,georgia4 ,plusieurs des matires dsignes sous le nom de kaolin ne sont pas toutefois le produit de la dcomposition du feldspath in situ2 ce ne sont proprement parler1 que des argiles blanches qui ne peuvent servir la fabrication de la porcelaine que par leur association du feldspath et du quartz40 ,he then goes on to say that the kaolin is not prepared with sufficient care1 and that for that reason the ,greenpoint factory uses for its table porcelain a great deal of ,english kaolin4 ,another reason is that the ,english clay can always be depended upon1 and that the native1 for lack of proper preparation1 cannot4 ,the general conclusions of ,m4 ,ch4 de ,bussy are confirmed by investigations made here4 ,the above mentioned report by the ,geological ,survey1 embracing all or the greater number of the clays of the ,state of ,new ,jersey1 gives much valuable information1 and farther substantiates our view4 ,the following table has been compiled from the data there given1 for the purpose of comparing the imported kaolin with the ,new ,jersey clays1 and thus arriving at the truth upon this point3 ---------------------------------------- ---------------------------- ,cornwall1,cornwall4,standard ,redruth1,perth ,staten ,washing ,england4 ,kaolin4,cornwall4,amboy4 ,island4 -ton4 ---------------------------------------- ---------------------------- ,silica #df4cb #df4bi #df4jj #bh4dj #gg4aj #ib4gj #ii4dj ,alumina #ci4gd #dj4jj #bd4aa #ag4aj #e4gj #g4hj ,water #ab4fg #ac4jj #g4ij #d4ej #j4gj #b4fj ,potash #j4if #a4cj #j4ce ,line #j4cf #j4ej #j4cc ,magnesia #j4cc ,iron #j4bg #j4bg #j4cc #j4gi ,titanic ,acid #j4bj ,sand #cg4hj ---------------------------------------- ---------------------------- #a #b #c #d #e #f #g ---------------------------------------- ---------------------------- ,no4 #d4--,this clay is used with others to give toughness to vessels to be exposed to sudden changes of temperature4 ,nos4 #e1 #f1 and #g4--;,in these the silica and sand are added together1 and the alumina includes the iron4 ,in the selected clays of ,new ,jersey the great preponderance of silica at once attracts attention1 and is to be attributed to the admixture of sand1 which averages about seventy-five per cent4 of the mass4 ,whenever the silica is present in a greater amount than the standard percentage given in the table1 and particularly when it appears in the form of sand1 the clay becomes less fit for making fine ware4 ,the body is proportionately coarser4 ,the ,jersey clay1 therefore1 although locally dignified with the name of kaolin1 cannot be used by the manufacturer of porcelain4 ,the deposit has been made under less favorable circumstances than that of south-western ,england4 ,there nature has to a great extent performed the washing process1 by carrying the decomposed felspar along a valley and dropping the impurities and coarser ingredients by the way4 ,the artificial process is simply the counterpart of that of nature4 ,in ,new ,jersey the clay and quartz-sand are in some places deposited together1 and are then miscalled felspar2 in others they have been partially assorted1 the fine particles being deposited in one bed1 the quartz-sand in another4 ,an analysis of three specimens of this 8felspar0 shows the following ingredients1 the decrease of sand and increase of alumina being especially noteworthy3 ,silicic ,acid and ,quartz-sand444444 #ge4hh #gd4jj #gg4dj ,alumina444444444444444444444444444 #ah4ie #ag4ee #af4jg ,water44444444444444444444444444444 #d4ij #f4cj #d4cj ,iron444444444444444444444444444444 #j4di #j4ed #j4ec ,magnesia44444444444444444444444444 44444 44444 #j4be ,potash4444444444444444444444444444 #j4ae #j4ab #j4ae ,soda444444444444444444444444444444 #j4ba #j4ba 44444 ,titanic ,acid4444444444444444444444 44444 #j4ij 44444 #ajj4eh #ii4fb #ih4gj ,these tables will explain the language of the report1 that the ,new ,jersey 8kaolins0 are 8simply mica-bearing sands10 and that the felspar 8is more properly a kaolin40 8,the so-called kaolin is a micaceous sand1 consisting of fine-grained white quartz-sand1 mixed with a small and varying percentage of white mica1 in small flakes or scales1 and a very little white clay40 ,in other words1 there is no ,new ,jersey clay entitled to the distinctive name of kaolin1 and the inveterate misapplication of the word illustrates the difficulty to be encountered by the inquirer into this matter4 ,m4 de ,bussy1 for example1 in the passage quoted1 falls very naturally into the error of classing ,new ,jersey with the 8large number of ,states in which deposits of kaolin are found40 ,his mistake1 and the confusion of terms which led to it1 makes it all the more desirable that something definite should be known of the deposits in other ,states4 ,as to the deposits of ,pennsylvania and the ,west1 there appears to be considerable difference of opinion1 but the existence of clay for making every kind of ware1 from drain-pipes to porcelain vases1 is beyond all doubt4 ,a partial analysis of ,georgia kaolin showed that in the leading ingredients of silica and alumina it approached very nearly the standard given in the table4 ,the whole question appears to be one of analysis1 preparation1 and experiment1 so that when the manufacturers buy clay for a special purpose1 they can depend absolutely upon what they obtain4 ,mr4 ,t4 ,c4 ,smith1 of ,greenpoint1 is so confident of the richness of this country1 that he believes kaolin of the best quality exists in abundance1 and that it will in course of time be an article of export4 ,at the ,centennial ,exhibition1 ,mr4 ,laughlin1 of ,east ,liverpool1 ,ohio1 appeared as one of the representatives of ,western enterprise4 ,he thinks the varieties of clay in ,america outnumber those of all the rest of the world4 ,at ,east ,liverpool all the varieties are used4 ,a new clay found in ,missouri1 and expected to be very valuable1 has recently been added to the list4 ,it gives the paste a peculiar softness of color1 and lends additional beauty to the manufactured ware4 ,mr4 ,laughlin said nothing of exporting clays1 but thought it highly probable that ,european capital would be brought into this country to work the inexhaustible materials which it contains for every kind of ware4 ,what are wanted to render these kaolinic treasures available are the enterprise1 skill1 and capital to prepare and compound them4 ,it is1 at least1 suggested that this is the greater part of the difficulty1 and that if the peculiar qualities of each deposit were more precisely known1 if the crude material were skilfully cleaned1 and experiments were systematically conducted for the purpose of discovering the combinations necessary for making a true and regular porcelain clay1 there would be no necessity for going away from home for any ingredient of the requisite porcelain paste4 ,this supposition is borne out by the fact that a few years ago a number of ,american potters attempted to make porcelain with kaolin brought from the ,south1 and in every instance failed4 ,others have since met with success more or less complete4 ,bttcher did not succeed on his first attempt1 and1 in fact1 it was not until several years after his death that the best ,dresden ware was made4 ,in a similar manner1 experiment alone can enable ,american potters to avail themselves of the undoubted wealth of their own country4 ,meantime1 it is noteworthy that the deposits of all kinds now being worked are of sufficient value to maintain a number of mills for levigating1 drying1 and grinding4 ,several are on the ,susquehanna1 in ,maryland2 at ,east ,liverpool1 ,ohio2 at ,fort ,ann1 ,new ,york2 on the ,connecticut ,river2 and at ,trenton1 ,new ,jersey4 ,,pottery4 ,dependence upon ,england4--,wedgwood's ,fears of ,american ,competition4--,norwich4--,hartford4--,s tonington4--,norwalk4--,herbertsville4 --,sayreville4--,south ,amboy4--,philadelphia4--,baltimore4--,j ersey ,city4 --,bennington4--,new ,york ,city ,pottery4--,trenton4--,present ,extent of ,industry4--,trenton ,ivory ,porcelain4--,terra-cotta4--,beverly4--, chelsea4 --,portland4--,cambridge4 ,the few known incidents in the development of the art may be stated as nearly as possible in chronological order2 and1 to keep the thread of the narrative unbroken1 reference may at the same time be made to the early and unsuccessful attempts at establishing the manufacture of porcelain in conjunction with that of pottery4 ,during the eighteenth century the records open to our inspection1 especially the journals of the day1 make occasional references to imported wares1 chiefly of ,english manufacture4 ,mr4 ,marryat1 in treating of ,english pottery1 refers to the popular indifference in ,england to the advantages of crockery over pewter dishes and wooden trenchers4 ,he then says1 8,the introduction of stone-ware in the sixteenth century1 and of ,oriental porcelain in its imitation delft-ware shortly afterward1 and1 lastly1 the ,staffordshire earthen-ware1 gradually expelled pewter dishes and plates1 though it is but recently they have been entirely dismissed40 ,popular usage in ,america followed a parallel course1 and there are many places at which the substitution of crockery for wood and metal was made within the memory of persons now living4 ,mr4 ,j4 ,f4 ,watson1 in his 8,annals of ,philadelphia10 describing the furniture of a room of presumably about a century ago1 gives some interesting particulars in regard to this subject4 8,one corner10 he says1 8was occupied by a beaufet1 which was a corner closet with a glass door1 in which all the china of the family and the plate were intended to be displayed for ornament as well as use4 ,a conspicuous article in the collection was always a great china punch-bowl1 which furnished a frequent and grateful beverage2 for wine drinking was then much less in vogue4 ,china teacups and saucers were about half their present size2 and china teapots and coffee-pots with silver nozzles were a mark of superior finery4 ,the sham of plated ware was not then known1 and all who showed a silver service had the massive metal too4 ,this occurred in the wealthy families1 in little coffee and tea pots2 and a silver tankard for good sugared toddy was above vulgar entertainment4 ,where we now use earthen-ware1 they then used delft-ware1 imported from ,england2 and instead of queen's-ware 7then unknown7 pewter plates and porringers1 made to shine along a dresser1 were universal4 ,some1 and especially the country people1 ate their meals from wooden trenchers40 ,this passage may be taken as affording a faithful view of ,american usage in regard to the different points upon which it touches1 not in ,pennsylvania alone1 of which ,mr4 ,watson is more particularly treating1 but throughout the country4 ,china was still an article of luxury1 in which only the rich could indulge4 ,we are1 therefore1 prepared to find that it was not until the close of the last century1 and after the ,revolutionary troubles1 that crockery assumed any importance as an article of commerce between ,england and the ,united ,states4 ,for a long time prior to that period it is reasonable to suppose that ,america had been able to satisfy the home demand for all the coarser wares1 and also for bricks2 but at the close of the eighteenth century the manufacture had made little or no progress4 ,it had not advanced beyond the production of bricks1 tiles1 and certain kinds of coarse stone-ware and pottery4 ,it is1 to say the least1 amusing to find ,wedgwood1 in #agfe1 expressing fears for ,england's earthen-ware trade with ,america1 on account of the establishment of some 8new ,pottworks in ,south ,carolina40 8,they have10 he said1 8every material there1 equal if not superior to our own1 for carrying on that manufacture20 and on these and other grounds he asked if something could not be done to protect the home manufacture6 ,miss ,meteyard1 ,wedgwood's biographer1 relates that in #agff a ,mr4 ,bartlem1 a ,staffordshire potter1 emigrated to ,south ,carolina1 and having induced several workmen to join him1 began his trade in that ,state4 ,he failed there1 as he had done in ,england1 and a similar fate befell an enterprise which had for its object the establishment of china works in ,pennsylvania4 ,previous to #agif both earthen and stone ware were made by ,mr4 ,charles ,lathrop at ,norwich1 ,connecticut2 and in #aghi ,mr4 ,samuel ,dennis made an unsuccessful application for ,state aid in founding a stone pottery in ,connecticut1 at which he promised to make ware resembling the ,staffordshire queen's-ware4 ,the industry was also pursued at ,hartford by ,isaac ,hanford1 at ,stonington by ,adam ,states1 and at ,norwalk4 ,shortly afterward1 or in the first decade of the present century1 ware of an apparently higher class began to be made in the ,eastern ,states1 and although large quantities continued to be imported from ,england1 the native wares rapidly improved in quality and increased in quantity4 ,about the year #ahjj1 ,van ,wickle's stone-ware factory was in operation at ,old ,bridge1 now ,herbertsville1 ,new ,jersey4 ,the clay used was obtained from ,morgan's ,bank at ,south ,amboy4 ,two years later a similar factory1 using the same material1 was started by the ,prices at ,roundabout1 now ,sayreville1 on the ,raritan4 ,in #ahcc ,j4 ,r4 ,watson1 of ,perth ,amboy1 established a factory of fire-brick1 and was working it regularly three years later4 ,the workshop now carried on by ,mr4 ,richard ,c4 ,ramey at ,philadelphia is one of the oldest stone-ware factories in ,america4 ,it turns out a good quality of fire-brick and ware for chemical purposes4 ,a few other ,philadelphia firms may here be noticed4 ,harvey ,adamson make a strong and durable quality of stone-ware1 with a hard vitreous glaze 7grs crames71 and artistic terra-cotta4 ,jeffords ,co41 of the same city1 manufacture an excellent grade of fine stone-ware for household purposes1 and table wares4 ,the pieces have usually mouldings in relief1 and are colored brown or yellow on the outside and white inside4 ,the latter is apparently produced by making use of an engobe of very white clay4 ,galloway ,graiff make earthen-ware of various kinds1 including terra-cotta in ,greek shapes4 ,moorhead ,wilson have very extensive clay works at ,spring ,mills1 and manufacture terra-cotta for building purposes4 ,they also make terra-cotta vases1 after the antique1 for decorators4 ,at ,baltimore good qualities of common earthen-ware and salt-glazed stone-ware are made by ,perrine ,co4 ,illustration3 ,fig4 #dcj--;,jersey ,city ,earthen-ware ,pitcher4 ,about #ahbe a factory of natural porcelain was founded by a number of ,frenchmen in ,jersey ,city4 ,we have a specimen of this porcelain1 made in #ahbf--;a small bowl1 with excellent body and glaze1 and decorated with a gold band round the outside of the rim4 ,the venture did not prove a success1 and the production ceased within