,illustration3 ,,wedgwood ,,portland ,,vase ,,pottery ,,and ,,porcelain1 ,,from ,,early ,,times ,,down ,,to ,,the ,,philadelphia ,,exhibition ,,of #ahgf4 ,,by ,,charles ,,wyllys ,,elliott4 ,,with ,,one ,,hundred ,,and ,,sixty-,,five ,,illustrations1 ,,and ,,the ,,more ,,important ,,marks ,,and ,,monograms4 ,,new ,,york3 ,d4 ,,appleton ,,and ,,company1 #edi #eea ,,broadway4 #ahgh4 ,,copyright ,,by ,d4 ,,appleton ,,and ,,company1 #ahgg4 ,,preface4 ,what we have attempted has been to gather and present1 in a way to be easily understood1 the most important facts respecting ,pottery and ,porcelain4 ,the study of this interesting subject has for more than a century been constant in ,europe1 and notably so during the last twenty-five years4 ,a correct knowledge of it may now almost be called a liberal education4 ,in the ,united ,states something has been done2 and the public mind is now asking1 ,what is it that makes 'pottery and porcelain' so attractive to scholars1 statesmen1 women1 and wits8 ,in some degree we have answered this question4 ,my part of the work has been to gather where ,i could such historical and technical facts and such illustrations as seemed most valuable1 not only to the student but to the collector4 ,many of these came from ,europe1 of course1 where since ,queen ,anne's day the love of old china has at times risen to enthusiasm4 ,but ,i have drawn from our own collections whenever it has been possible4 ,in the preparation and engraving of the illustrations ,i hope the judicious critic1 as well as the judicious public1 will give due credit to the publishers and their artists1 who1 it seems to me1 deserve great praise for having so well done what they have undertaken to do4 ,permit me to say a word for collectors4 ,busy men who are making railways and coal-pits1 under the pleasing illusion that they are developing the country more than the rest of us1 are apt to think a man with any hobby except that of making money is wasting his time4 ,i would like to remind the reader that there are a few--many of them young men and young women too--who have money enough for all reasonable wants1 and who do not care to waste time and life in getting more money1 for which they have no special uses2 these persons find a perennial occupation in the study1 the comparison1 the purchasing1 the collecting1 of all that will illustrate their subject of study--their hobby4 ,around this subject of pottery and porcelain may be grouped1 if one so pleases1 all the habits1 the wants1 the inventions1 the growths1 of human society4 ,some have yet a notion that the study of the politics and the fightings of man is most important2 others1 how man came to be an ,arminian or an ,augustinian2 others1 whether the sun is or is not gradually cooling down1 and must finally cease to be1 or whether1 on the contrary1 its flames are fed by the self-sacrificing stars4 ,without detracting from their labors1 ,i beg leave to say that my great hobby or central fact being the home1 ,i hold that whatever makes that interesting1 beautiful1 or useful1 is1 or should be1 interesting1 beautiful1 and useful1 to all the world4 ,i believe that what we call politics1 or government1 is only valuable in that it helps to create and to protect desirable homes2 all the rest--all the speeches1 and processions1 and crownings1 and court-balls1 and receptions1 and dinners--are leather and prunella4 ,therefore ,i believe the art of living is first and foremost2 to know how to make this life comfortable and beautiful is all-important4 ,yet there is not a teacher of this great art in all the land1 although professors are legion4 ,we may well ask1 when we go to a house3 ,what have they there to tell us--what to show us8 ,what have they collected to interest1 to please1 to instruct8 ,if a person has only many bonds bearing coupons locked up in his safe--delightful as the fact may be to him--what pleasure or satisfaction is that to us8 ,but if in that house are gathered all the interesting examples of any growth of ,nature or of ,art1 what a pleasure to go there6--they may be beetles1 or butterflies1 or stones1 or shells1 or silvers1 or porcelains4 ,i thank ,god that here is a man who can and does collect--one who does care for something which ,i too care for4 ,i wish1 therefore1 that every young man and young woman would get a hobby early in life to which he or she can at any time devote some spare time and spare money4 ,ennui1 the demon who afflicts the idle1 is thus exorcised1 and vice loses its charming power4 ,the collector1 too1 does not waste his money4 ,there is not a collection of pictures or of minerals1 of birds or of butterflies1 of chinas or of books1 of armor or of gems1 of laces or of tapestries1 if made with ordinary care and knowledge1 but is worth more--often ten times or fifty times more--than it has cost4 ,even in a pecuniary way1 therefore1 the hobby is productive2 and the collection is not only as interesting1 but it is as good as gold4 ,,our ,,collections4--,of collections of porcelain and pottery one must of course look for great exhibitions to the museums of ,europe--such as the ,kensington ,museum1 in ,london2 the ,cluny1 in ,paris2 the ,green ,vaults1 in ,dresden2 the ,oriental1 at ,leyden--and to private collections1 such as the ,rothschilds have made at ,london and at ,paris1 to ,lady ,schreiber's1 and many more1 in ,england4 ,what are accessible to us are the private collections of some of our own people4 ,in ,new ,york1 ,mr4 ,,william ,c4 ,,prime's collection is quite large1 numbering some four thousand pieces4 ,it is particularly devoted to the porcelains of ,europe1 and is an excellent collection4 ,in it are some four or five complete dinner-services of old ,dresden and ,svres porcelain1 and many single pieces which rank high4 ,mr4 ,s4 ,p4 ,,avery's collection of ,oriental porcelains is the most complete we have1 and is very rich in all the departments1 especially the ,chinese4 ,his pieces of celestial blue number more than any other single collection in this country4 ,in the ,loan ,collection of the ,metropolitan ,museum of ,art have been exhibited many examples from ,mr4 ,prime's collection of porcelains1 and about five hundred pieces of ,oriental ware from ,mr4 ,avery's1 of nearly every distinctive style made in ,china and ,japan in their best times4 ,the collection of ,mr4 ,,robert ,,hoe1 ,jr41 is extremely choice in its admirable specimens of ,oriental porcelain4 ,its egg-shells1 crackles1 and celestial blues1 are not to be excelled4 ,in this collection are also examples of other styles1 among them some of the best of old ,dresden4 ,mr4 ,w4 ,l4 ,,andrews1 of ,new ,york1 has a very choice collection of ,oriental porcelain1 probably the best in the country1 and1 containing the most of the rose-back and other egg-shell4 ,mr4 ,,edward ,,cunningham1 of ,milton1 ,massachusetts1 has many superb vases1 some of them of great size1 obtained by himself in ,china4 ,in ,albany1 ,mr4 ,j4 ,v4 ,l4 ,,pruyn has several complete dinner-services of ,svres porcelain1 made for ,king ,louis ,philippe1 one large service of ,lowestoft1 and many other individual and interesting specimens4 ,some of his examples of ,svres painting cannot be surpassed4 ,he has also a small breakfast-service of celestial blue1 mounted in silver1 which is excellent4 ,in ,boston1 ,mr4 ,g4 ,w4 ,,wales's collection is very varied and rich4 ,he has excellent examples of ,oriental and of ,european porcelains1 and some perfect pieces of celestial blue4 ,many of his best specimens are on loan in the ,boston ,art ,museum4 ,mrs4 ,,anson ,,burlingame's collection of ,chinese porcelain1 at ,cambridge1 made while in ,china1 is not large1 but it has in it some of the best examples of the green1 the celestial blue1 the rose1 and the chrysanthemum4 ,some of these have been exhibited in the ,loan ,collection in ,boston4 ,dr4 ,f4 ,w4 ,,lewis and ,mr4 ,e4 ,s4 ,,clarke1 of ,philadelphia1 have small and good collections1 particularly devoted to ,oriental porcelains4 ,mr4 ,w4 ,s4 ,,vaux and ,dr4 ,,lewis have made interesting exhibitions of the pottery of ,greece and of ,italy4 ,mr4 ,,joseph ,a4 ,,clay1 of ,philadelphia1 has a small and valuable collection of early ,peruvian pottery1 of the period before the ,spanish ,conquest4 ,there is also a varied collection of ,south and ,north ,american ,indian pottery in the ,peabody ,museum at ,cambridge4 ,there may be1 and probably are1 in the ,united ,states many interesting collections of which ,i know nothing4 ,i am told that ,mr4 ,,walters1 of ,baltimore1 and ,mr4 ,,probasco1 of ,cincinnati1 both have many very rare and valuable pieces2 but1 ,i regret to say1 ,i have had no opportunity of seeing them4 ,i do not doubt that the love for these fine works of man's hand will grow1 that more and more small collections will be begun1 and that time will make them large and valuable and interesting4 ,a word of caution may be said to guard against imitations1 which abound in ,europe4 ,i hear now that the ,chinese and ,japanese are learning1 all too quickly1 our ,christian ways of counterfeiting1 and are likely to better the instruction4 ,in conclusion1 ,i implore our people not to fill their houses with imitations of old things--not even when the antiques are good is it desirable to encourage porcelain-painters in that sort of thing3 when it comes to copying antiquity which is poor1 it is inexcusable2 and when we reach the counterfeiting of the antique1 it smacks of baseness4 ,for this sort of thing we1 the public1 are responsible4 ,the painter paints what will sell4 ,no gentleman or lady should consent to be shabby1 or to help other people along that facile road4 ,let us keep our eyes open to any and all new work which is good1 and especially to all which shows originality and