a year or two4 ,in #ahbi the works were assumed by ,david ,henderson ,co41 and carried on under the firm of the ,american ,pottery ,company4 ,it was here that the throwing and turning of earthen-ware upon the ,english principle was first performed in ,america1 by ,william and ,james ,taylor4 ,this was also the first successful attempt to compete with ,england1 and was made in connection with the manufacture of a yellow ware4 ,three years later1 or in #ahcb1 the same potters were making a cream-colored ware chiefly from imported materials4 ,to the decoration of a white ware the ,english process of printing was successfully brought1 and a brown earthen-ware1 made about the same date1 was variously ornamented with reliefs and colored enamels4 ,three specimens of the latter are in the ,metropolitan ,museum4 ,one consists of a water-pitcher modelled by ,daniel ,greatbatch 7,fig4 #dcj71 with the handle in shape of a hound1 and a hunting scene in relief1 and belongs to the earlier period of the factory4 ,about #ahde a change appears to have taken place in the proprietorship1 as we then find the company consisting of ,messrs4 ,william ,rhodes 7whom we shall meet again in ,trenton71 ,strong1 and ,m',gerron4 ,the firm made white granite and cream-colored ware until #ahed4 ,at that time the pressure of foreign competition was so great that they could not gain a foothold in the regular trade4 ,their wares were chiefly sold by peddlers and itinerant dealers1 who were in the habit of going to the factory with wagons1 when they knew that a kiln was to be drawn1 and carting off the goods before they were trimmed4 ,rhodes resigned in #ahed1 and went to ,vermont2 and the remaining partners sold out1 in #ahee1 to ,rouse1 ,turner1 ,duncan ,henry1 of whom ,messrs4 ,rouse ,turner are now carrying on the establishment4 ,the popularity occasionally reached by a single form was1 perhaps1 never better exemplified than by the brown pitcher above mentioned4 ,it is made down to the present time1 and has become so identified with the factory1 that1 when wishing to send a memento to his friend ,mr4 ,john ,haslem1 of the ,derby ,works in ,england1 ,mr4 ,rouse thought he could not do better than send him one of these pitchers1 of a size larger than ordinary4 ,the present firm have not used any imported clay for the past fifteen years4 ,they now obtain spar from ,connecticut1 flint from ,lantern ,hill1 ,connecticut1 ,china clay from ,south ,carolina1 and other clays from ,new ,jersey4 ,the staple of the factory is granite-ware1 for which a peculiar ivory-colored glaze has recently been adopted4 ,parian is also made4 ,the ,jersey ,city biscuit is extensively consumed by decorators1 and some new and very handsome shapes have been designed for this special branch of trade 7see ,fig4 #deg74 ,illustration3 ,fig4 #dca4--,porcelain ,statuette1 ,new ,york ,city ,pottery4 ,messrs4 ,lyman1 ,fenton ,co4 embarked1 in #ahdg1 in an enterprise at ,bennington1 ,vermont1 which promised to be a commercial success4 ,they made both pottery and artificial porcelain4 ,the enamel upon certain specimens of the former in the ,metropolitan ,museum1 and belonging to the ,trumbull-,prime collection1 is of a notably good quality4 ,the works stopped1 after running for about twelve years4 ,the oldest establishment in ,new ,york is the ,hudson ,river ,pottery1 in ,west ,twelfth ,street4 ,it was founded in #ahch1 and is now carried on under the firm of ,william ,a4 ,macquoid ,co4 ,the only products1 until within a year ago1 were stone-ware and glazed earthen-ware4 ,at that time the demand by decorators for terra-cotta in the choicest antique forms led the firm to add it to their list of productions4 ,the experiment was successful4 ,the paste is fine and well worked4 ,the 8,manhattan ,pottery0 of ,stewart ,co41 in ,west ,eighteenth ,street1 ,new ,york1 is engaged chiefly in the production of drain-pipes and terra-cotta4 ,the former are glazed with 8,albany slip10 obtained from the bed of the ,hudson at ,albany1 which renders them perfectly impervious to the action of acids4 ,illustration3 ,fig4 #dcb4--;,iron-stone ,china ,plaque4 ,illustration3 ,fig4 #dcc4--,new ,york ,city ,pottery4 ,lambeth style4 ,mr4 ,james ,carr1 of the ,new ,york ,city ,pottery1 after working for some time with the ,american ,pottery ,company1 in ,jersey ,city1 went1 in #aheb1 to ,south ,amboy1 and founded an establishment for making yellow1 ,rockingham1 and cream-colored ware4 ,twenty-two years ago he removed to his present premises in ,west ,thirteenth ,street1 ,new ,york4 ,mr4 ,carr makes use of six or seven different bodies1 all composed of ,american materials4 ,some time ago he made a few pieces1 including a tea-service and two statuettes 7,fig4 #dca7 of artificial porcelain1 using bone and kaolin from ,chester ,county1 ,pennsylvania4 ,the table-pieces are decorated with festoons of flowers1 in pink and green1 and a rim of blue and gold4 ,the statuettes are well modelled and very tastefully colored4 ,the staple product of the factory is stone china1 which is largely sought in biscuit by decorators4 ,the quality is probably as fine as it is possible to make stone china1 and styles of decoration are followed which are rarely found on a similar body4 ,dinner-services are decorated with all the care usually reserved for porcelain1 and many ornamental pieces1 including a series of circular plaques1 show admirable taste and workmanship 7,fig4 #dcb74 ,a third quality of ware is called 8,semi-china10 and is nearly as translucent as porcelain4 ,it is made from ,american kaolin clay1 with a large admixture of felspar4 ,it is decorated in styles similar to those found upon the iron-stone china4 ,mr4 ,carr also makes statuettes and busts in terra-cotta1 of a warm1 rich tint1 and in a fine1 partially translucent parian4 ,besides these1 the works produce cream-colored ware and majolica4 ,the latter is made into a great variety of forms--jars1 pedestals1 seats1 boxes1 and cups1 the leading colors of which are a clear deep blue1 yellow1 and green4 ,some of the colors found upon iron-stone china pieces are remarkably good1 notably a fine mazarine blue and a brilliant black4 ,artistic work of all kinds is receiving attention4 ,mr4 ,carr has made many experiments1 and continues making them with unremitting ardor 7,fig4 #dcc74 ,beginning to work at a time when the mechanical difficulties in the way of success seemed insuperable1 he gradually extended his efforts as these difficulties disappeared1 and is now reaching toward the higher forms of the art4 ,the story of his life is the history of modern ,american pottery4 ,the history of ,trenton is interesting from the enormous development of the manufacture in that city within a very short space of time4 ,the business was begun in #aheb1 by the firm of ,taylor ,speeler4 ,taylor is said to have made the first porous cup at ,jersey ,city1 for ,professor ,morse's experiments4 ,this honor is also claimed for the ,robertsons of ,chelsea1 ,massachusetts4 ,but leaving that question in the mean time1 it would appear that the ,taylor here spoken of is the same whom we have seen at work as a thrower with the ,american ,pottery ,company4 ,the ,trenton firm made yellow and ,rockingham ware1 with which they were successful from the first4 ,they also attempted porcelain and parian2 but these wares1 though of fine quality1 were not received with such favor as to make their production a commercial success4 ,this resulted1 in all probability1 from the difficulties attending the manufacture4 ,since their day the business has almost entirely turned toward another class of white goods1 the granite-ware in common use1 and for a long time no attempts to manufacture porcelain were made except in the way of experiment4 ,this was done by nearly every firm in the business4 ,taylor ,speeler were making white granite in #ahef1 but only to a limited extent1 and in connection with yellow-ware and ,rockingham4 ,a medal was awarded them for the manufacture of superior pottery4 ,this honor was conferred in #ahef1 by the ,franklin ,institute of the ,state of ,pennsylvania4 ,the medal is now in ,mr4 ,taylor's possession4 ,as a memento of the skill shown in the early days of ,american pottery it will bear description4 ,it is made of silver1 and has on one side the inscription1 8,reward of skill and industry to ,taylor1 ,speeler ,bloor1 ,trenton1 ,new ,jersey1 for china1 granite1 and earthen ware1 #ahef40 ,on the obverse is a likeness of ,benjamin ,franklin1 and the words 8,franklin ,institute of the ,state of ,pennsylvania1 #ahbd40 ,to ,mr4 ,taylor1 the senior partner of the firm1 the credit is due of first firing a kiln with anthracite coal4 ,the factory is now called the ,trenton ,pottery ,works4 ,mr4 ,bloor joined the original firm of ,taylor ,speeler in #ahed1 and retired in #ahei4 ,soon afterward ,mr4 ,speeler sold out to ,john ,f4 ,houdayer1 and in #ahgj the firm consisted of ,mr4 ,taylor and ,john ,goodwin4 ,a year later ,mr4 ,goodwin was bought out by his son1 ,james ,h4 ,goodwin1 and ,isaac ,davis1 the latter of whom soon afterward acquired ,goodwin's share1 and in #ahge became sole proprietor by purchasing ,mr4 ,taylor's interest4 ,mr4 ,davis1 like several others of the older ,trenton potters1 is an ,englishman1 and the fact is noteworthy1 in view of the opposition to goods of ,american manufacture4 ,it shows how blind was the prejudice which1 there being no question of the excellence of ,american materials1 will not concede to an ,englishman in ,america the skill and ability of the same ,englishman in ,england4 ,mr4 ,davis went to ,trenton from ,staffordshire in #ahfb1 worked first with ,william ,young ,sons1 formed a copartnership with ,george ,lawton1 upon a capital of #cjj1 joined the ,glasgow ,pottery ,company1 and then1 as we have seen1 bought an interest in the firm of ,taylor ,goodwin4 ,the first to make cream-colored ware for the market were ,william ,young ,sons1 ,astbury ,millington1 who comprised the firm which1 in #ahec1 laid the foundation of an industry which has since attained to enormous dimensions4 ,they had large orders for strawberry bowls from a trucker near ,rocky ,hill1 and these they fired in ,taylor ,speeler's yellow-ware kiln4 ,the business1 although greatly increased1 has not changed its character1 and is at the present time carried on by ,william ,young's sons4 ,of the original partners ,astbury formed a copartnership with ,mr4 ,maddock1 and the present firm is ,astbury ,maddock1 of which the latter is the only surviving partner4 ,its chief product is sanitary and druggists' ware1 and experiments are also made with ,american kaolins--those of ,missouri1 ,pennsylvania1 and other ,states--with a view to the manufacture of a true ,american porcelain4 ,decorating and printing are now receiving a considerable amount of attention4 ,mr4 ,millington1 also of the old firm1 resigned1 and founded the pottery now bearing his name4 ,the first pottery fitted up for the exclusive manufacture of white granite and cream-colored ware was that of ,rhodes ,yates1 in #ahei1 at the present ,city pottery1 on ,perry ,street4 ,this ,mr4 ,rhodes is the same one who was partner in the ,jersey ,city pottery4 ,on going to ,vermont1 in #ahed1 he established the manufacture of white-ware1 and remained there until the fall of #ahei1 when he joined ,mr4 ,yates in a new enterprise in ,trenton4 ,the previous history of the ,city pottery is a story of continuous changes4 ,at one time it was occupied by ,william ,young ,sons1 who were making porcelain hardware trimmings4 ,in #ahec it was purchased by ,mr4 ,charles ,hattersley1 and in #ahef passed into the possession of ,mr4 ,yates1 who leased it to ,james and ,thomas ,lynch4 ,for two years they occupied it as a drain-pipe factory1 and in #ahei it was assumed by ,mr4 ,yates1 in partnership with ,mr4 ,rhodes4 ,in putting granite and cream-colored ware upon the market1 the firm had many obstacles to overcome4 ,chief among them was the all-prevailing prejudice of dealers and consumers in favor of imported goods4 ,success1 however1 came in course of time4 ,an entrance was forced into the market1 and other firms which rapidly sprung into existence seconded their efforts in securing for ,trenton a remunerative recognition in the white-ware trade4 ,meantime several changes took place in the firm of ,rhodes ,yates4 ,mr4 ,higginson became leading partner1 and in #ahfe the firm was ,yates ,titus1 which was changed1 in #ahgj1 to ,yates1 ,bennett ,allen1 and in the fall of #ahge to the ,city ,pottery ,company1 of which ,mr4 ,yates and ,mr4 ,john ,rhodes--a son of ,william ,rhodes--are two of the partners4 ,the period of seven years between ,taylor ,speeler's venture and that of ,rhodes ,yates may be called the infancy of the ,trenton manufacture4 ,since that time the production has increased year by year1 and ,trenton well deserves the title conferred upon it of 8,the ,staffordshire of ,america40 ,its annual productive capacity is about two and a half millions1 and during #ahgf the actual production was about #a1gej1jjj4 ,there are1 in all1 nineteen potteries in the city1 and several decorating establishments4 ,to illustrate what is now being done1 and to indicate the new channels which the industry is seeking1 a few of the leading factories may be referred to4 ,the ,etruria ,pottery ,company is now working the factory built1 in #ahfc1 by ,messrs4 ,william ,bloor1 ,joseph ,ott1 and ,thomas ,booth4 ,mr4 ,booth retired in #ahfd1 and was succeeded by ,g4 ,s4 ,burroughs1 who1 in #ahfe1 withdrew and made way for ,j4 ,hart ,brewer4 ,in #ahga ,mr4 ,bloor retired1 and the firm of ,ott ,brewer remained in possession until ,january1 #ahgh1 when the ,etruria ,pottery ,company was organized4 ,until #ahgf the staple products of the factory were white granite and cream-colored ware4 ,its ivory porcelain and parian will be noticed hereafter4 ,the ,glasgow ,pottery of ,john ,moses ,company sends out an immense quantity of white granite and cream-colored ware1 and experiments are also conducted1 chiefly with ,pennsylvania kaolin1 with a view to making porcelain4 ,that now regularly made is called semi-porcelain1 and many trial pieces have a pure translucent body and excellent glaze4 ,the firm of ,coxon ,co4 was founded1 in #ahfc1 by ,mr4 ,charles ,coxon1 and is now composed of his widow1 ,j4 ,g4 ,forman1 and ,s4 ,m4 ,alpaugh4 ,mr4 ,coxon began with cream-colored ware1 and conjoined it with white granite toward the end of #ahfc4 ,since that time the firm has produced both qualities4 ,one of the later establishments is the ,mercer ,pottery1 built in #ahfh1 of which ,mr4 ,james ,moses is sole proprietor4 ,besides the common grades of earthen-ware1 stone china and semi-porcelain are made and decorated4 ,there is a decided tendency here toward the production of a finer quality of ware1 and of styles of decoration possessed of artistic merit4 ,at the ,arsenal ,pottery ,mr4 ,joseph ,mayer manufactures ,rockingham and brown stone-ware1 and is in the possession of a number of excellent designs4 ,of the remaining ,trenton potteries--the ,east ,trenton ,pottery ,company1 the ,american ,crockery ,company1 ,joseph ,h4 ,moore's1 the ,greenwood ,pottery ,company1 and the ,millham--it is unnecessary to give details4 ,within the past two or three years all have been turning their attention to work of a more or less artistic character1 some directing their efforts more particularly to decorating1 and others to the perfecting of a body which shall enable them to compete with the manufacturers of porcelain4 ,in the latter respect the ,greenwood company has met with gratifying success1 and has given their ware the name of 8,american ,china40 ,it will thus be seen that the history of modern ,american art and manufacture does not extend much beyond a century4 ,progress has been rapid1 and the trade has developed with gigantic strides4 ,it is estimated that there are in all seven hundred and seventy-seven pottery establishments in the ,united ,states1 including those for all kinds of ware1 from terra-cotta to porcelain4 ,all1 or nearly all1 these have sprung up within twenty-five years1 and many of them since the ,civil ,war4 ,the productive capacity of some of the leading centres may be judged from the number of kilns they require4 ,at ,trenton there are fifty-seven kilns2 at ,east ,liverpool1 forty-six2 at ,cincinnati1 twelve2 at ,flushing and ,greenpoint1 ,long ,island1 eleven2 at ,pittsburg six2 or there are at sixteen seats of the industry1 and excluding terra-cotta manufactories1 one hundred and seventy kilns4 ,the capital invested by the forty firms1 members of the ,potters' ,association1 is upward of four millions1 an amount vastly increased by the remaining seven hundred and thirty odd establishments throughout the country4 ,white granite-ware1 an abomination in point of art1 but eminently useful1 is made at other places in this country besides ,trenton in great abundance4 ,the only manufactory of white granite and cream-colored ware in the ,eastern ,states is that of the ,new ,england ,pottery ,company at ,east ,boston4 ,it was established in #ahed4 ,a display was made at the ,centennial ,exhibition of what was called 8,ivory ,porcelain10 from the ,etruria ,pottery of ,ott ,brewer1 ,trenton4 ,it has a hard1 semi-translucent body1 and clear1 smooth boracic glaze4 ,it bears a close resemblance to ,mr4 ,carr's semi-china1 and is substantially the same ware that is now receiving attention from many of the other ,trenton potters4 ,it may be said to mark the first stage on the way to a true ,american porcelain4 ,by exhibiting it at the ,centennial ,exhibition1 ,ott ,brewer were really the first to draw the public attention to this new departure in ,american manufacture4 ,its distinctive name is taken from its soft1 ivory-like tint4 ,the advantages claimed for it are1 that while it answers all the purposes of china1 its manufacture is less expensive1 and permits its being put upon the market at a much lower price2 that it equals the average china in point of both utility and appearance2 and that its consistency is such that it can be made into more graceful or less clumsy shapes than granite4 ,experience alone can dispose of these claims4 ,it is fired1 like granite-ware1 hard in the biscuit and soft in the gloss-kiln1 from which it would appear that the glaze and paste are not homogeneous1 as in natural porcelain4 ,practically1 however1 this new ware represents a great and substantial improvement in the manufacture of a general domestic article4 ,all the component ingredients of both paste and glaze are found in ,america4 ,illustration3 ,fig4 #dcd4--,parian ,vase4 ,etruria ,pottery ,company4 ,at ,ott ,brewer's1 also1 are to be discovered the first glimmerings of what may be called an art1 in the studio of ,mr4 ,isaac ,broome1 an ,american artist of considerable repute and skill4 ,mr4 ,broome devoted himself to both painting and sculpture before turning his attention to ceramic art4 ,some years ago he established a terra-cotta workshop in ,pittsburg2 but the locality was unfavorable1 and the enterprise was abandoned4 ,a similar venture in ,new ,york city also failed4 ,several months prior to the ,centennial ,exhibition he was employed by ,messrs4 ,ott ,brewer to design and model certain works in parian4 ,these were exhibited at ,philadelphia1 and were very favorably received4 ,the improved kiln previously described 7see page #gi7 was built after his plans1 and under his personal direction for firing the works turned out of his studio4 ,of these one of the best was suggested by ,mr4 ,j4 ,hart ,brewer1 and consists of 7,fig4 #dcd7 a pair of vases in parian designed to illustrate the national game of base-ball4 ,great variety of detail is attained without detriment to a certain severity of outline4 ,from a narrow base the body contracts quickly to its smallest girth1 and thence expands gradually to the top4 ,round the foot of each vase1 and standing on the supporting pedestal1 are arranged three figures of base-ball players1 modelled after a thoroughly ,american ideal of physical beauty1 embodying muscular activity rather than ponderous strength4 ,the attitudes are very well chosen1 and invest the figures with an appearance of life and vigorous action4 ,a series of clubs belted round with a strap ornaments the stem of the vases1 and some exquisitely wrought leaves and berries are woven round the top4 ,the orifice is covered by a cupola or dome1 composed of a segment of a base-ball1 upon which stands an eagle4 ,these vases are the work of a genuine artist1 who has surrounded a general design of great merit with many finely executed and suggestive details4 ,illustration3 ,fig4 #dce4--,pastoral ,vase4 ,etruria ,pottery ,co4 ,illustration3 ,fig4 #dcf4--;,faun's ,head ,bracket4 ,etruria ,pottery ,company4 ,the same artist's 8rustic10 or 8,pastoral10 vases 7,fig4 #dce7 illustrate a different order of ideas4 ,here the surface is covered with mouldings in relief1 composing a design partly suggested by mythology1 partly original4 ,it carries us back to the golden age of the poets4 ,a female figure1 which might be that of ,flora or ,proserpina1 dances to a satyr who plays a musical instrument4 ,the details are all in perfect harmony--the dancing goats1 the grape-vines1 the leaves1 rustic wood-work1 and goat's-head handles4 ,a tasteful finish is given to the decoration by a fluting running round the upper part of the neck to the lip4 ,to produce a good effect1 work of this kind1 all in relief and uncolored1 demands the nicest finish1 and a design which shall lean neither toward scantiness on the one hand1 nor overloaded ornamentation on the other4 ,in both respects ,mr4 ,broome has been fortunate4 ,the decoration relieves without destroying the fine outline of the vase4 ,illustration3 ,fig4 #dcg4--,parian ,vase4 ,etruria ,pottery ,company4 ,mr4 ,broome's 8,fashion0 vases 7,fig4 #dcg7 are embellished with some very fine illustrations of the fashions of a century ago and also of the present time4 ,of these the shapes are exceedingly quaint and uncommon1 and the figures in low relief are very highly finished4 ,besides these1 ,mr4 ,broome has modelled a great number of the heads and busts which have always been the staple of workers in parian4 ,some are original1 others are reproductions from the antique4 ,to the former class belongs an ideal ,cleopatra 7,fig4 #dch74 ,the artist has chosen a full and sensuous type of beauty1 vastly different from that adopted by recent painters who have ventured to portray upon canvas the charms which melted the stern ,csar and enslaved ,antony4 ,somehow one associates the style of beauty represented in ,mr4 ,broome's bust rather generally with the land of ,egypt than specially with the conquests of ,cleopatra4 ,this may result from a familiarity with less truthful conceptions1 and in that view implies a decided merit4 ,the artist has in details followed history as closely as it seems possible for him to have done1 and has wisely preferred study and research to giving his imagination a free rein4 ,imagination1 or an ,american model1 might have led him to present a higher type of beauty1 but neither would have led him to produce a distinctively ,egyptian ,cleopatra4 ,accepting his ideal1 it is worked out with unmistakable talent1 and with the most painstaking attention to workmanship4 ,it is unnecessary to particularize farther4 ,the ,etruria ,pottery ,company have made a good beginning1 and in directing the efforts of their artists it is to be hoped that they may not allow the commercial success of copies of the antique to divert attention from such works as those described4 ,the paste employed is fine1 compact1 and hard1 and assumes in some pieces the clear and polished appearance of marble4 ,its precise composition is not known4 ,the paste is1 as in the usual case1 poured in a fluid state into plaster moulds1 which absorb the superfluous water4 ,oxides are used to vary the color of the casts1 and a number of tints of great delicacy and beauty have been secured4 ,illustration3 ,fig4 #dch4--;,cleopatra1 in ,parian4 ,american terra-cotta must be briefly dismissed4 ,at the ,centennial ,exhibition an extensive assortment was shown from works situated in many parts of the country4 ,one or two makers displayed an utterly misguided taste in attempting something original4 ,others appeared to confine themselves to the well-known ,apollo ,belvederes1 ,niobes1 and other antique subjects4 ,garden vases and ornaments were meritorious as a class2 but whatever artistic work may be produced in some quarters1 in others art is only budding1 and will take some time before it blooms into flower4 ,some excellent work in terra-cotta is executed in ,philadelphia and ,new ,york1 and has been referred to above4 ,of the hundreds of other factories throughout the country few have done anything distinctive4 ,one or two might possibly be mentioned1 such as the ,halm ,art ,pottery ,company1 of ,sandy ,hill1 ,new ,york1 which are gradually drawing away from the commonplace1 and may be expected1 sooner or later1 to possess an artistic individuality4 ,among ,eastern workshops may be mentioned those of ,beverly1 ,portland1 ,north ,cambridge1 and ,chelsea1 ,massachusetts4 ,a great deal of the red terra-cotta of ,beverly is consumed by decorative artists and students4 ,the ,portland terra-cotta is well known both for excellence of body and beauty of shape4 ,the paste is unusually fine and close in texture1 and is excellent under the brush4 ,the ,north ,cambridge establishment also turns out ware of a high quality4 ,the designing department is evidently under skilful and competent supervision1 and the forms have an antique grace which never loses its charm4 ,as in the case of ,beverly1 the products of both these workshops are well adapted to the purposes of the decorator4 ,chelsea demands a larger share of our attention for styles of work in terra-cotta unique among ,american products4 ,the establishment is at present carried on by ,robertson ,sons1 under the name of the 8,chelsea ,keramic ,art ,works40 ,the firm consists of ,j4 ,robertson and his two sons1 ,a4 ,w4 ,robertson and ,hugh ,c4 ,robertson4 ,the workshop was founded on #ast ,june1 #ahfh1 by ,a4 ,w4 ,robertson1 for the production of ,english brown-ware4 ,he was joined by his brother1 and the chief wares made at that time were fancy flower-pots4 ,j4 ,robertson was admitted to the firm by his sons on #ast ,june1 #ahgb1 and affords a good instance of the wide experience it is possible to compress into one lifetime4 ,mr4 ,robertson was born in ,edinburgh1 ,scotland1 and first worked in the ,fife pottery1 at ,dysart1 where his father was head workman4 ,he there acquired a knowledge of modelling and mould-making1 and at the age of sixteen was engaged by the ,watsons of ,prestonpans1 ,mid-,lothian1 then the leading fine-ware factory in ,scotland4 ,he next tried the ,north of ,england1 and worked as modeller and mould-maker at several factories1 gaining experience and proficiency1 and ultimately took the management of a small red-ware pottery1 where he introduced both white and printed ware1 8smeared black0 and 8lustred0 ware4 ,on leaving1 he tried manufacturing on his own account for a time1 and then accepted the position of superintendent of a black-ware factory at ,north ,shields4 ,he arrived in ,america in #ahec1 and worked first in a factory at ,south ,river2 then with ,mr4 ,j4 ,carr1 at ,south ,amboy1 and afterward at ,thirteenth ,street1 ,new ,york2 next with ,speeler1 ,taylor ,bloor1 at ,trenton2 and lastly as manager of the ,east ,boston pottery4 ,his next step was to join his sons at ,chelsea1 each of whom has had a more or less varied career1 and is expert in at least one branch of the business4 ,since the establishment was opened1 a great many experimental pieces have been made of different materials1 sizes1 and shapes4 ,what are known as porous cones were made some time ago for chemical purposes1 and are of so open a body that the breath can be drawn through them with ease4 ,we have already seen that ,jersey ,city claims this discovery4 ,the credit is probably due to both1 as they appear to have arrived at the same result by independent courses4 ,work of a more purely artistic character was tried about eight years ago1 but1 commercially speaking1 without success4 ,a second attempt was made in #ahgc1 and the production has been continued down to the present time4 ,the artists and collectors of ,boston soon discovered certain qualities in the ,chelsea potters and their works deserving recognition4 ,they may possibly have reached the conviction that ,chelsea is to be numbered among the places where artists value their work solely according to its truth1 excellence1 and beauty4 ,without affecting to disregard commercial considerations1 they succeed in giving their art the precedence4 ,it is not1 therefore1 a matter of surprise either that they should have convinced a section of the public that ,chelsea can do noble service in the cause of ,american art1 or that many excellent works should bear its mark4 ,allusion may first1 however1 be made to certain matters with which the ,robertsons allow their attention to be diverted from more serious pursuits4 ,they have been inspired by ,doulton's treatment of stone-ware to make certain small pieces of fine earthen-ware of a gray color faintly tinged with blue1 and very brilliantly glazed4 ,the decoration consists of incised designs4 ,the pieces do not bear a very close resemblance to ,doulton ware1 but are in themselves decidedly attractive4 ,the ,robertsons1 having mastered the fundamental secret of the ,haviland process1 viz41 of applying the colors upon the unbaked