courage on the part of modelers or of painters4 ,let us moderns admire the good in the ,orientals1 but let us worship our own gods1 and dare and do for ourselves4 ,as far as practicable1 ,i have in these pages pointed to examples1 and have illustrated by such as are owned in this country2 so that many persons who wish to examine these interesting works of fictile art may see them for themselves4 ,the public collections are of course all open2 and ,i am glad to say that private collectors seem willing and ready to open their collections to students as much as possible4 ,it is human and pleasant to wish that others should enjoy what we enjoy4 ,marks1 and especially upon porcelain1 are not the most important thing2 but still they are important1 and to many are most satisfactory4 ,i have therefore included in this volume all the prominent ones2 so that the book will be found useful not only to the collector at home1 but also to him who travels abroad4 ,the traveler who has a wise hobby gets a thousand times more pleasure from his travels than he who has no purpose except change of place and aimless movement4 ,i suggest to the man who has none to try pottery and porcelain4 ,as to prices of porcelain1 etc41 ,i have given those paid at actual sales whenever ,i could find them2 they will be of service to buyers and collectors1 as something of a guide to what they may safely pay4 ,books which may be referred to1 and especially such as may be found in some of our public libraries1 are given at the end of the volume4 ,i hope the public will buy this book1 and also good pottery and porcelain4 ,c4 ,w4 ,e4 ,,contents4 ,,chapter ,i4 ,,unglazed ,,pottery4 ,the ,pottery of the ,stone ,age4--,the ,lacustrine ,dwellings4--,vases of the ,bronze ,age4--,peruvian ,pottery4--,mexican ,pottery4--,pottery of ,western ,mounds4--,the ,cesnola ,collections4--,roman ,pottery4--,saxon and ,scandinavian ,pottery4--,the ,pottery of ,ancient ,gaul--of ,ancient ,germany44444,,page #ac ,,chapter ,,ii4 ,,unglazed ,,pottery4--,,the ,,greek ,,vase4 ,palaces of ,homer's ,heroes4--,the ,ceramicus at ,athens4--,egyptian ,pottery4--,etruscan ,tombs4--,good and ,bad ,vases4--,age of ,vases4--,various ,styles4--,the ,archaic ,style4--,the ,fine ,style4--,beauty a ,birthright4--,aspasia's ,house4--,names of ,vases4--,the ,cup of ,arcesilaus4--,number of ,extant ,vases4--,their ,uses4--,the ,greek ,houses4--,greek ,women4--,greek ,men4--,the ,hetairai4--,etruscan ,vases44444#bi ,,chapter ,,iii4 ,,unglazed ,,pottery ,,at ,,the ,,great ,,exhibition ,,of #ahgf4 ,unglazed ,water-,colors4--,clay ,sketches4--,japanese ,clay ,figures4--,spanish ,pots4--,italian ,peasant ,pottery4--,egyptian4--,turkish4--,mexic an4--,watcombe ,terra-cotta4--,copenhagen ,pottery44444#fc ,,chapter ,,iv4 ,,glazed ,,pottery4--,,gr,s ,,de ,,flandre1 ,,french1 ,,german1 ,,etc4 ,definition of ,glaze4--,varnish4--,enamel in ,egypt1 ,babylon4--,the ,arabs and the ,moors4--,grs de ,flandre4--,cologne1 ,regensburg1 ,baireuth1 ,neuwied1 ,grenzhausen1 ,coblentz4--,holland4--,beauvais4--,flan ders4--,apostle-,mugs4 --,graybeards4--,bellarmines4--,pottle-, pots4--,modern ,work4--,doulton ,stone-ware4--,early ,german ,stone-ware at ,breslau4--,hirschvogel4 --,nuremberg44444#fi ,,chapter ,v4 ,,glazed ,,pottery4--,,moorish1 ,,persian1 ,,rhodian1 ,,etc41 ,,etc4 ,the ,arabs in ,spain4--,cordova1 ,granada1 ,seville4--,enamel and ,lustres4--,hispano-,moresque4--,the ,alhambra4--,tiles4--,vase of the ,alhambra4--,malaga4--,majorca and ,maiolica4--,rhodian ,pottery4--,damascus ,pottery4--,persian and ,arabic ,pottery4--,persian ,porcelain4--,persian and ,arabic ,tiles44444#ha ,,chapter ,,vi4 ,,glazed ,,pottery4--,,italian ,,maiolicas4 ,the ,word ,maiolica1 or ,majolica4--,italian ,renaissance4--,the ,dark ,ages4--,the ,crusades4--,the ,mezza-,maiolica4--,the ,true ,maiolica4--,luca della ,robbia4--,urbino4--,xanto and ,fontana4--,raffaelesque ,ware4--,mr4 ,fortnum4--,prices to-day4--,gubbio4--,maestro ,giorgio4--,the ,lustres4--,castel-,durante4--,faenza4-- ,the ,sgraffito4--,forli1 ,venice1 ,castelli1 etc4--,castellani4--,maiolicas at the ,centennial44444#ie ,,chapter ,,vii4 ,,french ,,faience4--,,palissy ,,ware1 ,,and ,,henri-,,deux ,,ware4 ,bernard ,palissy4--,the ,catholics and the ,huguenots4--,saintes4--,figurines4--,th e ,centennial ,exhibition4--,prices4--,henri-,deux--wh ere made--when4--,copies at ,philadelphia4--,list of ,pieces extant1 and ,prices44444#abc ,,chapter ,,viii4 ,,french ,,faience4--,,nevers1 ,,rouen1 ,,beauvais1 ,,etc4 ,number of ,manufactories4--,their ,rise and ,decline4--,nevers4--,prices4--,beauvais 4--,rouen4--,moustiers4--,strasbourg1 or ,haguenau4--,marseilles4--,sarreguemines 4--,sinceny1 ,nancy1 ,creil1 ,montpellier4--,paris4--,paris to-day4--,limoges4--,deck44444#ach ,,chapter ,,ix4 ,,dutch ,,delft ,,and ,,english ,,earthen-,,ware4 ,delft1 ,number of ,fabriques4--,haarlem4--,paste4--,great ,painters4--,violins4--,tea-,services4-- ,a ,dutch ,stable4--,broeck ,dutch ,tiles4--,england4--,queen ,elizabeth4--,pepys's ,diary4--,brown ,stone-ware4--,the ,tyg4--,lambeth ,pottery4--,fulham ,pottery4--,elers4--,elizabethan ,pottery4--,stoke-upon-,trent4--,josiah ,wedgwood4--,cheapness4--,queen's-ware4 --,jasper-ware4--,flaxman4--,cameos4--,b asalt4--,the ,portland ,vase4--,prices44444#aec ,,chapter ,x4 ,,the ,,porcelain ,,of ,,china4 ,difficulties4--,the ,porcelain ,tower at ,nanking4--,first ,making of ,porcelain4--,kaolin and ,pe-tun-tse4--,marco ,polo4--,portuguese ,importation4--,the ,city of ,king-te-chin4--,jacquemart's ,groups4--,symbolic ,decoration4--,inscriptions4--,the ,ming ,period4--,the ,celestial ,blue4--,the ,celadons4--,reticulated ,cups4--,the ,crackle4--,various ,periods4--,individualism4 --,marks and ,dates44444#age ,,chapter ,,xi4 ,,the ,,porcelain ,,of ,,japan4 ,corean ,porcelain4--,katosiro-ouye-mon4--,the ,province of ,idsoumi4--,styles prevailing in ,japan4--,marks4--,japanese ,blue4--,indian ,porcelain4--,dutch ,east ,india ,company4--,egg-shell and ,crackle4--,mandarin ,china4--,kaga ,ware4--,satsuma ,ware4--,japanese ,art4--,the ,philadelphia ,exhibition44444#baj ,,chapter ,,xii4 ,,the ,,porcelains ,,of ,,central ,,europe--,,dresden1 ,,berlin1 ,h,,chst1 ,,etc4 ,dresden ,china4--,porcelain in ,europe4--,the ,alchemists4--,augustus ,,ii4--,bttger4--,tschirnhaus4--,experim ents4--,kaolin discovered4--,hroldt and ,kndler4--,fine ,art1 or ,decorative ,art4--,lindenir4--,angelica ,kauffmann4--,rococo-,work4--,collectors 4--,marcolini4--,prices4--,marks4--,berl in4 --,the ,seven ,years' ,war4--,frederick the ,great4--,prices4--,marks4--,vienna4 --,stenzel4--,maria ,theresa4--,lamprecht4--,prices4--,marks 4--,hungary4--,herend4 --,fischer4--,marks4--,hchst1 or ,mayence4--,ringler4--,marks4--,frankent hal1 or ,bavarian4--,carl ,theodor4--,melchior4--,prices4--,marks4 --,frstenburg1 or ,brunswick4--,von ,lang4--,prices4--,marks4--,nymphenburg4 --,heintzmann and ,lindemann4--,prices4--,marks4--,ludwigs burg1 or ,kronenburg4--,fulda4 --,hesse-,cassel4--,switzerland4--,marks 44444#bbi ,,chapter ,,xiii4 ,,the ,,porcelain ,,of ,,france--,,st4-,,cloud1 ,,chantilly1 ,s,,vres1 ,,etc4 ,hard and ,soft ,porcelain4--,discovery of ,kaolin4--,st4-,cloud4--,pte ,tendre4--,marks4--,rouen4--,small ,manufactories4--,marks of same4--,chantilly4--,scaux-,penthivre4-- ,niderviller4--,marks4--,limoges4 --,svres4--,flower-,work4--,hard ,porcelain1 ,pte ,dure4--,the ,grand ,monarque4 --,florid ,taste4--,boucher4--,vieux ,svres4--,three ,vases4--,greek ,vases4--,prices at ,bernal ,sale4--,chemists4--,colors used4--,collections4--,art ,museums4--,alexandra ,brongniart4--,marks and ,dates44444#bec ,,chapter ,,xiv4 ,,the ,,porcelains ,,of ,,southern ,,europe--,,italy1 ,,spain1 ,,etc4 ,florentine1 or ,medicean4--,is it a ,true ,porcelain8--,the ,house of ,medici4--,marks4--,doccia ,porcelain4--,the ,marquis,ginori4--,beccheroni4--,present ,work4--,marks4--,venice4--,vezzi4--,coz zi4--,marks4--,turin4--,gioanetti4--,mar ks4 --,nove4--,terraglia4--,marks4--,capo di ,monte4--,naples4--,in ,relief4--,marks4--,spanish ,porcelain4--,buen ,retiro4--,marks4--,portugal44444#bgd ,,chapter ,,xv4 ,,the ,,porcelains ,,of ,,england4 ,bow4--,chelsea4--,derby4--,chelsea-,der by4--,lowestoft4--,worcester4--,chamberl ains4 --,plymouth4--,bristol4--,pinxton4--,nan tgaraw4--,swansea4--,turners4--,coalport 4 --,coalbrookdale4--,herculaneum4--,shelt on1 ,new ,hall4--,rockingham4--,spode1 ,copeland4--,place4--,daniell4--,minton4 --,prices and ,marks44444#bhh ,,chapter ,,xvi4 ,,the ,,porcelains ,,of ,,northern ,,europe4 ,holland and ,belgium4--,oriental ,trade4--,weesp4--,marks4--,loosdrecht4- -,amstel1 ,old and ,new4--,marks4--,the ,hague4--,marks4--,lille4--,mark4--,tour nay4--,marks4--,sweden4--,gustavus ,adolphus and ,charles ,,xii4--,marieberg4--,rrstrand4--,marks4 --,denmark4 --,copenhagen4--,marks4--,russia4--,pete r the ,great4--,catherine ,,ii4--,marks4 --,tver4--,gardner4--,moscow4--,popoff4- -,gulena4--,mark4--,poland4--,korzec4444 4#cai ,,chapter ,,xvii4 ,,pottery ,,and ,,porcelain ,,in ,,the ,,united ,,states4 ,the ,first ,porcelain made here4--,bonnin and ,morris4--,franklin ,institute4--,william ,ellis ,tucker4--,tucker and ,hemphill4--,thomas ,tucker4--,general ,tyndale4--,porcelain of ,t4 ,c4 ,smith and ,sons4--,early ,advertisements4--,josiah ,wedgwood4--,lord ,sheffield's ,report4--,alexander ,hamilton's ,report4--,history of ,norwich4--,samuel ,dennis1 ,new ,haven4--,isaac ,hanford1 ,hartford4--,gallatin's ,report4--,the ,washington ,pitchers4--,lyman and ,fenton1 ,vermont4--,rouse and ,turner1 ,new ,jersey4--,potteries at ,trenton4--,in ,ohio4--,the ,centennial ,exhibition44444#cca ,,pottery ,,and ,,porcelain4 ,,chapter ,i4 ,,unglazed ,,pottery4 ,the ,pottery of the ,stone ,age4--,the ,lacustrine ,dwellings4--,vases