clay1 have1 in the second place1 brought out a few pieces after the style of the ,limoges faience4 ,their success here is limited by a palette which must be considerably enriched before the effects of the ,french ware are reached4 ,illustration3 ,fig4 #dci4--;,chelsea 7,robertson7 ,terra-cotta4 ,illustration3 ,fig4 #ddj4--;,chelsea 7,robertson7 ,terra-cotta4 ,the best ,chelsea works are in red and white unglazed earthen-ware4 ,of these we give two illustrations 7,figs4 #dci and #ddj74 ,some of the forms are original1 and others are after the ,greek1 ,italian1 and other types4 ,the decoration consists of designs graved in the paste1 of mouldings in relief1 and of carvings in relief4 ,the application of moulded ornaments to the surface has been practised in all ages1 and the ,chelsea work does not demand special comment1 although many of the designs are attractive and simple4 ,the carving in relief belongs to a different order of work4 ,instead of being moulded1 the ornamentation of leaves or flowers is carved out of clay laid upon the surface of the vase while still moist from the hands of the thrower4 ,the effect is similar to that obtained by mouldings1 but the work is finer1 the details more highly finished1 and the outlines sharper and clearer4 ,of the designs in these and the pieces decorated with mouldings1 the best are those in which leaves either lie across the vase or form a calyx from which it rises upward4 ,the absence of color allows the attention to rest solely upon the fidelity with which every detail is rendered4 ,if this be the quality of work with which the ,robertsons tested ,american taste eight years ago1 it is not easy to understand why they did not succeed4 ,,porcelain4 ,philadelphia4--,william ,ellis ,tucker4--,bennington4--,jersey ,city4--,greenpoint4--,decorating ,establishments4--,metal and ,porcelain4 ,the history of ,american porcelain is necessarily brief4 ,the impetus toward the higher branches of the art1 emanating from ,europe1 in due time reached these shores4 ,it affected the rapidly developing enterprise of the citizen of the young ,republic1 and touched his faith in the vast and varied resources of his country4 ,previous to the achievement of independence1 however1 and during the early colonial intercourse with ,england1 an incident occasionally transpired not without interest in our narrative4 ,when ,mr4 ,richard ,chaffers died in ,liverpool1 and his porcelain establishment was closed1 many of his workmen came to this country4 ,in #agga it was reported in ,england that a large china manufactory was established in ,philadelphia1 where 8better china cups and saucers are made than at ,bow or ,stratford40 ,it may astonish many who are not acquainted with anything in ,american ceramics beyond the competitive spirit which rules the business1 to find that more than a century ago it had left ,england behind in the race6 ,illustration3 ,fig4 #dda4--,philadelphia ,natural ,porcelain4 7,trumbull-,prime ,coll41 ,new ,york ,metropolitan ,museum47 ,there appears to be no longer any doubt of the existence of a porcelain factory in ,philadelphia about the year #aggj1 and that1 therefore1 the report alluded to above was 8founded on fact40 ,advertisements have been discovered which go far toward settling the question4 ,they promise work equal to that of ,bow1 and are therefore in all probability the basis of the rumor above mentioned1 which was current in ,england a year later4 ,how long the works were carried on is not known4 ,illustration3 ,fig4 #ddb4--,philadelphia ,natural ,porcelain4 7,trumbull-,prime ,coll41 ,new ,york ,metropolitan ,museum47 ,the next porcelain venture was made in the same city1 between #ahaf and #ahcj1 by ,william ,ellis ,tucker4 ,tucker began as a decorator1 and1 after a series of experiments1 made first a non-translucent ware of good quality1 and then natural porcelain 7,figs4 #dda and #ddb74 ,illustration3 ,fig4 #ddc4--;,bennington ,artificial ,porcelain4 7,trumbull-,prime ,coll41 ,new ,york ,metropolitan ,museum47 ,his works were originally situated behind his father's china store in ,market ,street1 and afterward at the corner of ,market1 ,schuylkill1 and ,front streets4 ,one serious impediment to success was a treacherous workman1 who did all he could to frustrate his employer's design4 ,his first experiment was to cut the handles off the pieces when placing them in the kiln4 ,his next was to wash the seggars with felspar1 which melted in the kiln and fastened the wares to the bottom of the seggars4 ,when ,tucker first made porcelain for the market is not recorded1 but in #ahbg he was honored with a silver medal by the ,franklin ,institute of the ,state of ,pennsylvania4 ,some time prior to ,tucker's death1 in #ahcb1 ,judge ,hemphill had been admitted as partner1 and subsequently carried on the factory1 in connection with ,thomas ,tucker1 a brother of the founder1 for a few years4 ,he then sold out4 ,thomas took the works in hand alone in #ahcg1 and kept them running for about a year1 when the production ceased4 ,the products of the factory were chiefly table wares4 ,the paste and glaze were both excellent1 but the form and decoration would not permit of competition with imported china4 ,the workshop went down for want of public support1 and also on account of the alleged impossibility of securing the services of skilled artists4 ,we have already seen that ,lyman ,fenton conjoined the making of artificial porcelain 7,fig4 #ddc7 with that of pottery at ,bennington1 ,vermont4 ,this factory is chiefly remarkable as the first from which figures in biscuit were turned out4 ,we have also noticed the ,jersey ,city enterprise of ,henderson ,co4 ,several attempts to produce porcelain were made at ,greenpoint1 ,long ,island4 ,in #ahdh1 ,mr4 ,charles ,cartalege met with some success in the manufacture of knobs and buttons1 but in no table ware4 ,altogether it is probable that about a dozen different establishments were founded for the purpose of inaugurating the manufacture of a native porcelain4 ,they generally succeeded in making a few pieces1 and then stopped for lack of patronage4 ,the honor of first establishing the industry upon a successful basis1 and of turning out a commercial ware1 is to be ascribed to ,mr4 ,thomas ,c4 ,smith1 of the ,union ,porcelain ,works1 ,greenpoint4 ,mr4 ,smith is an ,american1 whose ancestors arrived in the ,eastern ,states about one hundred and fifty years ago4 ,he was brought up as a mechanic1 and first went into the porcelain manufacture in #aheg1 under a company composed of a number of ,germans who had started the business about three years previously4 ,at this time several small kilns existed in ,greenpoint1 like that of ,cartalege1 for the purpose of making door-knobs and other hardware trimmings4 ,the paste then used was compounded upon the principle of the ,english artificial paste1 and contained a large proportion of burned bones or phosphate of lime4 ,this was the composition used by the ,germans with whom ,mr4 ,smith connected himself4 ,these ,germans1 through dishonesty and want of knowledge of the business1 soon brought the concern into trouble1 from which ,mr4 ,smith tried to extricate it by acting as manager for a time1 but the derangement and prostration of trade1 caused by the outbreak of the ,civil ,war1 compelled the company to wind up its affairs4 ,mr4 ,smith1 being the largest creditor1 became the purchaser1 his intention being to bring the porcelain enterprise to an end1 and make the property available for some other purpose4 ,meantime he went abroad4 ,at the time when the second battle of ,bull ,run was fought he was in ,france1 and it was there the idea grew upon him that there was a good opportunity for establishing the porcelain business in his native country4 ,so complete was the change in the formation of his plans1 that he immediately turned his attention to making such inquiries as might subserve his purpose1 among the great workshops of ,france and ,england4 ,when he returned home1 his intention of abandoning the manufacture of porcelain disappeared1 and he decided to embark anew4 ,the experiments which followed were attended with much anxiety4 ,up to ,november1 #ahfc1 the old bone body had been retained2 but in #ahfd ,mr4 ,smith stopped using it1 and directed his attention solely to the production of a natural kaolinic porcelain like that of ,china or ,meissen4 ,his experiments extended over about two years4 ,the first pieces were uneven and the vitrification was incomplete4 ,this arose from an ignorance of the correct composition required for success4 ,farther trials were more encouraging1 and in #ahfe he succeeded in making a plain white-ware1 which he could place upon the market4 ,mr4 ,smith prides himself upon one fact1 that1 unlike any one of the ,european establishments1 from that of ,florence downward1 he succeeded without aid either from a wealthy patron or from government4 ,illustration3 ,fig4 #ddd4--;,century ,vase4 ,greenpoint ,porcelain4 ,in #ahff he first began to decorate1 with one ,english and one ,german artist4 ,by availing himself of odd fragments of information1 he not only improved his decoration1 but discovered some ,european usages1 the prevalence of which he had not suspected4 ,one of these was that ,dresden ware was sent in large quantities to ,england to be decorated1 and was afterward returned to ,dresden and sold as ,meissen ware4 ,on one occasion he bought in ,europe a ,meissen porcelain cup decorated with blue1 red1 and gold4 ,on returning home1 he broke the cup1 and put one of the pieces in his porcelain furnace1 to see if the colors would stand the heat to which his own were exposed4 ,when it was withdrawn the red had disappeared1 a thin1 almost imperceptible line was all that was left of the gilt1 and the blue had run into streaks and blotches4 ,this little experiment taught him that he was contending with difficulties1 in firing his colors1 which ,european makers had not thought it necessary to meet4 ,that he has succeeded is marked by the extension of his works1 which cover about an acre of ground1 and give employment to about one hundred and seventy people4 ,all his porcelain is decorated by his own artists4 ,mr4 ,karl ,mller is the chief designer and modeller1 and brings a long experience as a sculptor to bear upon his studies in clay4 ,he is a ,german1 whose art education was mainly acquired in ,paris under the tuition of the ablest artists of ,europe4 ,his predilection for the potter's art led him to associate himself with ,mr4 ,smith4 ,before doing so1 in #ahgd1 he modelled three terra-cotta figures of base-ball players1 in different attitudes suggestive of athletic activity4 ,illustration3 ,fig4 #dde4--8,kramos0 ,vase4 ,greenpoint ,porcelain4 ,illustration3 ,fig4 #ddf4--;,greenpoint ,biscuit ,porcelain4 ,the ingredients of ,greenpoint porcelain are the kaolins of ,cornwall1 ,delaware1 ,pennsylvania1 and ,georgia2 felspar from ,maine and ,connecticut2 and quartz1 also from ,connecticut4 ,these are compounded according to the purpose for which the paste is to be used4 ,in that for table ware the proportions are3 kaolin1 #cg2 felspar1 #cc2 quartz1 #cj4 ,for the glaze3 felspar1 #ae2 lime1 #ae2 kaolin1 #ab2 quartz and broken porcelain1 #eh4 ,the paste made into hardware trimmings contains a greater proportion of ,american kaolin than that for table ware4 ,as to the merits of the latter it is thus spoken of by ,m4 ,ch4 de ,bussy1 from whose official report we have already quoted3 8,the porcelain of ,greenpoint is second to none in quality of paste and hardness of glaze4 ,most of the articles are heavy1 and may be compared in form with that which in ,french commerce is known as limonade3 we have1 however1 seen thinner pieces1 such as tea and coffee cups1 well made1 and which would figure honorably among the productions of ,europe 7bien fabriques1 et qui pourraient figurer honorablement parmi les productions d',europe740 ,mr4 ,karl ,mller's first work of art was a 8,century ,vase0 7,fig4 #ddd71 designed by ,mr4 ,smith for the ,centennial ,exhibition4 ,bison heads form the handles2 medallions decorate the front and back1 and below them is a belt of gold with small bison1 walrus1 ram1 and other animal heads arranged at intervals4 ,the base is surrounded by a series of medallions or panels1 representing1 in white relief1 ,indians1 a soldier of the ,revolutionary era1 the ,tea ,scene in ,boston ,harbor1 and other historical incidents4 ,the body is painted in blue1 red1 and gold4 ,the artistic character of the vase can be sufficiently studied in the engraving4 ,the decoration1 it will be observed1 consists in part of paintings on the flat1 and in part of the reliefs already mentioned1 which give a meaning to the distinctive title1 8,century ,vase10 chosen for the piece4 ,it illustrates the national progress of a century4 ,illustration3 ,fig4 #ddg4--8,song of the ,shirt40 ,greenpoint ,biscuit ,porcelain4 ,when ,mr4 ,longfellow wrote his poem 8,kramos10 it is hardly probable that he contemplated the possibility of supplying a subject to the art of which he sang4 ,the poet wrote of the potter1 and the potter has illustrated his song4 ,the poem had no sooner appeared than it was made the groundwork of an illustrative vase 7,fig4 #dde74 ,as in the 8,century ,vase0 history is represented by periods and leading events1 so in the 8,kramos0 vase the history of ceramic art is represented by the leading contributions to its continuous progress4 ,in panels on the base the potters of all ages are seen at work--,egyptian1 ,greek1 and modern4 ,above these1 on the body1 are reliefs illustrative of the pottery of ,peru1 ,italy1 ,france1 ,spain1 ,england1 and other countries4 ,as we turn it round1 the advance of ceramic art is seen as in a diorama1 and amidst the various scenes appears in relief the bust of the poet whose song inspired the work4 ,the form of the vase is singular1 simple1 and severe1 but well suited to the artist's treatment of his subject4 ,its rigidity is considerably softened by the quaint1 projecting feet and the figures they support1 and by the decoration surrounding the flaring top4 ,illustration3 ,fig4 #ddh4--;,greenpoint ,porcelain4 ,among the other productions of ,greenpoint is a series of statuettes1 groups1 and animal figures1 which were first made in a non-translucent hard clay1 of a light but warm brown or buff1 and afterward in porcelain biscuit4 ,the material first used is dense and non-vitrifying1 more nearly resembling terra-cotta than parian4 ,it is well suited to the production of statuettes and groups1 in the modelling of which unmistakable talent and originality are displayed4 ,we can in this department1 better perhaps than in any other1 appreciate the spirit permeating the designing-room at the ,union ,works4 ,the rule appears to be to study the antique1 but instead of copying