of the ,bronze ,age4--,peruvian ,pottery4--,mexican ,pottery4--,pottery of ,western ,mounds4--,the ,cesnola ,collections4--,roman ,pottery4--,saxon and ,scandinavian ,pottery4--,the ,pottery of ,ancient ,gaul--of ,ancient ,germany4 ,illustration3 ,,fig4 #a4--;,bowl of the ,stone ,age4 ,so ancient is the potter's art that it may be said to have begun with the beginnings of man4 ,a belief exists still in ,silesia that there is a mountain out of which cups and jugs spring spontaneously1 as the mushrooms shoot from the moist soil of the plains4 ,interwoven1 then1 as pottery is with the history of the race1 having relations daily and hourly with man's universal and greatest vocation--the preparation of the food which supports and continues life--it has had and will have an interest as vital as it is wide-spread4 ,illustration3 ,,fig4 #b4--,vase of the ,stone ,age4 ,illustration3 ,,fig4 #c4--,vase of the ,bronze ,age4 ,,man ,a ,,cooking ,,animal4--,man is the only cooking animal1 so far as ,i know4 ,it is easy to believe that archaic man1 when he began to evolve from the animal state1 at once began to invent1 and that1 after he had discovered the uses of fire1 the first need was of vessels which could be used upon the fire to seethe and boil4 ,and what do we find8 ,,the ,,reindeer ,,age--,,the ,,stone ,,age4--,of prehistoric times1 when the reindeer roved free over ,europe1 even to the shores of the ,mediterranean1 in the ,stone age1 even when man lived in caves and was only able to fashion things with stones1 a few pots have been found1 showing how early his wants led him to fashion things of clay4 ,illustration3 ,,fig4 #d4--,vase of the ,bronze ,age4 ,the ,,lacustrine ,,dwellings of the ,stone ,age have given up a few traces of men4 ,the remains of lake-dwellers have been found mostly in ,switzerland1 but somewhat in ,ireland and ,scotland4 ,these reveal a people who built their huts for safety upon piles or upon fascines anchored in the small lakes4 ,a variety of interesting things1 consisting of spear-heads1 knives1 hatchets1 etc41 have been found1 some of flint1 some of bone1 and some of bronze4 ,among these1 which pertain to our subject1 are a few pots of clay1 which have survived the gnawing tooth of ,time4 ,illustration3 ,,fig4 #e4--;,bronze ,age4 ,in ,figs4 #a and #b are to be seen two of these4 ,they are coarse and clumsy1 and are of blackish-gray clay1 hardened in the sun or in an insufficient fire4 ,they are not turned upon a wheel1 but show marks of the fingers impressed in the soft clay4 ,yet we cannot but be struck with the faint attempt at decoration to be seen on the foot of one of them1 even in that era of savageness4 ,illustration3 ,,fig4 #f4--;,bronze ,age4 ,illustration3 ,,fig4 #g4--;,bronze ,age4 ,the ,,bronze ,,age yields up pottery which does not yet show the invention of the potter's wheel4 ,the work is still moulded by the hand1 but the clay is better1 and the forms begin to show clear indications of a sense of proportion and a considerable degree of choice4 ,the shapes are in greater variety1 and some of them certainly are good4 ,of the five examples 7,figs4 #c1 #d1 #e1 #f1 and #g7 none are very bad1 and two 7,figs4 #c and #d71 if not three1 are excellent4 ,illustration3 ,,fig4 #h4--,peruvian4 ,illustration3 ,,fig4 #i4--,peruvian4 ,the pointed bottom appears here as it does in the early forms of the ,greek amphora2 and1 as the illustrations show1 this involves a necessity for a further invention in the tripods upon which they rest4 ,i have seen no explanation of this more difficult construction1 and can think of none4 ,it is certainly no easier to make the pointed than the flat bottom1 and it certainly is not so useful4 ,why1 then1 was it so common8 ,i can only suppose that when first made the point was intended to be thrust into the ground2 but the moment they had hit upon the flat bottom1 that moment the point1 ,i should fancy1 would have been abandoned2 but it evidently was not4 ,perhaps they loved the old as some of us do1 not because it was good1 but because it was old4 ,who can tell8 ,illustration3 ,,fig4 #aj4--;,ancient ,peru4 ,illustration3 ,,fig4 #aa4--;,ancient ,peru4 ,illustration3 ,,fig4 #ab4--;,ancient ,peru4 ,how early the varied decoration showed itself we cannot know1 but in many examples of early fictile work1 the meander1 the chevron or saw-tooth1 and the fret1 now called the ,greek fret1 are sure to appear--and among the most diverse and distant nations2 so1 too1 the forms and the uses of the vessels4 ,illustration3 ,,fig4 #ac4--;,ancient ,peru4 ,do not these things show that man develops everywhere along a corresponding line8 ,they have not copied from one another1 but a like want has produced a similar result in all4 ,illustration3 ,,fig4 #ad4--;,ancient ,peru4 ,illustration3 ,,fig4 #ae4--;,ancient ,peru4 ,as we approach the historic ages1 we find among the ,egyptians1 the ,mexicans1 the ,peruvians1 the ,greeks1 the ,assyrians1 the ,romans1 the ,gauls1 the ,germans1 the use of the potter's wheel1 one of the earliest machines made by man4 ,of the ,egyptian and ,greek pottery ,i shall have something to say in a chapter upon the ,greek ,vase4 ,illustration3 ,,fig4 #af4--,roman ,cup4 ,the ,,mexican pottery1 sometimes called ,aztec1 is usually of reddish clay1 and the vessels are almost identical in form and decoration with those of the ,peruvians1 which will appear in their place4 ,they are of great variety1 and must have been made in large numbers4 ,the ,mexicans also made grotesques and idols of clay1 which are usually hideous1 and are intended to be2 for the gods of evil were those they feared and worshiped most4 ,these potteries are of unglazed clay1 as are all those we are now treating4 ,illustration3 ,,fig4 #ag4--,roman ,vase4 ,the civilizations which organized themselves in ,mexico have always been an interesting and curious study4 ,when ,cortez and his conquering1 gold-seeking white men reached the high lands of the beautiful interior 7#aeag71 they found the splendid city of ,mexico1 built over and along the shores of the inland lake1 and stretching toward the foot-hills which protect it from unfriendly winds4 ,here the ,aztecs had organized society4 ,they had succeeded to the ,toltecs1 a prosperous1 industrious1 and probably a peaceful people--a people coming from the warmer ,south1 and unable to cope with the more hardy ,aztecs1 who came down from the ,north4 ,illustration3 ,,fig4 #ah4--,roman ,vase found at ,london4 ,these ,aztecs had not only developed the arts of architecture and painting1 as well as most of the mechanic arts2 they had also reached to a literature1 to laws1 to a religion most elaborate and splendid2 and they had not neglected to conquer and tax surrounding tribes1 and make them pay tribute1 as all the great white nations of the world have done4 ,but all their civilizations1 laws1 religions1 arts1 were swept into ruin by the conquering hand of ,cortez and his successors4 ,and what have we now in ,mexico8 ,what has come of the destruction of the great ,indian races there8 ,what but greed1 anarchy1 cruelty1 ruin8 ,it would be a curious speculation now to picture what that country--the most beautiful and most bountiful--might now be in the hands of its own people1 and with a government which could protect life and make labor safe4 ,as it is1 its life and its art give us nothing to look at or to enjoy4 ,must man always destroy first in order that he may build up1 and then be himself destroyed8 ,no remains have come to us of glazed pottery belonging to these times2 and it is probable that1 their wants being fewer1 their climate milder1 and their food simpler1 invention was not so much on the alert as it might have been in a colder and harsher climate4 ,that these races were for some unknown reason superior to those living farther to the north1 none will doubt when they know what they accomplished as compared with the ,indians of the ,united ,states4 ,the ,,peruvians were the most cultivated and comfortable nation upon the ,western ,continent when ,pizarro 7#aeca7 invaded1 and1 ,i may say1 destroyed them4 ,indeed1 when we read the accounts given of them by the ,spanish writers themselves1 we have only another proof that what we call carrying to other peoples the blessings of civilization and ,christianity means rather the cursing them with cruelty and greed4 ,illustration3 ,,fig4 #ai4--,vase4 ,pottery of ,ancient ,gaul4 ,a large collection of their pottery was shown at the ,united ,states ,exhibition in ,philadelphia in #ahgf1 and there is a sufficient and most interesting exhibit of it in the ,peabody ,museum at ,harvard in ,cambridge4 ,in this collection1 also1 are to be found many examples of like unglazed pottery found in the ,western mounds of the ,united ,states by ,professors ,shaler and ,carr1 who for some years have been engaged in researches in ,kentucky and at other points in the ,west4 ,upon some examples of this ,american pottery 7,figs4 #h to #ae7 are to be seen decorations in color1 mostly red1 black1 and brown2 and it would seem impossible that these colors should have lasted through so many centuries1 if they were not fixed by fire1 and therefore were mineral4 ,illustration3 ,,fig4 #bj4--,pottery of ,ancient ,gaul4 ,the decorations1 too1 were somewhat varied1 but in none which ,i have seen do they go beyond the elementary styles already mentioned4 ,the production of idols and fantastic vases1 animals and grotesques1 must have been extensive1 as so many of these have already been found2 indicating that they must have been common in their day4 ,examples of this fantastic decoration and modeling are seen in ,figs4 #ab to #ae--;and in ,fig4 #ad is an approach to portraiture4 ,in one 7,fig4 #ae7 is seen the double-bellied bottle1 so much in use in ,china