or reproducing the works of the ancients1 to follow their example in choosing subjects from the every-day life of the artist's own time4 ,we nowhere see a copy of ancient statuary or feel a breath of borrowed inspiration4 ,every subject is taken from modern literature1 or from life in ,america in the nineteenth century4 ,one piece 7,fig4 #ddg7 has under it the words 8,stitch6 stitch6 stitch60 and presents us with a softened illustration of ,hood's poem4 ,we say 8softened10 because the artist has preferred--wisely or not we will not now determine--to tone down the unutterable misery of the picture1 in which the 8woman sat in unwomanly rags1 plying her needle and thread40 ,the unspoken weariness and mingled longing and resignation are here1 but the squalor and wretched poverty are rather suggested by the broken box upon which the needle-woman sits1 than forced upon our notice4 ,if we accept what was evidently the artist's working canon1 that the literal realization of human wretchedness has no place in art1 then we must also accept the work as a fitting counterpart to that of the poet4 ,in any case the conception is praiseworthy1 and the execution skilful4 ,another group was suggested by ,poe's 8,raven30 8,and my soul from out that shadow that lies floating on the floor ,shall be lifted--nevermore60 ,the bust of ,pallas stands1 with the raven on its shoulder1 upon a pedestal1 in front of which lies a veiled figure4 ,the piece is1 we have said1 suggested by the poem1 of which it is in no sense a literal interpretation4 ,a third group consists of a nude boy and dog1 and tells its little story truthfully and forcibly4 ,the attitudes and modelling are alike excellent4 ,illustration3 ,fig4 #ddi4--;,greenpoint ,porcelain4 ,illustration3 ,fig4 #dej4--;,greenpoint ,porcelain4 7,e4 ,bierstadt ,coll47 ,other pieces1 such as a procession of frogs and turtles with shouldered 8pitcher-plants10 illustrate the humorous side of the artist's genius 7,fig4 #ddh74 ,the subject appears to be a favorite one1 as we find it variously treated in porcelain also4 ,the other statuettes particularly deserving of notice are a stone-mason1 two firemen--one of the old regime and one of the new--and a bust of ,forrest as ,william ,tell4 ,these specimens will suffice1 with what was said above1 to indicate the direction in which this branch of art at ,greenpoint is being extended4 ,illustration3 ,fig4 #dea4--,poets' ,pitcher4 ,greenpoint ,biscuit ,porcelain4 ,there has yet to be considered the staple product of the ,union ,works1 viz41 its household porcelain4 ,the paste is1 as we have seen1 of good quality1 and the manufactured ware is strong and serviceable4 ,one of the great obstacles in the way of the success of other enterprises--the lack of skilled artists--,mr4 ,smith has overcome1 and now employs a number of decorators whose work augurs well for the continued prosperity of the establishment4 ,we have seen one set 7,fig4 #ddi71 composed of a circular tray1 sugar-bowl1 milk-pitcher1 and teacups1 which is entirely praiseworthy in both design and workmanship4 ,the prevailing color is lavender1 into which are wrought1 in the form of birds and flowers1 delicate tints of blue and yellow4 ,the effect of the whole is soft and pleasing1 and is heightened by the graceful design of the pieces1 and the fine translucent body upon which the decoration is laid4 ,illustration3 ,fig4 #deb4--;,greenpoint ,porcelain4 ,we cannot here point to any style as being particularly distinctive of the workshop4 ,the taste of the decorators is broad and catholic4 ,white reliefs are occasionally used with fine effect in the ornamentation of pitchers and cups4 ,one of the latter shows white figures in relief upon pale grounds4 ,the cup is of a very graceful shape1 and a miniature ,columbia supported by an eagle forms the handle4 ,a pitcher in biscuit 7,fig4 #dea7 is surrounded by heads of distinguished poets in relief4 ,in this case also the shape is excellent1 and the mouldings1 including the subsidiary decoration1 are admirably finished4 ,illustration3 ,fig4 #dec4--;,greenpoint ,porcelain4 ,view of ,memorial ,hall4 ,the painting upon some of the plates is deserving of particular notice4 ,they can only be referred to individually1 as we have seen that no leading style has been adopted under which they could be treated of collectively4 ,there is no uniformity either in the merit of the designs or decorations4 ,one has for centre-piece a view of ,memorial ,hall 7,fig4 #dec71 and1 set in a rim of deep crimson1 oval medallions with similar views4 ,the drawing is very careful1 and the colors well assorted4 ,on another style a flower or a fern covers the bottom and falls upon the rim1 which has no other decoration4 ,others have views of a windmill 7,fig4 #dee71 a cottage embowered in foliage painted in monochrome1 or fruit4 ,in some we find delicacy1 and in others the work of a brush unaccustomed to search for subtleties of tint or the more refined expression of which color is capable4 ,fortunately the latter are the exception and the former the rule4 ,illustration3 ,fig4 #ded4--;,greenpoint ,porcelain4 ,to examine the methods of the artists of ,greenpoint1 the plate 7,fig4 #deb7 may be referred to4 ,the flowers forming its decoration may be found by almost any country roadside4 ,gathered as they grew1 they were taken to the decorating-room1 and were there transferred to porcelain4 ,apart altogether from the artistic result1 there is a principle in such a manner of seeking designs deserving of attention4 ,we have seen that in ,japan the secret of the infinite variety of art lies in the close sympathy between the artist and nature4 ,he turns to his promptress on all occasions for inspiration and suggestion4 ,it must be so everywhere4 ,the boundless wealth of form and color found in nature confers an equally boundless variety upon the art in which it is reflected4 ,the conventional is limited by human ingenuity3 the natural has no limit4 ,illustration3 ,fig4 #dee4--;,greenpoint ,porcelain4 ,painted by ,j4 ,m4 ,falconer4 ,illustration3 ,fig4 #def4--;,english ,porcelain4 ,decorated by ,mrs4 ,hoyt4 7,d4 ,collamore47 ,as a final example of table ware let us instance a plate 7,fig4 #ded7 decorated in gold1 blue1 red1 green1 yellow1 and pink1 so sparingly that only a close examination brings out the real richness of the coloring4 ,in the first place1 the decoration lies entirely upon the rim1 with the exception of two circles of gold and blue4 ,the design consists of crossed branches painted in blue and gold1 with insects and brightly feathered birds4 ,the effect is exceedingly soft1 the delicacy of the colors being as pleasing to the eye as it is satisfactory in point of taste4 ,the mark of the ,greenpoint porcelain is an eagle's head with the letter ,s--the manufacturer's initial--through the beak4 ,besides the manufacturers and the artists employed in their establishments1 many persons make a business of decorating earthen-ware and porcelain1 and within the past few years many more have been attracted to this branch of art4 ,it is regularly taught by two ,new ,york institutions1 the ,decorative ,art ,society and the ,ladies' ,art ,association1 and has many devotees both in the ,east and ,west4 ,much of the work executed by these artists is highly creditable2 and there is a great deal that never reaches the public eye1 which is marked by both delicacy and originality4 ,one of the regular professional establishments is that of ,warrin ,lycett1 of ,new ,york4 ,the example here given 7,fig4 #deg7 is ,jersey ,city earthen-ware1 and was painted by ,mr4 ,warrin1 who has had an experience of about fifteen years as a decorator4 ,the colors are bright1 and are very happily blended4 ,the ground is a shade of light green1 and the flowers are painted in their natural colors4 ,at this workshop success was reached some time ago in a very delicate operation1 that of transferring photographs to porcelain4 ,illustration3 ,fig4 #deg4--;,jersey ,city ,earthen-ware4 ,decorated by ,warrin4 ,mr4 ,john ,bennett1 formerly the ,director of the ,faience ,department of the ,doulton factory at ,lambeth1 has within the past year settled in ,new ,york1 and is now turning out decorated faience after the styles seen in the ,english original4 ,he uses imported ,lambeth biscuit1 and has erected a kiln in connection with his studio for firing the decoration4 ,it is his intention1 in course of time1 to use ,american clays1 in order to obviate the necessity of importing biscuit1 and at the same time to obtain new shapes made after his own designs4 ,among his best ground colors are pale yellow1 pale blue1 and a rich brown tinged with red4 ,the latter is very effectively used with leaves and flowers drawn over the piece in shades of green and yellow4 ,all ,bennett's pieces have an even and brilliant glaze4 ,after what has been said of ,lambeth faience1 no attempt need here be made to characterize the art represented by this ware4 ,it will be1 as indeed it deserves to be1 admired2 and ,america ought to be congratulated upon the acquisition of so good a representative of the ,lambeth school of decorators4 ,illustration3 ,fig4 #deh4--;,bennett ,faience4 7,d4 ,collamore47 ,the tile-piece at the opening of the book devoted to ,america 7page #cia7 was painted by ,mr4 ,f4 ,t4 ,vance1 of ,new ,york4 ,the drawing is excellent1 and the design is original and decidedly meritorious4 ,the arrangement of the figures gives a life to this and other pieces by the same artist entirely lacking in the styles of tile-painting1 which consist of a repetition on each tile of the same design1 or of varied but independent designs4 ,illustration3 ,fig4 #dei4--;,bennett ,faience4 7,d4 ,collamore47 ,illustration3 ,fig4 #dfj4--,lambeth ,faience4 ,decorated by ,bennett4 ,illustration3 ,fig4 #dfa4--,plate ,painted by ,mr4 ,john ,m4 ,falconer4 ,mr4 ,john ,m4 ,falconer1 of ,brooklyn1 is an artist who has devoted himself very successfully to ceramic decoration4 ,some of his designs on ,greenpoint porcelain 7see ,fig4 #dee7 are very pleasing1 and the coloring is chaste and well handled4 ,a more ambitious work is that given below 7,fig4 #dfa71 an appropriate wedding-gift to an artist's daughter4 ,the distance toward which the bride and groom are walking is rose-hued1 and the church-spire and foliage partake of the effect4 ,roses are strewn along the path4 ,a heavy knotted white sash forms a curtain and encloses the scene4 ,above1 in a lunette of dark blue bordered with white pearls1 is a golden-haired ,cupid holding a box of wedding-cake1 with the names of the lady and gentleman on the lid4 ,the border of the plate is a deep flat pink1 with a narrow outer line of white4 ,the plate is remarkable both as a work of art and for the delicate manner in which1 as a gift1 it conveys the congratulations and good wishes of the giver4 ,some of his works1 besides the one above alluded to1 are in the possession of ,mr4 ,t4 ,c4 ,smith2 and others1 both in camaeu and polychrome1 are entitled and owned as follows3 8,independence ,hall10 ,rev4 ,morgan ,dix1 ,d4,d42 8,the ,old ,clothing ,store1 ,boston10 ,mrs4 ,c4 ,f4 ,blake2 8,albert ,durer's ,house10 and 8,the ,oldest ,house in ,st4 ,louis1 ,missouri10 ,charles ,brown1 ,troy1 ,new ,york2 8,shakspeare's ,house10 ,edward ,green1 ,new ,york2 8,a ,smoke ,fancy10 8,autumn1 ,montclair1 ,new ,jersey10 8,church at ,west ,point10 8,moonlit ,lake10 ,aaron ,vail1 ,jr41 ,troy1 ,new ,york2 8,crescent ,moon10 ,john ,gale1 ,esq42 8,killearn ,manse1 ,scotland10 ,hon4 ,m4 ,b4 ,macleay1 ,new ,york2 8,the ,old ,tower1 ,newport10 ,mrs4 ,s4 ,p4 ,avery2 8,across the ,water10 ,f4 ,a4 ,bridgman1 ,paris2 8,at ,montreal10 ,george ,h4 ,boughton1 ,london2 8,at ,wilmington1 ,north ,carolina10 ,mrs4 ,j4 ,p4 ,whitehead1 ,newark1 ,new ,jersey2 8,old ,castle1 ,sunset10 ,alfred ,jones1 ,yonkers1 ,new ,york2 8,the ,philosopher10 ,rev4 ,l4 ,l4 ,noble1 ,annandale1 ,new ,york2 8,moonlight10 ,charles ,parsons1 ,montclair1 ,new ,jersey2 landscape1 and a set of two blue and one yellow vases1 ,hon4 ,george ,b4 ,warren1 ,jr41 ,troy1 ,new ,york4 ,mr4 ,falconer has the advantages of a cultivated taste and well-trained skill to help him win such a reputation as might induce him to substitute1 even to a greater extent than at present1 porcelain or pottery for the more perishable canvas4 ,illustration3 ,fig4 #dfb4--,limoges ,porcelain and ,silver4 7,reed ,barton1 ,n4 ,y47 ,illustration3 ,fig4 #dfc4--;,copeland ,porcelain and ,silver4 7,reed ,barton1 ,n4 ,y47 ,there remains to be noticed an artistic combination in which1 although it has long been practised in ,europe1 ,american workmen have recently succeeded in producing exceptionally fine effects4 ,reference is made to the combination of metal and porcelain4 ,we have seen with pleasure slender and exquisitely wrought stands of silver and gold1 in which delicately painted ,french porcelain dishes and basins are converted into card-receivers1 flower-stands1 and fruit-dishes4 ,a great deal of taste can be displayed in the selection of colors to suit the metal1 as well as in the deeper harmony which reproduces in silver or gold the flower stems on the porcelain4 ,chinese porcelain1 in rich colors--green1 pink1 and blue--is similarly treated4 ,pieces of the ,green family are tastefully set in silver and gold1 the mouldings on the bands of metal corresponding with the painted borders of the porcelain4 ,from such specimens of a double art we turn to others less rich1 but scarcely less attractive4 ,faience vases are mounted in bronze and brightly burnished brass1 and derive a new character from the association4 ,works of this class show that1 while it is possible to define the limits of the field peculiar to ceramic art1 its place in household decoration cannot be specified with equal precision4 ,already it has entered into effective alliances with the arts of the silversmith1 goldsmith1 the workers in the baser metals1 of the enameller1 the carver1 and the cabinet-maker4 ,in these several relations it is not now intended to follow it farther4 ,they would lead to the consideration of many arts essentially distinct1 and as foreign to each other as to that whose history has led us from the sun-dried bricks of ,egypt to the porcelain of ,greenpoint4 ,illustration3 ,fig4 #dfd4--,worcester ,porcelain and ,silver4 7,j4 ,w4 ,britton ,coll47 ,,index4 ,abaquesne1 ,marreot1 #bha4 ,abraham1 ,copeland's director1 #chc4 ,abubeker1 #aia4 ,adam1 director at ,vincennes1 #cad4 ,adobes1 #cif4 ,africa1 #bac1 #baf1 #bag1 #bda4 ,agapenor1 #bja4 8,agate0 ware1 #cfa4 ,agostino1 assistant of ,luca della ,robbia1 #bec1 #bfc4 ,agyllos1 #bda4 ,ahriman1 #aij4 ,ainos1 #afc4 ,akai1 #afa4 ,alabastros1 #bbe4 ,alambra1 #bjc4 ,albany slip1 #deg4 ,alcora1 #bci4 ,alenon1 #ec1 #cag4 ,alexander the ,great1 #aij1 #bjj4 ,algeria1 #baf4 ,alhambra1 #bce1 #bcf1 #bdg4 ,ali1 #aia4 ,alluaud1 director at ,limoges1 #cba4 ,amasis1 #bjj4 ,amathus1 #bja1 #bjd4 ,amazon1 tribes on1 #dag4 ,ambrosio1 son of ,andrea della ,robbia1 #bec4 ,america1 #cia-dhg 7see ,south ,america1 ,central ,america1 ,mound-builders1 ,indians1 ,united ,states74 ,american china1 #dfc4 ,american clays1 #ddf1 et seq4 ,american ,crockery ,company1 ,trenton1 #dfb4 ,american ,pottery ,company1 #dee4 ,ameya1 #afj4 ,ammon1 #he4 ,amphora1--1 #bd1 #bg1 #ij1 #bbb1 #bbd4 ,amstel1 #cdc4 ,andrea della ,robbia1 #bec4 ,anglo-,roman pottery1 #ced4 ,anglo-,saxon pottery1 #cee4 ,anspach1 faience1 #ccj2 porcelain1 #cda4 ,antonio1 artist at ,ferrara and ,faenza1 #bfb4 ,antwerp1 majolica1 #cca4 ,aphrodite1 #bja4 ,apostle mugs1 #ccf4 ,apries1 #bjj4 ,apulia1 #bba1 #bfe1 #bic1 #bie4 ,arabesque1 origin of1 #bac4 ,arabs1 #ahi1 #aij1 #bac1 #bad1 #bag1 #bah1 #bcc1 et seq41 #bgc4 ,araguaya ,indians1 #dch4 ,archaic ,greek vases1 #bbi4 ,arequipa1 #daj4 ,aretine ware1 #bdf4 ,arita1 #afa1 #agb1 #agf1 #agi4 ,arizona1 #dbi1 et seq4 ,arsenal ,pottery1 ,trenton1 #dfb4 ,artaxerxes1 #aij4 ,articulated vase1 #aec4 ,artificial porcelain1 invented in ,europe1 #eb2 classification1 #ee1 #ef1 and meaning of term #eg2 analysis1 #fa2 difficulty of its manufacture1 #ha2 ,chinese1 #abb2 ,persian1 #abb1 #aif2 ,spanish1 #bch2 ,italian1 #bfe1 et seq42 ,french1 #cab1 et seq42 ,english1 #cgf1 et seq42 ,american1 #deg1 #deh1 #dga1 #dgb4 ,aryballos1 #bbf4 ,arystichos1 #bbf4 ,asia ,minor1 #baa1 #bac1 #bad1 #bae4 ,askos1 #bbd4 ,assyria1 --n1 #cb1 #fc-fe1 #ig-ajb1 #aih1 et seq41 #bbj1 #dbf2 porcelain1 #ajj4 ,astarte1 #bjb1 #bjd4 ,astbury1 ,english potter1 #cfj2 uses calcined flint1 #cfa4 ,astbury ,maddock1 ,trenton1 #dfj4 ,aster decoration1 #acj4 ,athieno1 #bjc4 ,aubry1 ,m41 director at ,st4 ,clement1 #caa4 ,aue1 kaolin of1 #ec1 #ccg4 ,augustus ,,ii41 director at ,meissen1 #cch4 ,augustus ,,iii41 director at ,meissen1 #cch4 ,auteuil1 ,haviland's workshop at1 #bhg4 ,avisseau of ,tours1 #bgg4 ,awadji1 #aga4 ,awata1 #afg1 #aga4 ,aztecs1 #dbc4 ,azulejos1 #baf1 #bcc1 #bcf1 #bci2 ,minton's1 #cff1 #cfh4 ,babel1 #bb1 #aja4 ,babylon1 #fe1 #ig4 ,babylonia1 #fd1 #ih4 ,bacchus1 #ba1 #bb4 ,baden1 porcelain of1 #cdj4 ,bahia1 #daf4 ,bagnall1 #cfj4 ,baireuth1 #ccj2 porcelain1 #cda4 ,balboa1 #dah4 ,balearic ,islands1 #bcf1 #bdh 7see ,majorca1 ,minorca1 ,ivia74 ,baltimore1 ,maryland1 #dee4 ,banko-yaki1 #aga4 ,banks ,turner1 #chb4 ,barberini ,vase1 #cfc4 ,barbin of ,mennecy1 #cac4 ,barbizet of ,paris1 #bgg4 ,barcelona1 #bcd1 #bcg4 ,barlow1 ,arthur1 #cga4 ,barlow1 ,hannah ,b41 #cga4 ,barr1 ,martin1 ,worcester1 #chj4 ,bartlem1 potter in ,south ,carolina1 #ded4 ,basaltes1 ,wedgwood's1 #cfd4 ,battersea1 #chj4 ,battisto ,franco1 #beg4 ,battus1 #baf4 ,beauvais1 #bgc4 ,becker1 workman at ,hxter1 #cda4 ,belgium1 #cca2 porcelain1 #cdc4 ,belleek1 ,ireland1 porcelain of1 #chh1 et seq4 ,benedetto1 artist at ,siena1 #bee4 ,bengrath ,oppal1 director at ,meissen1 #cch4 ,bennett1 ,john1 ,new ,york1 #dhc4 ,bennington1 ,vermont1 #deg2 porcelain1 #dgb4 ,benten1 #afb4 ,berlin1 #cch1 #cda1 #cdb4 ,bernardo ,buontalenti1 inventor of ,medicean porcelain1 #bfh4 ,bernart1 ,jehan1 #bgi4 ,beverly1 ,massachusetts1 #dfh4 ,beyerl1 ,baron de1 #caj4 ,biagio1 artist at ,faenza and ,ferrara1 #bfb4 ,bikos1 #bbc4 ,billingsley1 or ,beely1 #chg4 ,bingley1 ,thomas1 #cgf4 ,binns1 ,r4 ,w41 director at ,worcester1 #chj4 ,birkenhead1 #cge4 ,biscuit1 meaning of1 #ec4 ,bis-ja-mon1 #afb1 #afc4 ,bissen1 ,danish sculptor1 #cdi1 #cea4 ,bleu fouett1 #acb4 ,blois faience1 #cjh4 ,bloor1 ,ott ,booth1 ,trenton1 #dfb4 ,bloor1 ,robert1 #cgi4 ,bloor1 ,trenton potter1 #dfj4 ,blue-and-white porcelain of ,china1 #abc1 et seq42 of ,japan1 #abf1 #age4 ,blue of the sky after rain1 #abb1 #aca4 ,blunger1 #fg4 ,boccaro1 #aai4 ,boileau1 director at ,svres1 #cad4 ,bone1 enameller 7,plymouth71 #cgg4 ,bordeaux1 #cab2 porcelain1 #cbj4 ,bttcher1 #eb1 #ccf1 #ccg1 #deb4 ,bourg-la-,reine1 #bhh1 #cjb1 #cjc1 #cjd4 ,bow china1 #cgg1 #cgi1 #dga4 ,boyle1 ,john1 partner of ,minton1 #cff4 ,bracquemond1 ,m4 and ,mme41 #bhh1 #bia1 #bie1 #cbb4 ,bradwell stone-ware1 #cfj4 ,bramelds of ,swinton1 #chf4 ,bramfield1 ,j4 and ,w41 #cgf4 ,brazil1 #dac1 #dad-dag4 ,breslau1 #cbi4 ,brewer1 ,j4 ,hart1 ,trenton1 #dfb1 #dfe4 ,brichard1 ,eloi1 director at ,vincennes1 #cad4 ,bricks1 #hh1 #hi1 #ih1 #aja1 #ajf1 #bbj1 etc4 ,brick stamp1 #hh1 #aja4 ,bristol pottery1 #cgc2 porcelain1 #cgf1 #chf4 ,britain1 ,great1 and ,ireland1 #ceb-cij4 ,brongniart1 director at ,svres1 his classification1 #ed1 #ee1 #cae1 #caf1 #cah4 ,broome1 ,isaac1 ,trenton artist1 #dfd1 et seq4 ,brosely pottery1 #cge4 ,brown1 ,westhead1 ,moore ,company1 #chh4 ,brhl1 ,count1 #cch1 #cci4 ,brussels1 #cca2 porcelain1 #cdc4 ,buddha1 #aaj1 #aaa4 ,buddhism1 #aaa1 #afa4 ,buen ,retiro1 #bch4 ,bunsen1 #he1 #bda4 ,burroughs1 ,g4 ,s41 ,trenton1 #dfb4 ,burslem1 #cfj2 ,wedgwood at1 #cfb4 ,butler1 ,frank ,a41 #cga4 ,byzantium1 --ine1 #bda1 #bdh4 ,caballito1 ,peruvian1 #dji4 ,cabuahuil1 #dba4 ,cairo1 #bad4 ,caistor ware1 #ced4 ,caldas1 #bci4 ,caldwell ,wood1 #cfd4 ,callimachus and the ,corinthian order1 #cja4 ,caltagirone1 #bdg4 ,camaeu1 #abc1 #bhb1 #ccc4 ,cambrian ,pottery1 #chg4 ,cambridge1 ,massachusetts1 #dfh4 ,cambyses1 #bi1 #bjj4 ,camillo1 artist at ,ferrara1 #bfb4 ,campania1 #bda4 ,campbell1 ,colin ,minton1 #cfj1 #cfh4 ,capo di ,monte1 #bfh1 #bfi1 #bgj4 ,carolina1 clays1 #ddj1 #ddg2 works in1 #ded4 ,carr1 ,james1 ,new ,york1 #deh1 #dfc4 ,cartalege1 ,charles1 ,greenpoint1 #dgb4 ,casa ,pirota1 #bfa4 ,castel-,durante1 #beg4 ,castellani collection1 #ahe1 #bdc1 #bdg1 #beb1 #bfa1 #bfb1 #bff4 ,castelli1 #bfd4 ,catto1 artist at ,faenza and ,ferrara1 #bfb4 ,caughley1 #chg4 ,cladon1 #aaf1 #aca1 #aej1 #afa1 #agi1 #aie1 #aig4 ,celts1 --ic1 #bgd2 ,irish1 #cec4 ,central ,america1 #dah-dbd4 ,ceramic art1 its origin1 #ai1 et seq42 etymology of 8ceramic10 #bb1 #di2 general view of1 see ,introduction2 its struggles in ,america1 #ddd1 et seq4 ,cesnola1 ,general ,l4 ,p41 #aii1 #bjb1 et seq4 ,chaffagiolo1 #bee4 ,chaffers1 ,richard1 #cgd1 #dga4 ,chamberlains of ,worcester1 #chj4 ,chambrette1 ,jacques1 ,luneville1 #caj4 ,champion1 ,richard1 #cgf1 #chf4 ,chang-ti1 #aaj1 #aaa4 ,chanon1 ,commissioner at ,svres1 #cae4 ,cha-no-yu1 #afj4 ,chantilly1 porcelain of1 #cac4 ,chapelle of ,sceaux1 #caa4 ,chaplet1 artist1 #bhh1 #cjb4 ,chelsea-,derby1 #cgi4 ,chelsea 7,england7 porcelain1 #cgg1 et seq4 ,chelsea 7,massachusetts71 #dei1 #dfh1 et seq4 ,cheou-lao1 #aaa1 #afb4 ,cherokee1 clay1 #ddg4 ,cheroulion1 #bbc4 ,cherpentier1 ,franois1 #bgi4 ,chertsey1 tiles1 #cee4 ,chicanneau1 #eb1 #cab4 ,chichimecs1 #dbb1 #dbf4 ,chili1 --ans1 #djb1 #djh4 ,chimu1 --s1 #cii1 #djj1 #djh1 #dji4 ,china1 --ese1 general history1 #aji-aec2 legend1 #bj1 #aaj2 porcelain in ,egypt1 #be2 customs1 #bh1 #bib2 in ,persia1 #aia1 #aif1 #aig2 general reference1 #cg1 #ajg1 #afc1 #afd1 et passim1 to #ahh1 #bac1 #bfh1 #bgj1 #bha1 #bhc1 #cjf1 #cac1 #cbb1 #cbd1 #cch1 #cgg1 #che1 #djh4 ,christ1 #bb4 ,christiania1 faience of1 #cdg4 8,christian0 porcelain1 #afd1 #ahd4 ,chrysanthemo-,ponian family1 #ach1 #agf1 #agg4 ,chulula1 #dbd4 ,chytrai1 #bbe4 ,cincinnati1 #dfc4 ,citium1 #bja1 #bjb4 ,city ,pottery1 ,trenton1 #dfa4 ,clark1 ,shaw ,co41 of ,montereau1 #cjg4 ,classification1 #ed1 et seq4 ,clay1 composition of1 #fa4 ,clays1 ,american1 #ddf1 et seq4 ,clerissy family at ,moustiers1 #bhc4 ,clignancourt1 #cbj4 ,cloisonn1 enamel1 #ajh1 #aha1 #ahb2 ,minton's1 #cfg4 ,coast pottery of ,peru1 #djj4 ,cobalt1 blue1 #abc4 ,cockscomb1 #abd4 ,coke1 ,john1 ,pinxton1 #chg4 ,colebrookdale ,pottery1 #cge1 #chg4 ,colhuas1 #dbb4 ,colinot of ,paris1 #cjf4 ,colombia1 #dag1 #dcg4 ,colorado1 #dbi1 et seq4 ,color1 its place in ,greek art1 #cf2 in ,oriental art1 #cg1 et seq42 how obtained1 #fe1 #ha4 ,composition of wares and glazes1 #ei4 ,concealed color1 porcelain of1 #abc4 ,cones1 ,egyptian1 #cj1 #hi4 ,confucius1 #aaa4 ,connecticut felspar1 #ddi2 stone-ware made in1 #ded4 ,conrade ,brothers1 artists at ,nevers1 #bhb4 ,constantine1 #bda4 ,convent of ,gratitude1 #aah4 ,cookworthy1 ,william1 #cgf1 #chf1 #ddg4 ,copan1 #dbc4 ,copeland parian1 #cff2 sketch of1 #chb1 et seq42 porcelain and silver1 #dhf4 ,copenhagen faience1 #cdg2 porcelain1 #cea4 ,cordova1 #bag4 ,corea1 #aed1 #aee1 #aei1 #afa1 #afc1 #cac4 ,corean1 #aeh1 #afj1 #afa1 #afd4 ,corinth1 #bda1 #bdb4 ,cornwall kaolin1 preparation of1 #fa2 analyses1 #dej2 used at ,greenpoint1 #ddi1 #dge4 ,coroados of ,brazil1 #dae4 ,corrugated ware1 from ,colombia1 #dag2 from the ,west1 #dcc1 #dcg1 #dch1 #dci4 ,cortez1 #dbc1 #dbd4 ,costa ,rica1 #dai4 ,coxon ,co41 ,trenton1 #dfb4 ,coxside porcelain1 #cgf4 ,cozzi1 ,geminiano1 #bfi4 ,crackle1 #aaf1 #abj1 #adh1 #afa1 #afh4 ,crauden's chapel tiles1 #cef4 ,cream-colored ware1 ,wedgwood's1 #cfc2 ,american1 #def1 et seq4 ,creil faience1 #cjf2 porcelain1 #cjg4 ,creussen stone-ware1 #ccf4 8,crouch-ware10 #cfj4 ,crown-,derby1 #cgi4 ,crusaders1 #bad1 #bdg1 #cef1 #ceg4 ,cuarto ,real1 #bcf4 ,cup of ,tantalus1 #aeb1 #aec4 ,cup of the learned1 #abe4 ,curium1 #bja1 #bjd1 #bjf1 #bjg1 #bjh4 ,custine1 ,count1 #caj4 ,customs illustrated by pottery1 #bf1 et seq4 7see also different countries--,egypt1 ,assyria1 ,babylonia1 etc474 ,cutts of ,pinxton1 #chg4 ,cuzco1 #djj1 #dab4 ,cyffl1 ,paul ,louis1 ,luneville and ,niederviller1 #caj4 ,cyprus1 #aii1 #bbj4 ,cypselus1 #bda4 ,cyrene1 #baf4 ,cyrus1 #aij4 ,daikokou1 #afb4 ,dali1 #bjb1 #bjf1 #bjh1 #bji4 ,damascus1 #bad1 #bae4 ,damousse1 artist1 #bhh4 ,danaus1 #ba4 ,darmstadt1 porcelain of1 #cda4 ,darnet1 ,mme41 #ec1 #cag4 ,davis1 ,isaac1 ,trenton1 #dfj4 ,deck1 faience of1 #cjd2 porcelain1 #cbd1 #cbe4 ,decoration1 best styles of1 #dd1 #hj1 #ha4 ,decorative ,art ,society1 #dhc4 ,delaplanche1 artist1 #bhh1 #bib4 ,delaware1 ,indian pottery1 #dch2 ,kaolin1 #ddi4 ,delft1 #acf2 ,french1 #caa1 #cca1 #ccc2 ,english1 #ceh1 #cgc1 #ded4 ,della ,robbia ware1 imitation1 #bfe1 #bfh1 #cff 7see ,luca1 ,andrea74 ,demaratus1 #bda1 #bdb4 ,denmark1 #cdg-cea4 ,dennis1 ,s41 ,connecticut potter1 #ded4 ,derby porcelain1 #cgh1 #cgi4 ,deruta1 #bfc4 ,desima1 #agf1 #ahf4 ,de ,st4 ,criq ,company1 at ,creil1 #cjg2 at ,montereau1 #cjg4 ,difficult ware1 #afh4 ,dillwyn1 ,swansea1 #chg4 ,dinos1 #bbe4 ,diogenes1 #bf1 #bg1 #bbb4 ,diskos1 #bbf4 ,district of ,columbia1 ,indian pottery1 #dch4 ,doccia1 ,la1 #bfh4 ,dog of ,fo1 #aac1 #aeg1 #afc4 ,dossi ,brothers1 artists at ,ferrara1 #bfb4 ,doulton ware1 #cgj1 et seq42 sketch of ,john ,doulton1 #cgj2 artists1 #cga2 terra cotta1 #cgb2 imitation1 #dfi4 ,dragons1 ,chinese1 #aab2 ,japanese1 #afc4 ,dresden1 #eb1 #ccf1 et seq42 ware imitated1 #cha1 #dge4 ,dubarry1 or ,pompadour ,rose1 #cae1 #chg4 ,dubois ,brothers1 #cac4 ,duesbury family1 #cgh1 #cgi4 ,du ,liege1 porcelain painter1 #cbd4 ,dunkirk1 #caa4 ,durantino1 ,francesco1 #bei4 ,dutch in ,japan1 #afd4 ,dynastic colors of ,china1 #aae4 ,dwight1 ,dr41 first ,english porcelain1 #eb4 ,dwight1 ,john1 potter at ,fulham1 #cgc4 ,east ,boston1 #dfc4 ,east ,liverpool1 #dea1 #deb1 #dfc4 ,east ,trenton ,pottery ,company1 #dfb4 ,ebelman1 director at ,svres1 #cae1 #caf1 #cbf4 ,ecouen1 chteau of1 #bha4 ,egg pottery1 #aga4 ,egg-shell porcelain1 #acc1 #adj2 ,french1 #cbb4 ,egypt1 --ian1 #bj1 legend1 #ba2 ,chinese porcelain in1 #be2 customs illustrated by pottery1 #bi-ca1 #hi1 et seq42 porcelain1 #dh1 #fb1 #ib1 et seq42 glaze1 #fc-fe1 #ia1 #ib2 symbols1 #he1 et seq42 in ,cyprus1 #aih1 et seq42 in ,etruria1 #bdc2 processes1 #ga1 #gd2 history and general reference1 #hb-if1 #ig1 #ih1 #ii1 #aja1 #ajb1 #ajc1 #ajd1 #bbj1 #bdb4 ,elers ,brothers1 #cfj4 8,el ,frate10 artist at ,ferrara1 #bfc4 ,el ,moro1 #dca4 ,ely tiles1 #ceg4 ,enamel1 #fc-fe4 7,see ,stanniferous47 ,encaustic tiles1 #cff4 ,england1 first porcelain made in1 #eb1 #bdb1 #ceb1 et seq42 tiles1 #cee2 lead-glazed pottery1 #ceg2 ,delft1 #ceh2 porcelain1 #cgf2 her debt to ,america1 #ddg4 ,english marks in ,america1 #dde4 ,english porcelain1 composition1 #fa2 history1 #cgf1 et seq4 ,eraku1 #agi4 ,etruria1 #bda1 et seq42 ,wedgwood's1 #cfd4 ,etruria ,pottery ,company1 ,trenton1 #dfb1 et seq4 ,etruscan1 #bdj1 et seq42 black1 red1 and yellow ware1 #bdc4 ,ettlinger1 commissioner at ,svres1 #cae4 ,europe1 #aih4 ,european art1 its fountains1 #aih4 ,evagoras1 #bjj4 ,faenza1 #bfa1 #bfb1 #bfe1 #dbd4 ,faience defined1 #di2 niellure1 #bhj2 la corne1 #bhb4 ,falconer1 ,john ,m41 artist1 #dhd1 #dhe4 ,families of ,chinese porcelain1 #ach4 ,fauquez family1 ,st4 ,amand1 #caa2 of ,valenciennes1 #cbj4 ,ferrara1 #bfb4 8,fine style10 ,greek1 #bcj4 ,flanders1 faience of1 #caa4 7,see ,grs de ,flandre47 ,flashed glaze1 #acc4 ,flights of ,worcester1 #chj4 ,florence1 porcelain invented at1 #eb2 its majolica1 #bee2 porcelain1 #bfe4 8,florid style10 ,greek1 #bcj4 ,florida1 ,indian pottery1 #dch2 clay1 #ddf4 ,flushing1 ,long ,island1 #dfc4 ,fo1 #aaj1 #aac4 ,fogen1 #aei4 ,fong-hoang1 #aad1 #afc4 ,fontana family1 #beh4 ,fontenoy vase1 #bc4 ,forli1 #bfb4 ,fou-hi1 #aaj4 ,fouque1 ,joseph1 #bhd4 ,fournier1 #cea4 ,fourniera of ,limoges1 #cbj4 ,france1 #bga-cbf2 ancient1 #bga-bgc2 porcelain1 composition of1 #fj2 history1 #cab1 et seq4 ,francesco ,durantino1 #bei4 ,francesco ,maria1 #bee4 ,francesco ,vezzi1 #bfi4 ,francesco ,xanto1 #beh4 ,francis ,i41 #bff4 ,frankenthal1 #cag1 #cda4 ,frye1 ,thomas1 artist at ,bow1 #cgg4 ,fulham settled by ,dutch1 #ceh2 stone-ware1 #cei1 #cgc4 ,furnaces1 #gd1 et seq4 ,frstenburg1 porcelain of1 #cdj1 #cea4 ,gallienus1 #be4 ,galloway ,graiff1 ,philadelphia1 #dee4 ,garducci1 artist at ,urbino1 #beh4 ,garrett1 partner of ,copeland1 #chc4 ,gaul1 #bgb4 ,gelanor1 #ba4 ,geminiano ,cozzi1 #bfi4 ,genghis ,khan1 #aij4 ,georgia1 ,indian pottery1 #dch2 clay1 #ddf2 kaolin1 #dea4 ,grault ,daraubert1 #cag4 ,germany1 pottery of1 #cbg-ccj2 stone-ware1 #ccc-ccf2 porcelain1 composition of1 #fj1 #ccf-cdb4 ,gien faience1 #cji4 ,ginori1 ,marquis ,carlo1 #bfh4 ,gioanetti1 ,dr41 founds factory at ,vineuf1 #bgj4 ,giorgio ,andreoli1 imitator of ,luca della ,robbia1 #bec2 artist at ,gubbio1 #bei1 et seq4 ,giovanni1 son of ,andrea della ,robbia1 #bec4 ,girolamo1 son of ,andrea della ,robbia1 #bec4 ,giyoki1 or ,gyoguy1 #gc1 #aei1 #afj4 ,glasgow ,pottery ,company1 #dfj1 #dfb4 ,glaze1 porcelain1 #fj2 artificial porcelain1 #fa2 pottery1 #fc2 history of1 #fd1 #hj1 #ha4 ,glazing1 #hj1 #ha4 ,glot of ,sceaux1 #caa4 ,gggingen1 #ccj4 ,golgoi1 #bjc4 ,goodwin1 ,john1 ,trenton1 #dfj4 ,gosai1 #agf1 #agg4 ,goths1 #bag4 ,grco-,egyptian1 #ia4 ,graffiti1 #bdi2 ,minton's1 #cfg4 8,grains of rice0 work1 #aeb1 #aig4 ,granada1 #baf1 #bah1 #bcc1 #bcf4 ,granite-ware1 #def1 et seq4 ,gravant1 director at ,vincennes1 #cad4 ,graybeards stone-ware1 #cce4 ,greatbatch1 ,d41 modeller1 at ,jersey ,city1 #def4 ,greece1--eek1 legend as to origin of pottery1 #ba1 #bb2 conquests defined1 #bd2 customs illustrated by pottery1 #bf-bh1 #bbg2 painting1 #cb-cd1 #cf1 #cg1 #bba1 #bbb1 #bbh-bcb2 forms1 #ce1 #da1 #bbc1 et seq41 #bfd1 #cbf2 whence derived1 #ij1 #bji-bab1 #bai1 et seq42 glaze1 #fe1 #bbb1 #bbc1 #bgc2 moulding and modelling1 #fh2 wheel1 #gb1 #gc2 