and ,japan4 ,the twin-bottles seen in ,figs4 #h and #i are good examples of a fancy which evidently pleased potter and people in those good old ,peruvian times4 ,a most singular fact is mentioned by ,demmin1 that on one of their casseroles the handle is clearly the phallus1 symbol of life1 found on ,egyptian sculptures1 and once worshiped4 ,one curious fact is asserted by the ,french savants1#a that there is abundant evidence to show that through a long succession of years1 perhaps three thousand1 the character of these ,american potteries grew less and less pure and simple1 and more and more debased and vulgar2 which one can well believe1 when we see everywhere that whole nations1 some of them calling themselves civilized1 have gone the same road1 downward from the good to the bad1 and not upward toward the true and the beautiful4 ,illustration3 ,,fig4 #ba4--;,ancient ,gaul4 ,the opening of the ,,cesnola collections1 at the ,new ,york ,museum of ,arts1 shows us a vast number of early potteries which are as yet hardly classified or understood4 ,many of them bear marks of ,assyrian or of ,phoenician inspiration2 and among them are rude vessels closely resembling those of ,peru1 and also many grotesque forms of vases and animals1 such as mark the early attempts at ,art in other nations4 ,that collection should be examined by those who are interested in this subject4 ,the hand-book published by the ,museum is full of condensed information1 and should be carefully preserved4 ,the pottery of the ,,romans went wherever their armies went4 ,thus it is found in ,france1 in ,england1 in ,germany1 in ,spain1 etc41 etc4 ,this ,roman pottery has been found where excavations have been made1 in ,italy1 in ,france1 in ,england1 along the ,rhine1 and in other places4 ,it is distinguished as being more heavy and clumsy in form than that made in ,greece1 and the color of the clay is red1 lighter or darker4 ,the best of the ,roman ware is often called ,samian1 because it was supposed to resemble that made at ,samos in ,greece1 though it is quite different4 ,the finest pieces approach to the color of sealing-wax1 and have a lustre thin and brilliant1 which has given rise to some dispute whether or not it is the result of an applied mineral varnish1 or whether it is the product of careful hand-friction1 developed and perfected by a high heat4 ,the varnish1 if such1 is so thin that it has not been possible to analyze and decide upon it4 ,illustration3 ,,fig4 #bb4--;,ancient ,gaul4 ,this red ,samian or ,roman much resembles the polished red ware made to-day in ,egypt--of which a collection was shown in the recent ,philadelphia ,exhibition1 and this bore no varnish4 ,one thing remarked as to this ,roman pottery is1 that it is never decorated with designs or ornaments in one or more colors4 ,the decoration is sometimes incised1 but more often is in relief4 ,this is curious1 too1 as those master-potters1 the ,greeks1 used colors in their designs4 ,these pieces are to be seen in the museums of ,paris1 ,london1 and elsewhere4 ,the example engraved 7,fig4 #af7 is a cup on which the decoration is in relief1 and the fillets and bands are carefully moulded on the potter's wheel4 ,figs4 #ag and #ah were found in excavations made in #ahde in the city of ,london1 and are excellent examples of this pottery4 ,they are now in the ,museum of ,geology at ,london4 ,fig4 #ag is a sort of vase1 or perhaps a drinking-cup1 and is ornamented with the head of an animal4 ,it is described as of a pale red with a darkish-brown varnish4 ,fig4 #ah is called the ,cup of ,samos1 resembling so much as it does the work made at ,samos4 ,while these pieces were found in the earth beneath the city of ,london1 many others have been found elsewhere2 and much is believed to have been made at the old ,anglo-,roman town of ,caistre1 in ,england1 where remains of many furnaces have been unearthed4 ,illustration3 ,,fig4 #bc4--;,ancient ,gaul4 ,roman pottery has been found on the banks of the ,rhine1 near ,bonn1 ,coblentz1 ,mayence1 in ,baden1 etc41 etc42 in ,france1 at ,auvergne1 and at other points4 ,this finer work is supposed to date about the first century of our era4 ,it is classed by ,m4 ,demmin as being made at ,arezzo1 the ancient ,aretium1 in ,tuscany4 ,,commoner styles of ,roman pottery were made1 and many examples of these have been found of a coarser clay1 and varying in color1 gray1 black1 and yellow1 or light paleish red2 sometimes with a black or brown varnish4 ,these were doubtless made for the common uses of the kitchen4 ,the drinking-cups of this pottery often bore inscriptions1 such as ,ave1 welcome2 ,vivas1 live2 ,bibe1 drink2 ,vive1 bibe multum1 live and drink much1 etc4 ,illustration3 ,,fig4 #bd4--;,ancient ,german4 ,pottery was undoubtedly made by the ,saxons1 the ,scandinavians1 the ,gauls1 and the ,germans1 before the coming of ,roman armies and ,roman potters4 ,of these early remains examples have been found in the barrows of ,england1 and in other excavations4 ,m4 ,cleuziou published a work in #ahgb1 ,la ,poterie ,gauloise1#b warmly and strenuously claiming for the ,gauls an art and a pottery before the coming of the all-grasping ,romans2 who1 he asserts1 not only stole their country1 but also have claimed to be their benefactors and civilizers when they were not4 ,i cannot1 of course1 discuss the question here4 ,the engravings given 7,figs4 #ai1 #bj1 #ba1 #bb1 #bc7 are quoted by ,m4 ,figuier1 from whom ,i take them1 as examples of this early and curious work4 ,some of these certainly seem to indicate an inspiration original and quite different from what we see among the ,romans4 ,later1 and after the coming of the ,romans1 there were produced in ,gaul vases and other articles1 which may well be called ,gallo-,romaine1 or ,gallic-,roman4 ,illustration3 ,,fig4 #be4--;,german ,pottery4 ,illustration3 ,,fig4 #bf4--;,german ,pottery4 ,the ,,german potters also produced at a very early day large quantities of pottery1 which has a character of its own4 ,that it must have been very extensively made and used is evident from the many specimens exhumed in various parts of ,germany2 in such numbers1 indeed1 that the peasantry have a profound belief they are the work of the dwarfs1 and that they sprout spontaneously like mushrooms1 as ,i have said4 ,the examples we present are more simple than most of the ,roman work1 and the decoration is more severe4 7,figs4 #bd1 #be1 #bf47 ,pots1 vases1 and children's toys1 are also found in tombs in various parts of ,germany1 some of which show decided marks of art4 ,in some of these are found the ashes of the dead1 in others bones broken up1 and so preserved4 ,,chapter ,,ii4 ,,unglazed ,,pottery4--,,the ,,greek ,,vase4 ,palaces of ,homer's ,heroes4--,the ,ceramicus at ,athens4--,egyptian ,pottery4--,etruscan ,tombs4--,good and ,bad ,vases4--,age of ,vases4--,various ,styles4--,the ,archaic ,style4--,the ,fine ,style4--,beauty a ,birthright4--,aspasia's ,house4--,names of ,vases4--,the ,cup of ,arcesilaus4--,number of ,extant ,vases4--,their ,uses4--,the ,greek ,houses4--,greek ,women4--,greek ,men4--,the ,hetairai4--,etruscan ,vases4 ,the ,,greek ,,vase has come to be a synonym for beauty of form4 ,not that every ,greek vase is perfect--by no means--but that the ,greeks had come to feel and were able to express perfection of form in it as it had not been done before1 and as it has not been better done since4 ,illustration3 ,,fig4 #bg4--;,egyptian ,kylix4 ,so much interest hangs around this expression of the potter's art1 that we give more space to the subject than to many other branches of the art4 ,keeping this perfection in mind1 the manner of life of those ,greeks1 out of which the ,greek vase grew1 becomes of value1 and is indeed of most interest4 ,how did the ,greeks live1 and why was the ,greek vase made8 ,that the finest houses or palaces of the chiefs of the ,heroic or ,homeric period were larger1 and more marked by barbaric splendor1 than were the dwellings of the great in the days of ,pericles1 is admitted4 ,we give from ,mr4 ,bryant's translation of the ,iliad a brief description of ,hector's return to ,troy from the battle-field3 ,and now had ,hector reached the ,scean gates ,and beechen tree4 ,around him flocked the wives ,and daughters of the ,trojans eagerly2 ,tidings of sons and brothers they required1 ,and friends and husbands4 ,he admonished all ,duly to importune the gods in prayer1 ,for woe he said was near to many a one4 ,he passed onward in search of ,andromache3 ,and then he came to ,priam's noble hall1 ,a palace built with graceful porticoes1 ,and fifty chambers near each other walled ,with polished stone1 the rooms of ,priam's sons1 ,and of their wives2 and opposite to these ,twelve chambers for his daughters1 also near ,each other2 and with polished marble walls1 ,the sleeping-rooms of ,priam's sons-in-law ,and their unblemished consorts4 ,there he met ,his gentle mother on her way to seek ,her fairest child ,laodice4 ,that the description is glorified1 we need not doubt1 for that is the province of poetry2 and poor is the poet who does not see the beauty through the squalor1 the sunshine through the cloud4 ,the ,greek house of the time of ,pericles was much smaller and less splendid than this4 ,it is a curious fact to know that most of what remains to us of the living ,greeks and ,egyptians has been saved for us by the dead4 ,not a complete house of the living exists2 while those of the dead have been unearthed not only in ,greece1 but in parts of ,italy1 which in many places was colonized by ,greeks1 and in which ,greek customs and ,greek art had a strong hold4 ,illustration3 ,,fig4 #bh4--;,egyptian ,bottle1 ,side and ,front ,view4 ,the ,egyptians honored their dead1 the ,greeks honored their dead1 and the ,romans honored their dead4 ,let them have our thanks2 for1 because of that1 things of interest and beauty are left to us4 ,in their tombs have been found gold-work1 jewels1 manuscripts1 vases3 all of which tell their stories of the way men lived1 how they worked1 what they sought2 all of which show us that man then was the same as man is now--if you pricked him he bled1 if you tickled him he laughed4 ,we are apt to think that the ,past was ignorant1 brutal1 savage4 ,have we1 boastful as we are1 made porcelain better than the ,chinese8 ,have we made vases more beautiful than the ,greeks8 ,poetry more musical8 ,in the far past man was savage1 brutal1 ignorant2 and there is in man still the latent tiger4 ,in the civilization of which we boast1 there exist in all great cities1 side by side with luxury and splendor1 poverty1 wretchedness1 squalor1 brutality4 ,in the days of ,pericles1 in those days when the ,amphora and the ,temple reached their most perfect development1 the influences of ,art and ,poetry were most potent upon that small democratic oligarchy which possessed ,athens and tyrannized over ,greece4 ,then the tiger lay down in the midst of a wonderful wealth of architecture1 sculpture1 poetry1 eloquence1 painting 7we suppose71 and pottery4 ,then a whole district of the city to the northwest of the ,acropolis and the ,areopagus was occupied by the shops of the potter and the painter1 and was known as the ,,ceramicus1 or ,keramicus1 as it now is often spelled4 ,from that centre went out into all the coasts of the ,mediterranean ,sea thousands upon thousands of those vases and pots which were made and decorated there1 and from whose pictures we have drawn much of our knowledge of ,greek life1 art1 manners1 and dress4 ,illustration3 ,,fig4 #bi4--;,egyptian ,vase4 ,in this high time of ,,art lay the seeds of corruption and death4 ,the ,athenian ,greek became critical1 refined1 weak1 luxurious1 corrupt1 base2 and then he went to decay4 ,in some tombs 7,fig4 #cj7 opened in ,italy1 the body is found lying at length in the middle1 and about it stand perfect vases1 love-offerings of friends3 were they once filled with perfumes upon which the spirit of the dead was wafted away8 ,we place flowers in the graves of our lovely ones1 and1 beautiful as they are1 they vanish with the dead4 ,but the ,greek vase remains to us after the lapse of two thousand years4 ,illustration3 ,,fig4 #cj4--,tomb found in the ,environs of ,naples4 ,when the ,greeks--how early--began to fashion their fine work is not surely known2 but pottery of theirs exists dating as far back as #gjj ,b4 ,c4 ,behind them were the ,assyrians and the ,egyptians1 both nations great in war and great in the arts of peace4 ,the remains we have of both show the ,egyptians to have been the masters1 with whom began those arts which grew and bore fruit in ,assyria and in ,greece4 ,but the art of the ,egyptians seems never to have reached the lightness1 the delicacy1 the exquisite beauty of line1 which yet glorify the fictile art of ,greece4 ,older than the oldest writings of the ,hebrews1 older than ,homer1 is the potter's wheel2 through all history it has been the friend and companion of man2 its products are part of his daily life2 and delicate1 brittle as they are1 they have proved more enduring than the ,pyramids4 ,illustration3 ,,fig4 #ca4--,the ,archaic ,period4 ,nearly all the pieces of pottery found in ,egypt belong to those things which went into the daily uses of life4 ,most of them are of common clay1 with common forms1 and rude finish2 and they seem to have been of all shapes and designed for many purposes4 ,great casks1 vases1 pots for oil1 for grain1 for meats1 for wines1 for drugs1 for lamps2 children's marbles1 checkers1 toys1 rings1 amulets1 bottles1 etc41 etc41 are among the many things shaped by the potter in ,egypt4 ,of those things made for ornamental purposes1 there still exist some vases which approach the simple beauty of the ,greek2 of which we give one as pictured by ,wilkinson in his work upon the antiquities of ,egypt4 ,fig4 #bg is an ,egyptian kylix or drinking-cup4 ,it much resembles the ,greek kylix or cylix1 except that the foot is less perfect4 ,illustration3 ,,fig4 #cb4--,the ,departure of ,achilles1 from ,vase in the ,louvre4 ,the highly-ornamented bottle 7,fig4 #bh1 aryballos7 is another thing made purely for purposes of luxury1 which ,potiphar's wife used to hold her dainty perfumes--perfumes which1 we may easily believe1 would add to her dangerous charms4 ,it is modeled from the ,african calabash1 which was the first vessel used there for carrying water4 ,form and decoration are both perfect in this small bottle4 ,illustration3 ,,fig4 #cc4--,kylix1 of an ,early ,form4 ,we add a figure of very ancient ,egyptian pottery1 an early example of the efforts of that people at the human figure in clay4 ,it is made to serve the purposes of a vase1 whether for religious uses or other we do not know 7,fig4 #bi74 ,illustration3 ,,fig4 #cd4--,kylix1 ,finer ,form4 ,the terra-cotta earthenware vases and cups of the ,greek and ,etruscan potters1 by universal consent1 have come to be accepted as the most beautiful and satisfactory4 ,that they were thus perfect from the start1 and always so1 no one need maintain2 but that from ,greece and from many parts of it should have come such a vast number of vessels1 nearly all of which are beyond criticism1 is what no one can fully explain4 ,whence came the inspiration1 the perception of beauty1 which made the ordinary potter an artist1 no man can tell4 ,it is not possible that the men who worked at the potter's wheel in ,athens1 or in ,samos1 or in ,crete1 were educated1 as we say it1 to such a fine sense of the beautiful4 ,we1 with all the education we can put into our people1 do not equal them4 ,we can no more explain this than we can tell how such a wonderful growth of beautiful cathedrals shot up into life in ,france in what we call the ,middle ,ages4 ,nor was this perfection only to be found among the potters who worked in ,greece4 ,it brought forth works fit for gods in ,cyrenaica1 on the northern coast of ,africa1 in great abundance2 of which farther on we give an example in the ,cup of ,arcesilaus4 ,the wandering potters who went into ,italy1 and there produced those beautiful vases1 were ,greeks4 ,we have been in the habit of calling them ,etruscan vases1 because they have been found in largest numbers and in most perfect preservation in ,etruria4 ,but it is now well known that the real ,etruscan potters never reached the same technical skill1 or had any such eye for form1 as was common among the ,greeks4 ,illustration3 ,,fig4 #ce4--;,greek ,rhyton1 in the ,louvre4 ,i have mentioned the tombs--that many of the finest ,greek vases have been found in those of ,italy1 and particularly in the part once called ,etruria4 ,in ,fig4 #cj is shown one of these tombs discovered near ,naples4 ,in it may be seen the remains of the body1 with vases of various shapes standing or hanging on the wall4 ,most of the vases found with the dead in ,greece were buried in the soil1 and are thus less perfect than those found in ,italy4 ,illustration3 ,,fig4 #cf4--;,greek ,amphora1 ,panathenaic4 ,,good ,,and ,,bad4--,while1 then1 we can exalt the ,greek vase to a foremost place in the perfection of form1 let us say that there are very many ,greek vases and pots which are bad1 common1 vulgar4 ,so that no buyer1 no student1 must admire with his eyes shut4 ,hardly any considerable collection is without these bad things4 ,therefore1 whoever seizes upon a ,greek vase with the belief that it is beautiful because it is ,greek1 may wake some day to dash his god to pieces as false4 ,illustration3 ,,fig4 #cg4--;,amphora1 from the ,louvre4 ,let us guard1 too1 against another chance for disappointment4 ,nearly all the best vases extant have lain for centuries underground2 they have lost the freshness and fineness of their polish2 their coloring is often defaced2 they are1 perhaps1 scratched or chipped4 ,seeing these rather dilapidated examples of the fictile art with eyes of extravagant expectation1 one may feel disappointment or disgust4 ,but let him look on till he sees and feels the subtile springing lines which shot from the brain of the potter1 and inspired his hand to shape the vase4 ,illustration3 ,,fig4 #ch4--;,amphora4 ,as to the age of the ,greek vases there are some evidences4 ,the ,greek poet ,pindar1 who lived between #ebj and #ddj ,b4 ,c41 describes the amphor1 those painted vases which were given as prizes at the ,panathenaic festivals 7see ,fig4 #cf71 and they are spoken of by ,aristophanes1 ,strabo1 and others4#c ,many attempts have been made to classify the works of the ,greek potters1 and the result is of some value1 though a considerable degree of vagueness must attach to such as cannot be fixed by any signature or by the subject4 ,demmin1#d ,brongniart1#e ,birch1 and others1 have attempted classifications4 ,we give here a sketch of that of the last as1 on the whole1 the most simple and probable2 the writer follows ,gerhard3 #a4 ,the ,ancient or ,archaic style1 from ,b4 ,c4 #gjj to #dej4 #b4 ,the ,fine ,style from ,b4 ,c4 #dej to #cbh4 ,the best were during the time of ,phidias4 #c4 ,the ,decadence1 from ,b4 ,c4 #bbh to the end of the ,social ,wars1 ,b4 ,c4 #hg4 ,this includes all made in ,italy down to the time of ,augustus1 at which period most of the towns and works in ,magna ,grcia and the south of ,italy had been destroyed4 ,to the first or ,archaic period are attributed the vases with yellow ground1 having brown and maroon figures1 mostly hatchings1 flowers1 or rude representations of animals1 such as the goat1 the pig1 the stork1 etc41 etc4 ,whenever the human figure appears on the vases of this period it is shorter and less