furnaces1 #gd-gf2 in ,cyprus1 #aii1 et seq42 origin of ,greek art1 #aih-bab2 general history1 #bai-bcb2 sun-dried pottery1 #bbj2 terra-cotta1 #bbj2 styles1 #bbh1 et seq42 influence in ,italy1 #bdj1 et seq41 #bfd2 in ,france1 #bib1 #bie2 in ,denmark1 #cdg-cej2 in ,brazil1 #dad2 in ,united ,states1 #dee1 et seq4 passim1 #dfg1 #dgj2 general reference1 #bj1 #di1 #hd1 #ie1 #aaj1 #aij1 #aia1 #aib1 #aih1 #bdj1 #bgc1 #bii1 #cib1 #djd1 #dgg4 ,green family1 ,china1 #acj1 #aci4 ,greenpoint porcelain1 #ddc2 imported kaolin1 #ddi2 kilns1 #dfc2 history1 #dgb1 et seq42 ingredients1 #dge1 #dgf2 biscuit1 #dgh4 ,greenwood ,pottery ,company1 #dfb4 ,grellet ,brothers of ,limoges1 #cbj4 ,grs de ,flandre1 #ccf2 revived by ,doulton1 #cgj4 ,gros-,caillou1 #caa4 ,grosso1 artist at ,ferrara1 #bfc4 ,guatemala1 #dbj4 ,gubbio1 #bei4 ,gueguetenango1 #dbj1 #dba4 ,guettard1 chemist at ,bagnolet1 #cag4 ,guidobaldo ,,ii41 #beg1 #bei1 #bfa4 ,guik-mon1 #afa4 ,hague1 the1 #cdc4 ,haguenau1 #bhf4 ,haji1 #aeh1 #aei4 ,halm ,art ,pottery ,company1 ,new ,york1 #dfh4 ,hancock1 ,r41 engraver1 #cha4 ,handley1 ,a41 artist at ,worcester1 #cha4 ,hanford1 ,isaac1 potter at ,hartford1 #ded4 ,hangest1 ,hlne de1 #bgi4 ,hannong1 ,charles ,franois1 potter at ,strasburg1 #bhf2 family1 #bhf1 #cab1 #caf1 #cbj1 #cda4 ,hard porcelain4 7,see ,natural47 ,harrison1 partner of ,wedgwood1 #cfb4 ,hartford1 ,connecticut1 #ded4 ,harvey ,adamson1 ,philadelphia1 #dee4 ,hattersley1 ,charles1 ,trenton1 #dfa4 ,haviland1 ,charles ,field1 #cbe4 ,havilands1 of ,new ,york and ,limoges1 #bhg2 their faience and process1 #bhg1 #bhh2 their artists1 #bhh2 examples1 #bia1 et seq42 mark1 #cjd2 porcelain1 #cba1 et seq42 faience imitated1 #dfi4 ,hawthorn pattern1 ,chinese1 #abh2 black1 #abi4 ,helstone china clay1 #cgf4 ,hemphill1 ,judge1 ,philadelphia1 #dgb4 ,henderson ,co41 ,d41 ,jersey ,city1 #dee1 #dgb4 ,henri ,deux ware1 #fc1 #bgi2 ,minton's1 #cfg4 ,herbertsville1 ,new ,jersey1 #dee4 ,herculaneum pottery1 #cge4 ,hermann1 #bd4 ,hesdin1 #bgc4 ,hesse-,cassel1 porcelain of1 #cda4 ,hide-yoshi1 #afj4 ,hindoos1 #aje4 ,hirschvogel1 #cbi4 ,hispano-,moresque1 #bag1 #bcc1 et seq41 #bdj4 ,history illustrated by pottery1 #bc1 #aci4 ,hizen1 #afj1 #afa1 #age1 et seq41 #agi4 ,hoang-ti1 #bj1 #aaj1 #aac1 #aaf4 ,hchst1 faience1 #ccj2 porcelain1 #cdj4 ,holland1 faience1 #cca-ccc2 porcelain1 #cdc4 ,holmos1 #bbe4 ,holdship1 ,josiah1 ,worcester1 #cha4 ,hollins1 ,michael ,daintry1 #cff1 #cfh4 ,homer1 #ge4 ,ho-nan1 #aba4 ,honduras1 #dbc4 ,honorific marks1 #abc4 ,horoldt1 director at ,meissen1 #ccg1 #cch4 ,hotei1 #afb4 ,houdayer1 ,john ,f41 ,trenton1 #dfj4 ,hxter1 #cda4 ,hudson ,river ,pottery1 ,new ,york1 #deg4 ,hulaku1 ,khan1 #aia1 #aic4 ,hydria1 #bbd4 ,hyrche1 #bbc4 ,iberian peninsula1 #bcc-bci4 ,ibis mummy pots1 #ij4 ,idalium1 #bjb1 #bjc4 ,illinois1 ancient1 #dca1 #dch2 kaolin1 #ddi4 ,imari1 #age4 ,inachus1 #ba4 ,incas of ,peru1 #cie4 ,india1 #aje-ajh1 #ach4 8,indian0 porcelain1 #ahg4 ,indiana kaolin1 #ddi4 ,indians1 ,north ,american1 #dbe1 #dbi-dda4 ,inland pottery of ,peru1 #djj4 ,ipsen1 ,mme41 #cdg4 ,ireland1 ancient1 #cec4 ,iron-stone china1 #deh4 ,irving1 #bd4 ,ise1 #afj1 #agb4 ,israelites1 #ca1 #hh4 ,italy3 potter's wheel1 #gc2 furnaces1 #gf1 #bag2 history1 #bdj-bgj2 general character of its art1 #bfd2 porcelain1 #bfe1 et seq42 influence in ,france1 #bgc4 ,ivia1 #bcf4 8,ivory porcelain10 #dfc4 ,jacqueline1 ,countess1 #ccc4 ,jacques1 manufacturer at ,bourg-la-,reine1 #cjd4 ,jade1 #adf1 et seq41 #adi1 #aej4 ,jade-colored porcelain1 #abc1 #adf1 #adg4 ,jasper-ware1 ,wedgwood's1 #cfd1 #cfe4 ,jeffords ,co41 ,philadelphia1 #dee4 ,jehan de ,voleur1 #bgc4 ,jehovah1 #ba4 ,jerichau1 ,danish sculptor1 #cea4 ,jersey ,city1 ,new ,jersey1 #dee1 #dgb2 decorated earthen-ware1 #dhc4 ,jewelled porcelain1 ,svres1 #cae2 ,copeland's1 #chd4 ,jinmu1 #aeh4 ,joubert ,cancate1 makers of porcelain1 ,limoges1 #cba4 ,jou-yao1 #abb4 ,juda1 #ajc1 #ajd4 ,jullien1 manufacturer at ,bourg-la-,reine1 #cjd4 ,jupiter1 #ba4 ,kados1 #bbd4 ,kaga1 #agj1 #age1 #agi1 et seq4 ,kagoshima1 #afg4 ,kalpis1 #bbe4 ,kami1--ism1 #bj1 #afa4 ,kandler1 artist at ,meissen1 #ccg-cci4 ,kanoun1 #bbf4 ,kantharos1 #bbf4 ,kaolin1 #ea2 discovered in ,saxony1 #eb1 #ccg2 in ,france1 #ec2 ,st4 ,yrieix1 #caf2 ,alenon1 #cag2 etymology1 #ei2 composition1 #ei2 how prepared1 #ei1 et seq42 ,american1 #ddg1 et seq4 ,karatsu1 #agb4 ,kato ,shirozayemon1 #add1 #aei1 #afj4 ,kato-siro-ouye-mon1 ibid4 ,kean1 ,michael1 partner of ,duesbury1 #cgi4 ,keironan1 #baf4 ,kelebe1 #bbe4 ,keller ,gurin1 ,luneville1 #caj4 ,keramos1 #bb1 #di4 ,kiel1 #cdg4 ,kien-long1 #acd1 #ace1 #ach4 ,kilns1 #ga1 #gd1 et seq42 in ,america1 #dfc4 ,king-teh-chin1 #aab1 #abb1 #abc1 #abf1 #acc1 #ace1 #acg1 #adb1 #aej4 ,kioto1 #afg1 #aga1 #age1 #agi4 ,kiri-mon1 #afa4 ,kiusiu1 #afg1 #agb4 ,korzec1 porcelain of1 #cde4 ,kothon1 #bbe4 ,kotylos1 #bbf4 ,kouan-yao1 #abb1 #abc1 #abg4 ,kouei1 #abd4 ,kouen-ou1 #bj1 #aaf4 ,koung-tseu1 #aaa4 ,koutsi fakata1 #aei4 ,krater1 #bbe4 ,kraut1 ,hans1 #ccj4 ,krossos1 #bbe4 ,kuan-in1 #aaa4 ,kutani1 #agj4 ,kyathos1 #bbf4 ,kylin1 #aac1 #afc4 ,kylix1 #bg1 #bji1 #bbf4 ,la ,china1 #bci4 ,lacquer1 #afe1 #aha4 ,ladies' ,art ,association1 #dhc4 ,lafond1 artist1 #bhh1 #cjb4 ,lagynos1 #bbd4 ,lake dwellers1 #cbg1 #cie4 ,lambeth settled by ,dutch1 #ceh2 stone-ware1 #cei2 faience1 #cgj2 school of art1 #cga2 artists1 #cga2 ,american1 #deh1 #dhc4 ,lambrequin decoration1 #abd4 ,lamoninary1 ,valenciennes1 #cbj4 ,lancelle1 #abg4 ,lang lizen1 #abe4 ,land of ,great ,peace1 #afc4 ,lanfranco ,brothers1 #beg4 ,lanfrey1 ,franois1 manager at ,niederviller1 #caj4 ,lao-tseu1 #aaa4 ,lapis-lazuli blue1 #acb4 ,larnaca1 #bjb1 #bje4 ,lathrop1 ,charles1 potter at ,norwich1 #ded4 ,laughlin1 ,mr41 ,east ,liverpool1 #dea1 #deb4 ,lauragais1 ,count de ,brancas1 #cag4 ,laurin1 artist1 #bhh1 #cjb1 #cjc1 #cjd4 ,learned1 cup of the1 #abe4 ,lebuf and ,thebaut1 #cjg4 ,lebuf1 ,milliet ,co41 of ,creil1 #cjg4 ,leeds pottery1 #cgd4 ,leipsic1 #cbi4 ,lekythos1 #bbe4 ,lelong1 ,nicholas1 founds ,nancy1 #caa4 ,lemire1 artist at ,niederviller1 #caj4 ,levigating mills1 #deb4 ,licou-li1 #aah4 ,lille faience1 #caa2 porcelain1 #cac1 #cbj4 ,limoges faience1 #bhf2 porcelain1 #cbj2 imitated1 #dfi2 with metal1 #dhf4 ,lindeneher1 artist1 #bhh4 ,lindenir1 painter at ,meissen1 #cch4 ,literature enriched by figures1 #ca4 ,liverpool delft1 #ceh1 #cgd1 #chj4 ,locker ,co41 ,derby1 #cgi4 ,longevity1 god of1 #aaa2 symbols1 #aad1 #abd1 #afc4 ,longwy faience1 #cjg4 ,loosdrecht1 #cdc4 ,lotus as a symbol1 #he4 ,louisiana1 ancient1 #dca1 #dci4 ,lowe1 ,alexander1 director at ,vienna1 #cdj4 ,lowestoft pottery1 #cge2 porcelain1 #cgf4 ,luca della ,robbia1 #bdg2 sketch of his life1 #bej1 et seq42 his works1 #bea2 the younger ,luca1 #bec2 successors and imitators1 #bec1 #bfc1 #cbi4 ,lucumon1 #bdb4 ,ludwigsburg1 #cda4 ,luneville1 #caj4 ,luson1 ,herolin1 #cge4 ,lyman1 ,fenton ,co41 #deg1 #dgb4 ,lynch1 ,j4 and ,t41 ,trenton1 #dfa4 ,macquoid ,co41 ,w4 ,a41 ,new ,york1 #deg4 ,madrid1 #bch1 #bci4 ,magistrates' porcelain1 #abb1 #abc4 ,magna ,grcia1 #bda1 #bdd1 #bde1 #bdf1 #bfe1 #bie4 ,maine felspar1 #ddi4 ,majolica1 defined1 #di-ea2 how painted1 #hj1 #aic2 imported into ,italy1 #bdi1 #bed2 earliest ,italian1 #bee2 ,wedgwood1 #cfe2 ,minton1 #cff1 #cfh2 ,carr1 #dei4 ,majorca1 #bcd1 #bcf1 #bdh1 #bdi1 #bej4 ,malaga1 #bcd1 #bce4 ,malmesbury tiles1 #cee4 ,malpass1 ,william1 #cgf4 ,malvern tiles1 #cee4 ,mancos1 #dcc4 ,mandan ,indians1 #dcj4 ,mandarin vases1 #ace4 ,manhattan ,pottery1 #deg4 ,manises1 #bcd4 ,manor-house1 ,york1 pottery1 #cgf4 ,manufacture1 #ff1 et seq4 ,marburg1 #ccj4 ,marcolini1 ,count1 director at ,meissen1 #cch4 ,marieberg1 faience of1 #cdf1 #cdg4 ,marreot ,abaquesne1 #bha4 ,marseilles1 founded by ,phnicians1 #bgc2 faience1 #bhe2 porcelain1 #cag4 ,maryland ,indians1 #ddj2 felspar and quartz1 #ddi4 ,massie1 ,sieur1 potter at ,limoges1 #bhf1 #cbj4 ,mayer1 ,joseph1 ,trenton1 #dfb4 ,mazarine blue1 #acb4 ,mecca1 ,temple of1 #bac4 ,medicean porcelain1 #eb1 #ahe1 #bfe1 et seq4 ,meissen1 #eb1 #ec1 #ccg1 et seq41 #dge4 ,melchiorre1 ,fra1 #bfb4 ,mennecy1 porcelain of1 #cac4 ,mercer ,pottery1 ,trenton1 #dfb4 ,mercury1 #ba4 ,mesopotamia1 #baa4 ,metallic lustre1 #ej1 #fe2 how applied1 #hj1 #aic1 #aie1 #bag1 #bcc1 et seq41 #bdj1 #bdg1 #bdi1 #bed4 ,mexico1 #dah1 #dba1 et seq4 ,meyer1 commissioner at ,svres1 #cae4 ,mezza-majolica1 #ej1 #bdi1 #bed4 ,mikado1 #aeh1 #afa1 #afc4 ,miles1 ,thomas1 stone-ware maker1 #cfj4 ,millham ,pottery1 ,trenton1 #dfb4 ,millington1 ,mr41 ,trenton1 #dfj1 #dfa4 ,ming dynasty1 porcelain of1 #abc1 #acc1 et passim4 ,mino1 #age4 ,minorca1 #bcf4 ,minton ,co41 ,henri ,deux ware1 #bha2 pate-sur-pate1 #cbf2 sketch of firm1 #cfe1 et seq42 porcelain1 #chb4 ,minton1 ,herbert1 #cff1 et seq4 ,minton1 ,hollins ,co41 #cfh4 ,minton1 ,thomas1 #cfe1 #cff4 ,mississippi1 #dbe1 #dbf1 #dbg1 #dcj1 #dci4 ,missouri1 ancient pottery1 #dbe1 #dbf1 #dbg2 ,indian1 #dcj2 kaolin1 #ddi1 #dej4 ,mitla1 #dbc1 #dbd4 ,moguls in ,persia1 #aia1 #aie4 ,mohammed1 #aij1 #aia2 tomb of1 #bad1 #bdg4 ,mohammed-ben-,alhamar1 #bce4 ,moore1 ,joseph ,h41 ,trenton1 #dfb4 ,moncloa1 #bci4 8,monkey10 ,brazilian1 #daf4 ,montereau faience1 #cjg4 ,montesinos1 ,spanish historian1 #cid4 ,montezuma1 #dbc4 ,moorhead ,wilson1 ,spring ,mills1 ,pennsylvania1 #dee4 ,moors1--ish1 #baf1 #bah1 #bcc1 et seq41 #bda4 ,moquis1 #dcf1 #dch4 ,moreau1 ,marie1 porcelain-maker1 ,paris1 #cac4 ,moresque1 #ahi1 #bcd4 ,moringues1 #daf4 ,morocco1 #baf4 ,moscow1 porcelain of1 #cde4 ,moses1 ,james1 ,trenton1 #dfb4 ,moses1 ,john1 ,co41 ,trenton1 #dfb4 ,moulding1 #fh4 ,mound-builders1 #dbe-dbh1 #dch1 #dci1 #ddj4 ,moustiers1 #bhc4 ,muller1 ,danish minister1 #cea4 ,mller1 ,karl1 ,greenpoint1 #dge1 #dgf4 ,mummy figures1 #ic4 ,murviedro1 #bcc4 ,mylitta1 #bjb4 ,nagasaki1 #agf1 #ahd4 ,nagoya1 #aha4 ,nancy faience1 #caa4 ,nankin blue1 #abc1 #age4 ,nankin1 tower of1 #aah4 ,nantes1 #cab4 ,nantgarrow1 #chg4 ,naples1 #bch2 majolica1 #bfd4 ,natchez ,indians1 #dcj4 ,natural porcelain1 its ingredients1 #ea2 invented in ,europe1 #eb2 classification1 #ee1 #ef2 meaning of term1 #eg2 analysis1 #fj2 ,egyptian1 #fb1 #ib2 ,assyrian1 #ii1 #ajj2 ,indian1 #ajg2 ,chinese1 #aba1 et seq42 ,corean1 #aed1 #aee2 ,japanese1 #aei-afa1 #afd1 #agd1 et seq42 ,persian1 #aia1 #aie1 et seq42 ,spanish1 #bci2 ,portuguese1 #bci2 ,italian1 #bgj2 ,french1 #caf1 et seq42 ,german1 #ccf1 et seq42 ,dutch1 #cdc2 ,russian1 #cdd1 #cde2 ,danish1 #cea2 ,english1 #cgf1 #cgg2 ,irish1 #chh1 #chi2 ,american1 #ddc1 #dee1 #dei1 et seq41 #dga1 et seq4 ,neo-,paphos1 #bja1 #bjd4 ,neudeck-,nymphenburg1 #cda4 ,neuhaus1 #cdj4 ,nevers1 #bhb4 ,new ,england ,pottery ,co41 #dfc4 ,newhall china1 #chf4 ,new ,jersey1 ,indian pottery1 #dcg1 #ddj2 clays1 #ddh1 et seq42 analyzed1 #dej1 #dea4 ,new ,mexico1 #dbi1 et seq4 ,new ,york1 #deg-dei4 ,nicaragua1 #dai1 #dba1 #dbd1 #dch4 ,nicola da ,urbino1 #bei4 ,nicoloso ,francesco1 artist of ,robbia school1 #bec4 ,niederviller faience1 #caj2 porcelain1 #cbj4 ,nile1 #ba1 #hc1 #hi1 #baf4 ,nishikide1 #afa1 #agf1 #agg4 ,nisser1 ,danish1 #cej4 ,noel1 artist1 #bhh4 ,nomino-,soukoune1 #aeh4 ,normans in ,england1 #cee4 ,north ,american ,indians4 7,see ,indians1 ,north ,american47 ,northamptonshire1 ancient1 #ced4 ,northcomb1 ,huart de1 #cjg4 8,northern faience10 #cdf4 ,norwalk1 ,connecticut1 #dee4 ,norwich1 ,connecticut1 #ded4 ,nottingham1 #cge4 ,nove1 ,le1 porcelain1 #bfh1 #bfi4 ,num1 #ba4 ,numa ,pompilius1 #bdd4 ,nuremberg1 #cbi1 #ccj4 ,nyon1 porcelain of1 #cdc4 ,oanamuchi-no-mikoto1 #bj1 #aeh4 ,oinochoe1 #bbe4 ,oiron1 faienced1 #bgi4 ,old ,bridge1 ,new ,jersey1 #dee4 8,old style10 ,greek1 #bbi4 ,olery1 ,joseph1 artist at ,moustiers1 #bhc4 ,olpe1 #bbf4 ,omar1 #aia4 ,ometepec ,island1 #dai1 #dbj1 #dba4 ,onyx-ware1 ,wedgwood's1 #cfd4 ,oosei-tsumi1 #bj1 #aeh4 ,opium-pipes1 #aai4 ,oporto1 #bci4 ,oppal1 ,bengrath1 #cch4 ,oriental art1 its leading features1 #cg2 use of color1 #cg1 #ch2 conventional forms1 #ch4 ,orinoco1 tribes of the1 #dch4 ,orleans faience1 #cab2 porcelain1 #cag4 ,ormuzd1 #aij4 ,osiris1 #ba4 ,osman1 #aia4 ,ostrakinon1 #bbg4 ,ott ,brewer1 ,trenton1 #dfb1 et seq4 ,ottaviano1 assistant of ,luca della ,robbia1 #bec4 ,ouan-lou-hoang1 #aci4 ,outang1 #abd4 ,owari1 #aei1 #age1 #agi1 #aha4 ,oxides1 #fe4 ,oxybaphon1 #bbe4 ,pachacamac1 #cif4 ,pa-kwa1 #aaj4 ,palenque1 #dbc4 ,palermo1 #bdg4 ,palestine1 #gj1 #ga4 ,palissy1 ,bernard1 #db1 #fc1 #agi2 imitation ware1 #bci2 sketch of his life1 #bgc2 imitators1 #bgg2 works1 #bgg1 #cbi1 #cdf1 #cff4 ,pallandre1 flower-painter1 #cbd4 ,pallas ,athene1 #bbb4 ,palmer's pottery1 #cfj4 ,pandora1 #ba4 ,paphos1 #bja1 #bjd4 ,parent1 director at ,svres1 #cae4 ,parian1 #fa2 ,minton's1 #cff2 ,copeland's1 #che2 ,american1 #deg1 #dei1 #dfd1 et seq4 ,paris faience1 #caa 7see also ,deck1 ,colinot1 ,parville1 ,barbizet1 ,pull1 ,haviland72 porcelain1 #cac1 #cbj4 ,parville of ,paris1 #cjh4 ,pasquale1 ,antonibon1 #bfi4 ,pate changeante1 #cbf1 #cfg4 ,pate dure1 #ea1 #ee4 7,see ,natural porcelain47 ,pate-sur-pate1 #cbf1 #cha4 ,pate tendre1 #eb1 #ee1 #ha4 7,see ,artificial porcelain47 ,paullownia imperialis1 #afa4 ,paulson1 ,joseph1 #cfe4 ,pearl1 #abd4 ,pectoral tablets1 #ic4 ,pelasgi1 #bda1 #bdb4 ,pennington1 ,liverpool potter1 #cgd4 ,pennsylvania1 ,indian pottery1 #dcg2 kaolin1 #ddi1 #dea2 china works in1 #ded1 #deh1 #dfb4 ,pensacola clay1 #ddg4 ,perrin1 ,mme41 ,marseilles1 #bhf4 ,perrine ,co41 ,baltimore1 #dee4 ,persia1--n1 #ch1 #ajf1 #ajg1 #acj1 #ahi-aig2 in ,china1 #acj2 in ,spain1 #bah1 #bch2 influence of1 #aih1 et seq41 #bda1 #bdg1 #bdi1 #bed1 #beg1 #bhc 7fig4 #bdj71 #big1 #cjd1 #cbe1 #cfg4 ,perspective in ,chinese art1 #aej4 ,perth ,amboy clay1 #ddh2 analyzed1 #dej2 fire-brick factory1 #dee4 ,peru1 #cic1 et seq42 its history1 #cid2 pottery1 #cie1 et seq42 religion1 #cih2 forms1 #djj2 decoration1 #djg2 colors1 #djh2 customs1 #dji2 processes1 #dac1 #dah1 #dbh1 #dcj1 #dch4 ,perugia1 #bfc4 ,pesaro1 #bdi1 #bee1 #bef1 #beg4 ,peterynck of ,lille at ,tournay1 #cca4 ,petuntse1 #ea2 its composition1 #ei1 #fj4 ,phiale1 #bbc1 #bbf4 ,philadelphia stone-ware1 etc41 #dee2 terra-cotta1 #dfg2 porcelain1 #dga1 #dgb4 ,phnicia1--ns1 #aii1 et seq41 #baj1 #bbj1 #bdb1 #bdc2 in ,gaul1 #bgc4 ,piccolpasso1 #ej1 #fh1 #gf4 ,pinax1 #bbf4 ,pinxton1 #chg4 ,pirota1 ,casa1 #bfa4 ,pisa1 --ns1 #bah1 #bcd1 #bdh2 majolica1 #bee4 ,pithakne1 #bbc4 ,pithos1 #bg1 #bbb1 #bbc1 #bbh1 #bdc4 ,pittsburg1 ,pennsylvania1 #dfc4 ,pizarro1 #cie1 #dah4 ,place1 ,francis1 #cgf4 ,plumbiferous glaze1 #fd1 #fe4 ,plymouth1 porcelain of1 #cgf4 ,poa-en-ssi1 #aah4 ,poirel1 ,nicolas1 #bha4 ,poitevin1 artist1 #cbd4 ,poitou1 old pottery1 #bgc4 ,poland1 #cde4 ,pompadour1 ,madame de1 #cad2 ,rose1 #cae1 #chg4 ,porcelain1 word misapplied1 #dh2 definition and etymology1 #ea2 invented in ,china1 #ea1 #aba2 introduction into ,europe1 #ea2 invention in ,europe1 #eb2 composition1 #ei1 et seq42 ,egyptian1 #ib2 ,assyrian1 #ajj2 ,indian1 #ajg2 ,chinese #aba2 without embryo1 #adj2 invented in ,japan1 #afj1 #agd2 ,persian1 #aie1 etc2 porcelain and