graceful than that on later work4 ,the next period is likely to show the figures in yellow upon black ground2 the designs here are more beautiful2 the subjects are mythological1 historical1 and poetical1 and the human figures often have the grace and beauty which mark the best period of ,grecian art4 ,the ,decadence is marked by coarser work1 less purity of form1 and grosser and clumsier designs4 ,the paste or clay at times approaches the hardness of terra-cotta2 at others it is so soft as to be scratched with a knife1 and is easily broken4 ,its color varies3 the earlier or ,archaic period is mostly of a pale lemon-color2 the clay used at ,athens and ,melos was a pale red2 and in the best period of ,greece the color becomes a warm orange2 while those found in ,italy usually called ,etruscan are always of a dull1 rather pale1 red4 ,upon these grounds figures were painted in black1 brown1 yellow1 and red4 ,illustration3 ,,fig4 #ci4--;,amphora4 ,perspective those true artists did not strive after4 ,the ,greeks sketched in their designs in clean lines1 and colored them with flat color1 touching the muscles and articulations here and there to bring out more fully the action2 but to rival the painter upon his canvas1 that was not attempted upon pottery4 ,it seems desirable to give some notion1 as well as can be done in black-and-white1 of what the earlier vases were like2 and we1 therefore1 transcribe here some examples given by ,birch1 which show1 not only the style of the decoration1 but the forms1 of the ,archaic period 7see ,fig4 #ca74 ,the animals shown are rude and clumsy1 and are arranged in bands1 which are sown with flower-shapes without order or meaning4 ,the forms1 too1 of the pots themselves1 especially the two largest1 are wholly lacking in that fine1 subtile grace which marks them during the time of the ,fine ,style4 ,that the ,art of ,greece was not born full-grown and perfect like the goddess ,minerva is certain2 but that it grew and grew fast to its perfectness in that most keen and cunning ,greek brain is also certain4 ,the time of the ,fine ,style was the time of ,pericles1 of ,aspasia1 of schylus1 of ,phidias2 the time when the most beautiful of the beautiful ,greek temples was built on the ,acropolis sacred to ,minerva2 when sculpture1 painting1 poetry1 and architecture1 reached their height2 when the human form and the human face arrived at such a divine beauty as they had never reached since the days of paradise1 and have not again reached4 ,in this wonderful time the ,greek vase was born into its perfect form4 ,some peculiarities of the old or ,archaic style1 after it passed the simple method of decoration already described1 and when it began to treat the human figure1 are thus specified by ,mr4 ,birch3 ,the faces of the females are white to indicate superior delicacy of complexion1 and the pupils of their eyes1 which are more elongated than those of the male figures1 are red4 ,the eyes of the men are engraved and of a form inclining to oval1 the pupils circular4 ,the eyes of the women are sometimes made like those of men1 especially on those vases on which the faces are colored black upon a white ground4 ,the forms are rather full and muscular1 the noses long1 the eyes oblique and in profile1 the pupil as if seen in front1 the extremities long and not carefully finished1 the outlines rigid1 the attitudes plomb1 the knees and elbows rectangular1 the draperies stiff1 and describing perpendicular1 angular1 and precise oval lines4 ,the faces are generally in profile1 full faces being very rare4 ,we quote again as to the work upon the ,fine style3 ,in this the figures are still red1 and the black grounds are occasionally very dark and lustrous4 ,the ornaments are in white1 and so are the letters4 ,the figures have lost that hardness which at first characterized them2 the eyes are no longer represented oblique and in profile2 the extremities are finished with greater care1 the chin and nose are more rounded1 and ,illustration3 ,,fig4 #dj4--,krater 7,vase ,campanienne71 from the ,louvre4 have lost the extreme elongation of the earlier school4 ,the limbs are fuller and thicker1 the faces noble1 the hair of the head and beard treated with greater breadth and mass1 as in the style of the painter ,zeuxis1 who gave more flesh to his figures1 in order to make them appear of greater breadth and more grandiose1 adopting the ideas of ,homer1 who represents even his females of large proportions4 ,the great charm of these designs is the beauty of the composition and the more perfect proportion of the figures4 ,the head is oval1 three-quarters of which are comprised from the chin to the ear1 thus affording a guide to its proportions1 which are far superior to those of the previous figures4 ,the disproportionate shape of the limbs disappears1 and the countenance assumes its natural form and expression4 ,the folds of the drapery1 too1 are freer1 and the attitudes have lost their ancient rigidity4 ,the figures are generally large1 and arranged in groups of two or three on each side1 occupying about two-thirds of the height of the vase4 ,the design we have given to illustrate in some degree the ,fine ,style is the ,departure of ,achilles 7,fig4 #cb71 taken from a vase in the ,louvre4 ,in our modern time it has come to pass that men worship strength1 power1 words1 gold1 brass--everything but beauty4 ,they care little to have beautiful things about them1 less to be beautiful themselves1 to create beautiful children1 or to do beautiful work4 ,and what is the result8 ,often they are as unlovely in their souls as in their persons2 and so1 while we boast of great cities1 and long railways1 and amazing cotton-mills1 we boast not of beautiful men who make beautiful work4 ,perfection tends to perfection1 and ugliness to ugliness4 ,therefore1 let the perfect man and the perfect woman marry1 that thus we may have the perfect race once more4 ,to bring this to pass we must insist upon perfect form and perfect decoration in all things about us2 we must know beauty and value it4 ,one step to this great end is to study the ,greek vase4 ,the next step is to make every home a temple of art4 ,what can we not believe of such a house as that of ,aspasia in ,athens1 when she was virtually the wife of ,pericles in the best period of ,greece8 ,that it was graced surely by works of divinest beauty2 that these exquisite vases which we are praising stood upon her shelves1 graced her pedestals1 and adorned the corners specially made for their reception4 ,we may believe that the potters themselves presented their beautiful work to the most distinguished woman of all ,greece2 that the victor in the ,panathenaic games should ask a place for his prize in the atmosphere of light and learning which surrounded this remarkable woman4 ,the shapes and uses of the ,greek vases1 cups1 jugs1 etc41 etc41 are many4 ,we mention here those most known as follows3 for holding oil1 wine1 etc41 etc41 amphora1 pelice1 stamnos2 for carrying water1 etc41 hydria1 kalpis1 or calpis2 for mixing wine and water1 etc41 krater1 oxybaphon1 kelebe2 for pouring water1 wine1 etc41 oenochoe1 cruche1 or kruche1 olpe1 prochoos2 for cups and drinking-vessels1 cylix1 or kylix1 kantharos1 kyathos1 rhyton1 skyphos1 phiale1 etc41 etc42 for perfumes1 ointments1 etc41 lekythos1 or lecythos1 alabastron1 cotyle1 or kotyle1 aryballos1 etc4 ,illustration3 ,,fig4 #d4--;,hydria4 ,the vases most known are these3 ,the amphora 7,figs4 #cf1 #cg1 #ch1 #ci71 a name applied to vases with two handles1 sometimes with a pointed base to thrust into the ground or to be set into a tripod2 great numbers of these exist1 and in various shapes1 some of which will appear in our illustrations4 ,the amphor were used to hold wine1 oil1 wheat1 and a great variety of other articles4 ,the hydria 7,figs4 #da and #db7 and kalpis were used to carry water4 ,the former has one handle4 ,the krater or crater 7,fig4 #dj7 was a large1 open-mouthed vessel used for mixing wine with water4 ,the cruche 7,fig4 #dc7 and oeochoe were jugs or pitchers used to pour liquids at the symposia4 ,the kylix or cylix 7,figs4 #cc and #cd71 the rhyton 7,fig4 #ce71 and the kyathos1 were drinking-cups used at feasts4 ,the lekythos1 and kotyle and alabastron1 were used for perfumes1 pomatums1 and other such luxuries for the bath and the toilet2 and we may believe1 from the number of these found1 that woman in those antique days was careful to enhance her charms4 ,illustration3 ,,fig4 #db4--;,hydria4 ,we give two examples of the cylix or kylix used for a drinking-cup1 which always carried two handles4 ,the first 7,fig4 #cc7 is of the earliest period1 and is more severe than the last4 ,it is ornamented with the ,greek fret1 with zigzags or chevrons1 etc41 etc41 of simple design4 ,the other 7,fig4 #cd7 is more graceful and finished in form1 and has a more elaborate design1 which1 however1 seems to me quite behind the work found on the cups of the ,fine ,style4 ,illustration3 ,,fig4 #dc4--,vase for ,libations4 ,we give some particulars of the ,greek vases1 mostly from the collections of the ,louvre at ,paris4 ,some of the ,,amphor were designed for particular uses2 as1 for example1 for prizes to the victors of the public games 7,fig4 #cf74 ,the fashion which prevails with us of giving cups for prizes at our races1 etc4 7usually pieces of silver71 is a fashion which began with the ,greeks1 and has continued till to-day4 ,sometimes these vases were filled with oil made from the olive blessed by ,minerva4 ,we may well believe such amphor so won were highly valued2 and this will explain the curious history of the one now in the ,museum of the ,louvre4 ,in #ahbg this good find came to light3 ,they recently found at ,capoue the vase given to the victor at the athletic games at ,athens in the year #ccb before ,christ4 ,beside the vase lay the skeleton of the victor1 the ,athenian himself1 as was supposed4 ,the vase is of clay covered with paintings1 showing upon one side the goddess ,pallas ,athene 7,fig4 #cf7 launching a javelin2 on the other side is a group of wrestlers1 a young man who is a looker-on1 a judge1 and an old man holding a wand4 ,at the top is found the name of the ruler of ,athens in the year #ccb ,b4 ,c41 and the words ',prize given at ,athens4' ,the victor is vanquished1 his name and fame are forgot1 but the vase is perfect after the lapse of twenty-two centuries4 ,the vase next presented 7,fig4 #cg7 is an amphora decorated with equestrian figures1 marked by that archaic stiffness which some value4 ,its height is put by ,figuier at thirty-seven centimetres--about fifteen inches4 ,the color is yellowish2 it is shaped with much care2 the black varnish is brilliant1 and is laid upon the yellow body2 the outlines are incised to limit the figures2 and the parts in relief are of a rusty red and unpolished4 ,the great amphora 7,fig4 #ch7 is in the ,louvre ,museum1 and is one of the most perfect known4 ,we see this form1 as well as many others of the ,greek amphora1 in all modern work4 ,the clay is yellowish1 and is covered with a deep black4 ,the figures are reserved on the yellow and are well brought out by the black4 ,the simplicity and dignity of this vase can hardly be excelled1 and they are in striking contrast with the over-decorated things1 so many of which have been made at ,svres and ,meissen4 ,the great virtue of reticence was known and observed among the ,greek artists4 ,the next 7,fig4 #ci7 is of a more uncommon form than the others1 in its swelling out at the base4 ,the handles1 too1 are rare1 and the twisting together at the top quite peculiar4 ,the great vase ,,krater 7,fig4 #dj71 called ,campanienne1 is some fifteen inches in height1 and is perfect in form and decoration4 ,the figures are painted in black upon its surface4 ,they have been found in great numbers in various parts of ,italy4 ,the hydria 7,figs4 #da and #db7 is a water-jug2 another term which is used for the same vessel is kalpis1 but the latter has two handles4 ,these vary much in form1 decoration1 and beauty4 ,the one 7,fig4 #da7 has a black ground with red figures2 the other 7,fig4 #db7 is just the reverse4 ,illustration3 ,,fig4 #dd4--,lekythos4 ,the cruche or vase shown in ,fig4 #dc is supposed to have been used for libations when sacrifices were made to the gods4 ,the neck and mouth are peculiar4 ,this example has a red body covered with a black varnish1 the designs showing the red4 ,the ,,lekythos is a sort of cylindrical amphora1 with a straight neck and a single handle4 ,this beautiful vase was made to contain perfumes and unguents1 which were largely in use4 ,the figure 7#dd7 here given is a perfect example of this delicate vase1 and is painted with colored clays1 which are fixed to the body of the vase by heat1 and are1 therefore1 indestructible4 ,illustration3 ,,fig4 #de4--,pot for ,infusion4 ,a pot for infusion 7,fig4 #de7 is easily understood4 ,it is a ,greek ancestor to our teapot1 and is marked by that elegance of form which appears in much of the work of the ,grecian potters4 ,the curious cup 7,fig4 #df7 called a ,,couthon is about eight inches in diameter4 ,our illustration shows at ,a the top of the cup with the open centre1 while at ,b and ,c may be seen the peculiar involuted form4 ,just what uses this could have been put to does not appear4 ,it is more an object of curiosity and gracefulness than of use4 ,just in what way such a pot can have been turned is not plain to the uninitiated soul4 ,the ,,cup ,,of ,,arcesilaus 7shown in ,figs4 #dg and #dh7 is one of the most graceful and beautiful things which has come down to us from the ,greeks4 ,it is supposed to date back to the time of ,pindar1 some #ejj years before ,christ4 ,the cup is now to be seen in the collection of the ,rue de ,richelieu in ,paris2 it was found in ,etruria1 but was made by a potter of ,cyrene4 ,it is discovered that at this ,african city was a great pottery for the making of ,greek vases1 out of which have come some of the most perfect found2 among them this one4 ,so far had the art and culture of the ,greeks spread even then4 ,the cup is about thirteen inches in diameter4 ,its name comes from the ,king of ,cyrenaica1 whose glories were sung by ,pindar4 ,the clay is very fine1 and is of a delicate red2 and this has been almost hidden by a black which appears solidly at the handles and foot4 ,the design is put on with a colored clay or engobe of a yellowish-white1 which is fixed by the fire2 and it is believed that it must have passed through the furnace some three times4 ,the picture 7,fig4 #dh7 is curious and interesting4 ,the king is shown sitting on the deck of a vessel afloat1 holding his sceptre4 ,before him his servants are weighing baskets of merchandise1 and below the deck others are seen carrying away the baskets into the hold4 ,now1 what is this they are weighing and carrying away8 ,illustration3 ,,fig4 #df4--;,a ,couthon4 ,m4 de ,witte1 in making his catalogue1 decides that the ,greek word near the manager who is pointing to the scales means silphium or asafoetida3 the most odious of flavors to us1 but one which still provokes delicious titillations in some ,orientals4 ,altogether1 we get a glimpse of life in this early ,pindaric time2 we see that a king then was not a mere figure-head1 but a real king who oversaw his cargoes1 and probably loved asafoetida1 and was fond of making money1 as some of our sovereigns are to-day4 ,the number of these vases1 cups1 etc41 now existing in ,europe is very great--at least #bj1jjj1 and some experts make the number as high as #gj1jjj4 ,the best-known collections are--at ,naples in the ,museo ,borbonico1 #b1jjj2 in the ,vatican at ,rome1 #a1jjj2 at ,florence1 #gjj2 at ,turin1 #ejj2 at ,vienna1 #cjj2 at ,berlin1 #a1fij2 at ,munich1 #a1gjj2 at ,dresden1 #bjj2 at ,carlsruhe1 #bjj2 at ,paris1 the ,louvre1 #a1ejj2 ,bibliothque ,nationale1 #ejj2 at ,london1 ,british ,museum1 #b1fjj4 ,there are also a great many in private collections throughout the world4 ,what the keen and artistic mind wants to know is1 not only what fine work was done by the ,greeks1 but why they did it--what1 indeed1 made that life more beautiful than any we find in all the earlier histories of man4 ,through the wrecks and convulsions of time this crowd of delicate1 perishable things still exists2 what vast numbers must have been made and destroyed in the varying populations of ,greece1 ,rome1 ,tyre1 ,carthage1 and wherever ,grecian civilizations and tastes made their way1 it is not easy for the mind to compass4 ,and we must remember that these things we now describe were not in every man's hand2 they were in a good degree for the rich and well-to-do4 ,no slave 7and slaves then abounded7 used a kylix from which to drink his wine1 nor an oenochoe from which to pour it4 ,that vases and cups were used and made especially as tokens of affection to be placed in the tombs1 we know2 that they were fashioned and painted for prizes at the ,panathenaic games of ,greece1 we know2 and that they were used in many ways in the symposia and feasts1 we also know2 and the numbers made must have been nigh countless4 ,no satisfactory explanation of this profusion has so far been hit upon4 ,the potteries1 of course1 must have been many2 for ,brongniart cites in ,greece proper twelve now known cities where vases were made2 in ,italy1 some fourteen2 and we know1 also1 that they were made in most ,illustration3 ,,fig4 #dg4--;,cup of ,arcesilaus1 ,view of the ,outside4 of the colonies where ,greek customs stamped themselves4 ,the demand for all this product was1 of course1 equal to the supply4 ,while we know that ,greek civilizations had reached a high place1 and that man1 physically and intellectually1 had come nigh to perfection1 woman had not kept pace with him4 ,the home then was not what we now make it1 or attempt to1 a temple in which all of comfort1 all of luxury1 all of beauty1 are gathered4 ,the ,greek house1 even in ,athens1 was rarely1 large2 the principal salons for the feasts were used only by men1 for the ladies of the house did not appear at those times4 ,the women's apartments were more secluded1 and were not used for show2 we should not1 therefore1 expect them to be filled with objects of art and ornament1 though they would not1 of course1 be excluded4 ,that there should be1 as we have shown there was1 a great production of articles devoted to the tastes of the fairer sex is easy to understand1 and for them1 as well as for men1 were made the beautiful lekythoi1 the alabastron1 and other articles1 for perfumes1 for the toilet1 and the bath2 for these we can account4 ,the life of the married woman was not then passed in public and out-of-doors as it now has come to be2 she was not the central or only or principal figure around which society revolved2 nor did the social or intellectual1 the artistic or literary life find its centre or its applause with her4 ,that she frequented the theatres with men is not believed1 though she had her own opportunities for the indulgence of this taste2 and it seems probable that some representations--as the tragedies--were open for both men and women4 ,her life partook of the seclusion which stamped the ,asiatic courts4 ,she had many duties and occupations2 for the wife1 with her maidens or her slaves1 not only must prepare and serve the food1 she must also spin and weave and make the garments for her household4 ,illustration3 ,,fig4 #dh4--;,cup of ,arcesilaus1 ,view of the ,inside4 ,the care and education of children1 the supervision of the house and the slaves1 the production of