metal1 #dhf2 7see also artificial1 natural1 and different countries74 ,porous ware1 #dei1 #dfi4 ,portland vase1 #cfc4 ,portugal1 --uese1 #afd1 #bci4 ,poterat1 ,edme1 #bha2 his son ,louis1 #bha1 #cab4 ,potters' ,association1 #dfc4 ,potter's wheel1 #gj1 et seq4 ,pottery1 etymology and meaning1 #di2 composition of different kinds1 #fb4 ,pou-tai1 #aab1 #aah4 ,prices1 potters in ,new ,jersey1 #dee4 ,printing on faience at ,creil1 #cjg2 at ,liverpool1 #cgd2 on porcelain at ,worcester1 #chj2 at ,battersea1 #chj1 #cha4 ,prochoos1 #bbe4 ,prometheus1 #ba4 ,psykter1 #bbe4 ,ptolemy ,claudius1 #baj4 ,ptolemy ,lagus1 or ,soter1 #bjj4 ,pueblo ,indians1 #dcj1 #dca1 et seq4 ,pug-mill1 #fg4 ,pull of ,paris1 #bgg4 ,quamon1 #afb4 ,queen's-ware1 ,wedgwood's1 #cfc2 made in ,connecticut1 #ded4 ,quintilius ,varus1 #bd4 ,quirigua1 #dbc4 ,raffaelle ,del ,borgo1 #beg4 ,raku1 #afj4 ,ramey1 ,r4 ,c41 ,philadelphia1 #dee4 ,rato1 #bci4 ,ravenna1 #bfb4 ,raumur makes 8porcelain10 #cac4 ,reed1 ,bristol potter1 #cgc4 ,reflet mtallique4 7,see ,metallic lustre47 ,regnault1 director at ,svres1 #cae1 #cbe4 ,regnier1 director at ,svres1 #cae4 ,religion and art1 #bh1 #ca1 #hc1 #bcd1 #cih 7see under each country74 ,renard1 ,m41 modeller at ,svres1 #bid4 ,reticulated porcelain1 ,chinese1 #aeb2 ,copeland's1 #che4 ,revel1 #cdd4 ,rverend1 ,claude1 made 8counterfeit porcelain10 #cab4 ,rhages1 #aic4 ,rhodes1 #baa1 #bac1 #bad1 #bae4 ,rhodes1 ,william1 potter at ,jersey ,city1 #def2 at ,vermont1 #dfa2 at ,trenton1 #dfa4 ,rhodes ,yates1 ,trenton1 #dfa4 ,rhyton1 #bg1 #bbb1 #bbe4 ,ridgway1 ,job1 potter at ,shelton1 #chh4 ,rimini1 #bfb4 ,ringler1 workman at ,vienna1 #cdj1 et seq4 ,robert1 director at ,svres1 #cae4 ,robert1 ,joseph ,gaspard1 artist at ,marseilles1 #bhf1 #cag4 ,robertsons of ,chelsea1 ,massachusetts1 #dei1 #dfh1 et seq4 ,robinson1 ,liverpool1 artist1 #cgd4 ,rockingham ware1 #cgf1 #chf1 #deh1 #dei1 #dfb4 ,rome1 #bd1 #bdj1 et seq4 ,roman1 --s1 #bcc1 #bdj1 et seq42 unglazed ware1 #bde2 in ,gaul1 #bgb2 in ,germany1 #cbg1 #cbh2 in ,england1 #ced4 ,romulus1 #bdd4 ,rorstrand faience1 #cdf4 ,rose-back decoration1 #adj4 ,rose family 7,chinese and ,japanese71 #adj1 #ada1 #adb1 #agf1 #ahb1 et seq4 ,roses of ,colebrookdale1 #cge1 #chg4 ,rouen1 #abe1 #bha1 #caa1 #cab1 #ccj4 ,roundabout1 ,new ,jersey1 #dee4 ,rouse ,turner1 ,jersey ,city1 #def1 #deg4 ,ruminhauy1 ,peruvian cacique1 #dje1 #dad4 ,russia1 #cdd1 #cde4 ,rustiques figulines1 #db1 #bgf1 #cdf4 ,sacred axe1 #abd4 ,sacred horse1 #aad4 8,sacred things10 #abd4 ,sadler1 ,john1 #cgd4 ,saguntum1 #bcc4 ,st4 ,amand faience1 #caa4 ,st4 ,clement faience1 #caa4 ,st4 ,cloud1 #eb2 faience1 #caa2 porcelain1 #cab4 ,st4 ,denis faience1 #caa4 ,st4 ,john1 ,knights of1 #bae4 ,st4 ,petersburg1 #cdd1 #cde4 ,st4 ,yrieix1 #ec1 #bhf1 #caf1 #cag4 ,saki or ,sake1 #agj4 ,salamis1 #bja1 #bjd4 ,salmon1 commissioner at ,svres1 #cae4 ,salt glaze1 #ha2 discovered in ,england1 #cei2 used at ,lambeth1 #cgj4 ,samian ware1 #ajd1 #bcc1 #bde2 in ,england1 #ced4 ,sandwich1 delft pottery of1 #cei4 ,sandy ,hill1 ,new ,york1 #dfh4 ,san ,felipe1 #bcc4 ,sans1 ,thomas1 #cei4 ,santa ,cruz del ,quiche1 #dbj1 #dba4 ,saracens1--ic1 #ahi1 #bad1 #bae1 et seq41 #bcc1 et seq41 #bdj1 #bda1 #bdg1 #bdh4 ,sargon1 #bjj4 ,sarreguemines faience1 #cji2 porcelain1 #cji4 ,sassanian dynasty1 #aij4 ,satsuma1 #afa1 #afg-agj4 ,sauvage1 ,charles1 ,niederviller1 artist1 #caj4 ,savy1 ,honor1 potter at ,marseilles1 #bhe4 ,saxons1 #ced4 ,sayreville1 ,new ,jersey1 #dee4 ,scandinavians1 ancient1 #cdd4 ,scarabus1 #he2 as signet1 #ib1 #ic4 ,sceaux faience1 #caa4 ,schaffhausen1 #ccj4 ,schelestadt1 #cbi4 ,schiites1 #aia4 ,schist1 #ie4 ,schnorr1 ,john1 #eb4 ,scotland1 ancient remains1 #cec4 ,seggars1 #gf4 ,seidji1 #agi4 ,seleucus ,nicanor1 #aij4 ,semi-china1 #deh1 et seq41 #dfc4 ,seto1 #aei1 #aha4 ,seville1 #bcf1 #bcg4 ,svres3 old paste analyzed1 #fa2 how porcelain is made1 #fg1 #bci1 #bid2 faience1 #caa2 ,royal factory at1 #cad1 et seq42 copied at ,strasburg1 #cag2 value of1 #cai2 pate changeante1 pate-sur-pate1 #cbf2 imitated in ,switzerland1 #cdc2 artists in ,russia1 #cde2 imitated in ,chelsea1 #cgh2 ,coalport1 #chg2 copied in ,america1 #ddc4 ,sforza family1 #bee1 #bef4 ,sgraffiato1 #bdi2 ,minton's1 #cfg4 ,shelton1 stone-ware1 #cfj2 porcelain1 #chf1 #chh4 ,shintoism1 #afa4 ,shiogun1 #afj4 ,shiou-ro1 #afb1 #agj4 ,shonsui1 #add1 #afj1 #agf1 #agi1 #ahe4 ,shropshire1 #cge1 #chg4 ,siam1 #ajh4 ,sicily1 #bag1 #bah1 #bda1 #bdb1 #bdg4 ,siculo-,moresque1 #bdg4 ,sidon1 #bjj1 #baa4 ,siena1 #bee4 ,silicious glaze1 #fd4 ,simpson1 ,william1 ,english potter1 #ceh4 ,skyphos1 #bbf4 ,smith1 ,t4 ,c41 of ,greenpoint1 #ddc1 #dea2 sketch of1 #dgc1 et seq4 ,soft porcelain4 7,see artificial47 ,soli1 #bjd4 ,solon1 ,m41 #cbe1 #cbf1 #cha4 ,sometsuki1 #afa2 blue ,sometsuki1 #age1 #agi1 #ahf4 ,sonorous stone1 #abd4 ,souffl1 #acb1 #aeb4 ,south ,amboy1 ,new ,jersey1 clay1 #ddh1 #dee4 ,south ,america1 #cia4 ,spain1 #baf1 #bag1 #bah1 #bcc-bci1 #bda1 #bdb1 #bdi4 ,spaniards in ,peru1 #cie4 ,sparkes1 ,mrs41 ,lambeth artist1 #cga1 #cgb4 ,spode1 ,josiah1 #chb4 ,spring ,mills1 ,pennsylvania1 #dee4 ,staffordshire1 ,delft1 #ceh2 stone-ware1 #cei2 general history1 #cei1 et seq4 ,stamnos1 #bbc1 #bbd4 ,stamps for bricks1 #hh1 #aja4 ,stanniferous enamel1 #ej1 #ed1 #ef1 #fd1 #fe1 #ie1 #ajj1 #aja1 #ajb1 #ajf1 #bag1 #bdj1 #bdg1 #bdh1 et seq41 #bec2 rsum of history1 #bed2 in ,france1 #bgc2 in ,germany1 #cbi4 ,states1 ,adam1 potter at ,stonington1 #ded4 ,stephenson ,hancock1 #cgi4 ,stewart ,co41 ,new ,york1 #deg4 ,stoke-upon-,trent1 #cei1 #cfe1 #chb4 ,stone china1 ,copeland's1 #chg2 ,carr's1 #deh4 ,stonington1 ,connecticut1 early pottery of1 #ded4 ,stone-ware1 #ha1 #aah2 ,german1 #ccc2 ,english1 #ceh2 ,american1 #ded1 et seq4 ,strasburg1 faience1 #bhf1 #caa2 porcelain1 #caf4 ,stratford-le-,bow1 #cgg1 #dga4 ,strehla1 #cbi4 ,sultaneah1 mosque of1 #ci1 #aie4 ,suma1 #agc4 ,sun as a symbol1 #hf4 ,sun-dried clay1 #gd2 ,egyptian1 #hh2 ,assyrian1 #ih1 #aja2 ,greek1 #bbj2 ,peruvian1 #cif2 ,mound-builders'1 #dbg2 ,pueblo1 #dca4 ,sunnites1 #aia4 ,surprise hydraulique1 #aeb4 ,swansea1 #chg4 ,sweden1 #cde1 et seq4 ,swinton1 #cgf1 #chf4 ,switzerland1 #cbg1 #ccj1 #cca2 porcelain1 #cdc4 ,tablet of honor1 #abd4 ,tai-thsing1 #acd1 #ace1 #acg1 #ahe4 ,talhas1 #daf4 ,tamerlane1 #aij4 ,tao-te-king1 #aaa4 ,tarquinii1 #bda4 ,tarquinius ,priscus1 #bdb1 #bdd4 ,tarsus1 #baa4 ,taylor ,speeler1 ,trenton1 #dei1 #dfj4 ,taylor1 ,william ,james1 potters1 ,jersey ,city1 #def2 at ,trenton1 #dei4 ,tch'a1 #abb1 #aca4 ,tchang1 #abb4 ,tcheou1 #acd4 ,tcheou blue1 #abb1 #abc1 #aca4 ,tchini1 #aif1 #aig4 ,tchoui1 #aaf4 ,tea-parties1 #afj4 ,technology1 #dh4 ,tegua1 #dcf1 et seq4 ,tellwrights of ,staffordshire1 #cei4 ,tennessee ,indians1 #ddj4 ,terra-cotta1 #fd2 ,egyptian1 #hh2 ,assyrian and ,babylonian1 #ajj-ajb2 ,indian1 #ajg2 ,phnician1 ,greek1 etc41 ,book ,,iii41 ,cap4 ,i41 passim2 ,greek1 #bbj1 et seq42 ,roman1 #bdf2 ,danish1 #cdg1 et seq42 ,doulton's1 #cgb2 ,american1 ancient1 #dbf2 modern1 #dee1 #deg1 #dfg1 et seq4 ,tervueren1 #cca4 ,teucer1 #bja4 ,teylingen1 #ccd4 ,thang-kong1 #acj1 #acd1 #acg4 ,tho-tai-khi1 #adj4 ,thoth1 #ba4 ,thothmes ,,iii41 #bjj1 #bjf4 ,thorvaldsen1 #cdh1 et seq4 ,throwing1 #gj4 ,thuringia1 #cda4 ,thursfield1 ,richard1 #cge4 ,tin enamel4 7,see ,stanniferous47 ,ting-yao1 #abb1 #acd4 ,tinworth1 ,george1 ,lambeth artist1 #cga2 plaques by1 #cgc4 ,tlascalans1 #dbc1 #dbd4 ,toft1 ,t4 and ,r41 ,english potters1 #cei4 ,tokio1 #aha4 ,toltecs1 #dbb1 #dbe1 #dbf1 #dbi4 ,tortoise-shell ware1 #cfa4 ,tossi-toku1 #afb1 #agj4 ,tournay1 faience of1 #cca4 ,transmutation1 #acc4 8,treasures of writing10 #abd4 ,trenton1 ,new ,jersey1 #dei-dfg4 ,trenton ,pottery ,works1 #dfj4 ,tripous1 #bbe4 ,trou1 ,henry1 of ,st4 ,cloud1 #cab4 ,truit1 #abj4 ,tucker1 ,thomas1 ,philadelphia1 #dgb4 ,tucker1 ,william ,e41 ,philadelphia1 #dga4 ,tunisia1 #baf4 ,tunstall porcelain1 #chf4 ,tupinambas1 #dac4 ,turner1 ,thomas1 ,caughley1 #chg4 ,turquoise blue1 how made1 #abc1 #aca2 ,french1 #cbc1 #cbd2 ,minton's1 #cfg4 ,tuscany1 #bee4 ,tycoon1 #afj1 #afa1 #afc4 8,tygs10 #cei4 ,tyre1 #baa4 ,tyrians1 #bjj4 ,tyrrheno-,pelasgians1 #bdb1 #bdc4 ,ulysse of ,blois1 #cji4 ,unbaked pottery4 7,see ,sun-dried clay47 ,united ,states1 #ddb-dhg2 materials1 #ddf-deb2 pottery1 #dec-dgj2 porcelain1 etc41 #dee1 #deg1 #deh1 #dei1 #dfa-dfc1 #dga-dhg4 ,univalve shell1 #abd4 ,urbino1 #bee1 #bef1 #beg1 #beh4 ,utah1 #dcb1 #dcg4 ,utzchneider ,co41 #cji4 ,valencia1 #bcc1 #bcd1 #bce1 #bcf1 #bcg1 #bch4 ,valenciennes1 #caa1 #cbj4 ,vance1 ,f4 ,t41 artist1 #cia1 #dhd4 ,van ,wickle1 stone-ware manufacturer1 #dee4 ,varus1 #bd4 ,venice1 #bdg2 majolica1 #bfb2 porcelain1 #eb1 #bfh1 #bfi4 ,venus1 temple of1 #bjc4 ,vezzi1 ,francesco1 #bfi4 ,vienna porcelain1 #ec1 #cdj4 ,villingen1 #ccj4 ,vincennes faience1 #caa2 porcelain1 #cac1 #cad1 #cbj4 ,vineuf1 #bgj4 ,violet1 ,chinese1 #adi4 ,virginia clay1 #ddg4 ,vista ,allegre1 #bci4 ,voleur1 ,jehan de1 #bgc4 ,von ,lang1 workman at ,copenhagen1 #cea4 ,vulcan1 #ba4 ,vulci1 #bda1 #bdb1 #bdc4 ,wackenfield1 potter at ,strasburg1 #bhf1 #caf4 ,wagenaar1 #ahf4 ,walker ,beely1 #chg4 ,walker1 ,brown1 ,aldred ,rickman1 #cge4 ,wall1 ,dr41 #chj4 ,wandelein1 director at ,la ,doccia1 #bfh4 ,warrin ,lycett1 decorators1 #dhc4 ,washington1 #bd1 #ajh1 #bic2 his ,svres1 #cai4 ,water-vessels1 ,peruvian1 #dja1 et seq4 ,watson1 ,j4 ,r41 #dee4 ,watts1 ,john1 partner of ,doulton1 #cgj4 ,wedgwood1 imitation jasper-ware of1 #cji2 cameos of1 #ccj2 life of1 #cfa1 #cfg1 #cgd1 #chb2 using ,american clays1 #ddf2 his fear of ,america1 #ded4 ,weesp1 porcelain factory1 #cdc4 ,wendrich ,son's terra-cotta1 #cdh4 ,wheildon1 ,t41 partner of ,wedgwood1 #cfb4 ,whistling jars1 ,peruvian1 #dji1 #daj4 ,white1 ,chinese1 #ade1 et seq41 #adg1 #adh4 ,willow-ware1 #chb1 #chg4 ,winterthur1 #ccj4 ,wood1 ,enoch1 #cfd4 ,woodbridge1 ,new ,jersey1 clay1 #ddh4 ,worcester porcelain1 #cgi2 and silver1 #dhg4 ,wrede1 ,bristol potter1 #cgc4 ,xanto1 ,francesco1 #beh1 #bfj4 ,xativa1 #bcc4 ,yang1 #aaj4 ,yarmouth1 #cge4 ,yebis1 #afb4 ,yeddo1 #aha4 ,yellow1 imperial1 #aej4 ,yn1 #aaj4 ,ynca1 #bcf4 ,young1 ,william1 ,nantgarrow1 #chg4 ,young1 ,william1 ,sons1 ,trenton1 #dfj1 #dfa4 ,yu1 #adg4 ,yucatan1 #dbc1 #dbd4 ,zaffarino1 artist at ,ferrara1 #bfc4 ,zoroaster1 #aij4 ,zuni1 #dca1 #dcf1 et seq4 ,zrich1 #ccj2 porcelain1 #cdc4 ,,the ,,end4 ,,valuable ,,and ,,interesting ,,works ,,for ,,students ,,of ,,ancient ,,and ,,modern ,,art4 ,,harper ,,brothers will send either of the above works by mail 7excepting the larger works1 whose weight excludes them from the mail71 postage prepaid1 to any part of the ,united ,states1 on receipt of the price4 ,for a full list of works published by ,,harper ,,brothers1 see ,,harper',s ,,new ,,and ,,enlarged ,,catalogue1 #ccb pp41 #hvo1 with a ,,complete ,,analytical ,,index1 and a ,,visitors' ,,guide ,,to ,,their ,,establishment1 giving an interesting description of the buildings in which their business is carried on1 and of the various processes in the manufacture of their books4 ,sent by mail on receipt of ,nine ,cents4 ,pottery and ,porcelain of all ,times and ,nations4 ,with ,tables of ,factory and ,artists' ,marks1 for the ,use of ,collectors4 ,by ,,william ,c4 ,,prime1 ,,ll4,d4 ,illustrated4 #hvo1 ,cloth1 ,uncut ,edges and ,gilt ,tops1 #g #jj2 ,half ,calf1 #i #be4 7,in a ,box47 ,the ,ceramic ,art4 ,a ,compendium of the ,history and ,manufacture of ,pottery and ,porcelain4 ,by ,,jennie ,j4 ,,young4 #hvo1 ,cloth4 7,just ,ready47 ,the ,china ,hunters ,club4 ,by the ,youngest ,member4 ,illustrated4 ,post #hvo1 ,cloth1 #a #ge4 ,art ,education ,applied to ,industry4 ,by ,,geo4 ,,ward ,,nichols4 ,illustrated4 #hvo1 ,cloth1 ,illuminated and ,gilt1 #d #jj4 ,contemporary ,art in ,europe4 ,by ,s4 ,g4 ,w4 ,,benjamin4 ,copiously ,illustrated4 #hvo1 ,cloth1 ,illuminated and ,gilt1 #c #ej2 ,half ,calf1 #e #ge4 ,art ,decoration ,applied to ,furniture4 ,by ,,harriet ,,prescott ,,spofford4 ,with ,illustrations4 #hvo1 ,cloth1 #d #jj2 ,half ,calf1 #f #be4 ,cyprus3 its ,ancient ,cities1 ,tombs1 and ,temples4 ,a ,narrative of ,researches and ,excavations during ,ten ,years' ,residence in that ,island4 ,by ,general ,,louis ,,palma ,,di ,,cesnola1 ,mem4 of the ,royal ,academy of ,sciences1 ,turin2 ,hon4 ,mem4 of the ,royal ,society of ,literature1 ,london1 c4 ,with ,portrait1 ,maps1 and #djj ,illustrations4 ,third ,edition4 #hvo1 ,cloth1 ,gilt ,tops and ,uncut ,edges1 #g #ej4 ,caricature and other ,comic ,art4 ,in all ,times and ,many ,lands4 ,by ,,james ,,parton4 ,with #bjc ,illustrations4 #hvo1 ,cloth1 ,gilt ,tops and ,uncut ,edges1 #e #jj4 ,ancient ,egyptians4 ,a ,popular ,account of the ,ancient ,egyptians4 ,revised and ,abridged from his larger ,work4 ,by ,sir ,j4 ,,gardner ,,wilkinson1 ,d4,c4,l41 ,f4,r4,s41 c4 ,with #ejj ,illustrations4 #b vols41 #abmo1 ,cloth1 #c #ej4 ,peru4 ,incidents of ,travel and ,exploration in the ,land of the ,incas4 ,by ,e4 ,g4 ,,squier1 ,m4,a41 ,f4,s4,a41 late ,u4 ,s4 ,commissioner to ,peru2 ,author of 8,the ,states of ,central ,america10 8,nicaragua3 its ,people1 ,scenery1 ,monuments1 ,resources1 ,condition1 and ,proposed ,canal10 c4 ,with ,map and #beh ,illustrations4 #hvo1 ,cloth1 #e #jj4 ,the ,mikado's ,empire4 ,book ,i4 ,history of ,japan1 from #ffj ,b4,c4 to #ahgb ,a4,d4 ,book ,,ii4 ,personal ,experiences1 ,observations1 and ,studies in ,japan1 #ahgj-ahgd4 ,by ,,william ,,elliot ,,griffis1 ,a4,m41 late of the ,imperial ,university of ,tki1 ,japan4 ,copiously ,illustrated4 #hvo1 ,cloth1 #d #jj4 ,bible ,lands4 ,their ,modern ,customs and ,manners ,illustrative of ,scripture4 ,by the ,rev4 ,,henry ,j4 ,,van-,,lennep1 ,d4,d4 ,illustrated with upward of #cej ,wood ,engravings and ,two ,colored ,maps4 #hvo1 ,cloth1 #e #jj2 ,sheep1 #f #jj2 ,half ,morocco1 #h #jj4 ,a ,hand-,book of ,pottery ,painting4 ,by ,,john ,c4 ,l4 ,,sparkes4 #cbmo1 ,paper4 7,in ,press47 ,ancient ,america4 ,in ,notes on ,american ,archology4 ,by ,,john ,d4 ,,baldwin1 ,a4,m4 ,with ,illustrations4 #abmo1 ,cloth1 #b #jj4 ,fresh ,discoveries at ,nineveh and ,babylon4 ,fresh ,discoveries at ,nineveh and ,babylon2 with ,travels in ,armenia1 ,kurdistan1 and the ,desert3 being the ,result of a ,second ,expedition1 undertaken for the ,trustees of the ,british ,museum4 ,by ,,austen ,,henry ,,layard1 ,m4,p4 ,with all the ,maps and ,illustrations in the ,english ,edition4 #hvo1 ,cloth1 #d #jj2 ,half ,calf1 #f #be4 ,nineveh4 ,a ,popular ,account of the ,discoveries at ,nineveh4 ,by ,,austen ,,henry ,,layard1 ,m4,p4 ,abridged by him from his larger ,work4 ,numerous ,illustrations4 #abmo1 ,cloth1 #a #ge4 ,carthage and ,her ,remains4 ,being an ,account of the ,excavations and ,researches on the ,site of the ,phnician ,metropolis1 in ,africa and other ,adjacent ,places4 ,conducted under the ,auspices of ,her ,majesty's ,government4 ,by ,dr4 ,n4 ,,davis1 ,f4,r4,g4,s4 ,profusely ,illustrated with ,maps1 ,wood-cuts1 ,chromo-,lithographs1 c41 c4 #hvo1 ,cloth1 #d #jj2 ,half ,calf1 #f #be4