stuffs and garments1 of perfumes and unguents1 gave necessary occupations in great profusion1 and such as would alleviate ennui--such as would put amusements into a second rather than a first place in her heart4 ,but the truth is that her life was so dull1 so devoid of exciting cares1 that many women1 and among them some of the most beautiful1 most witty1 and most cultivated of ,greece1 preferred the seductive and exciting dangers of the life of the hetaira to the safe and frigid respectability and dullness of the married wife4 ,illustration3 ,,fig4 #di4--;,etruscan ,vase4 ,that dress was a matter of important thought with woman there also1 is beyond doubt2 and the textures of the chitons and himations1 the proper colors of their bands and their girdles1 caused much perplexity to the beautiful ,greek maiden1 as they have to the beautiful ,american of to-day4 ,but the ,greek seems to have escaped one great misery and mystery--her fashions did not change2 no staff of designing men was working with swift brain1 hand1 and pencil1 in ,athens or ,corinth1 to perplex her delicate mind with fashion-books1 thus forcing her into exquisite torture1 and keeping her there4 ,the pictures upon the vases continuing through many centuries1 show no very marked changes in dress4 ,was woman1 then1 supremely happy8 ,who can say6 ,besides dress1 there can be no question1 from the large numbers of perfume-bottles and vases of clay1 as well as from the quantity of those of glass found by ,cesnola in his excavations1 that a very great degree of luxury1 if not of dandyism1 was reached by the women as well as the men in that good old day of ,greece4 ,we know something of the luxury1 the lavish daintiness of ,alcibiades and his friends1 but very little of that of their wives4 ,there was1 however1 an evil thing in ,greece1 and one which the ,greek wife felt strongly1 keenly--it was the hetairai1 the demi-monde of the great cities4 ,nowhere except in ,england and ,america has the virtue of married woman been held at so extreme and exalted a height1 nowhere has its sale been lowered to such a depth1 as in ,athens4 ,among the hetairai of ,athens and ,corinth were found the most beautiful1 the most brilliant1 and the most highly-cultivated women of ,greece2 to them every attraction was of inestimable value1 and whatever would charm men was to be sought and seized4 ,that among them were women of great mental gifts1 of much political knowledge1 of highly-cultivated artistic perceptions1 we have every reason to believe2 that the hetairai made their houses as attractive as possible we may also believe2 and in them1 we do not doubt1 were found some of the best examples of the art of ,greece outside the temples and the gymnasia4 ,here we may suppose that the fine vases found appreciative recipients1 as well as appreciative admirers among men4 ,that all who sold their charms were what we term abandoned is not true2 they did not so consider themselves1 and were not so esteemed among the men or women of ,greece2 that some of them1 many of them1 became so1 is beyond doubt true4 ,but among them some 7how many who can tell87 were cultivated1 interesting1 able1 there is no doubt2 and that they continued so4 ,it was long the fashion to suppose and to say that the poetess ,sappho1 and the politician ,aspasia1 were courtesans1 which hardly any man will now maintain4 ,as to the former less is known1 but ,aspasia1 though not legally married to ,pericles 7as she could not be71 was virtually his wife and partner through all his life1 in his schemes for governing1 exalting1 and beautifying ,athens4 ,her house then was the most beautiful1 the most complete1 and the most attractive1 in ,athens2 and to it resorted the most noted statesmen1 rhetoricians1 philosophers1 wits1 and artists1 of that most remarkable city and time4 ,illustration3 ,,fig4 #ej4--;,etruscan ,vase4 ,it is a misfortune to us that no ,greek house of the time of ,illustration3 ,,fig4 #ea4--;,etruscan ,vase4 ,pericles1 the perfect day of a most remarkable and highly-sthetic civilization1 remains2 either its stone-walls1 or in pictures on its temple-walls or on its vases4 ,the great catastrophe which overwhelmed ,herculaneum and ,pompeii has secured to us the means of knowing how the luxurious ,roman lived in those little seaside cities eighteen hundred years ago2 a time when ,csar was hardly dead1 and ,jesus almost unknown4 ,every house in ,athens and in ,corinth1 in ,samos and in ,melos1 has been swept away by the besom of war or the feathered wing of ,time4 ,we know what we do know from the verses of the poets or the allusions of the playwrights1 and that is all2 but from these we gather that the house or home was a place rather for the woman than for the man2 that in it the woman1 though not exactly a prisoner as in the harems of the ,asiatic kings1 was expected to stay and to find her sphere4 ,the porter sat at the door of the house1 and when the woman walked forth she went accompanied by her slave1 and it was known for what she went4 ,the life of the ,greek man was essentially and in his best hours outside his own house4 ,by the ,greek man we now mean the upper or more wealthy classes2 all these had their work done by slaves4 ,he went forth in the early morning to visit the theatres1 where he was entertained with the dramas of schylus1 of ,euripides1 of ,aristophanes2 he breakfasted2 he visited the markets2 he went to the bath2 to the hairdresser2 he conversed in the porticoes2 he frequented the gymnasia1 where he could talk or listen1 where he could exercise and enjoy his body1 where beautiful bodies and philosophic tongues found free play and ample room4 ,everything of politics1 of poetry1 of art1 of scandal1 was a delight to the keen and active intellect of the ,greek2 as in ,st4 ,paul's day1 he was eager to hear or see some new thing3 and when such a ruler as ,pericles had grasped the purse and the sword1 and had gathered together in the small city of ,athens all the sculptures1 all the poetry1 all the eloquence1 all the pictures1 all the vases1 to adorn and glorify it1 the ,greek man may be said--using our expressive ,american phrase--to have had a good time6--as good as he has been able yet to see in the long history of the race4 ,illustration3 ,,fig4 #eb4--;,etruscan ,vase4 ,knowing as much as we do of the life of the ,greek man and the ,greek woman1 need we be surprised that the rather sharp-tempered ,xantippe1 wife of that delightful vagabond and philosopher1 ,socrates--he who puzzled the too conscious sophists and pleased the simpler people1 who loved the true and hated the false2 he who lived for wisdom and not for power2 who cared much for mind and less for money2 who basked in the sunshine of the porticoes and pined in the shadows of his own house--need we be surprised that this wife of his was driven to go forth at times to seek her vagrant lord in the throng of the market-place or the excitements of the ,academy1 and to lead him thence to the place of his wife and children8 ,need we be surprised that her speech was then unmelodious1 unconjugal1 and that she became a sport and by-word for the wicked wits of that brilliant city8 ,illustration3 ,,fig4 #ec4--;,etruscan ,vase4 ,but with his faults ,socrates had the great virtues of serenity and patience1 always indispensable in the married man1 at least4 ,if the vases had only preserved for us the portraits of ,xantippe and ,socrates1 or even of the room they lived in1 how much would we thank them6 ,as to the pictures upon the vases1 the best of them seem to be copied or adapted by the vase-painters from pictures of the best artists of ,greece1 made to illustrate the worship or the doings of the gods1 the great deeds of the heroes1 the feats at games1 the triumphs at the feasts1 etc41 etc4 ,many of these are but carelessly1 even poorly1 put upon the vases2 the best are those we must look for to admire1 to enjoy1 and to emulate4 ,the tub of ,diogenes1 there is reason to believe1 was a great earthen vase or pot--the ,,pithos4 ,these were built up of clay by the ,greeks by hand around a frame1 and were afterward baked4 ,as they sometimes reached the dimensions of over three feet in diameter and six or seven feet in height1 it is plain that they could not be turned upon the potter's wheel4 ,it is easy1 too1 to understand what an excellent shelter such a pot would make for such a cynical philosopher as ,diogenes1 who needed a very cheap rent4 ,but if a wicked boy should throw a cruel stone some fine evening1 striking the pot in a weak spot1 the rent might end in a convulsion and ruin4 ,,etruscan ,,vases4--,the ,etruscan vase not being what we have here described and figured as the ,greek vase1 it remains to say briefly that the vases and pots made by the ,etruscans before the coming of the ,greek potters were quite different2 ruder and less fine in form and in decoration4 ,indeed1 it is not likely that the painted vase found in ,italy1 known as the ,greek vase1 was ever the work of the ,etruscan workmen4 ,the ,etruscan pottery was thicker1 less ornamental1 and it indicates a different race and lower sthetic development4 ,in the ,museum of ,art at ,boston is now placed a collection of ,etruscan work which is said to be unique in this country as well as in ,england4 ,in this are a number of vases which are ornamented with heads and figures in relief1 not sharp and fine2 these are wholly covered with a black color4 ,a few which are painted are quite different and inferior to the work of the ,greeks4 ,the collection was secured in ,italy by ,mr4 ,j4 ,j4 ,dixwell1 who has been so good as to present it to the museum4 ,figs4 #di1 #ej1 #ea1 #eb1 #ec1 are examples of some of the vases in the ,museum of the ,louvre1 which present the general style and character of this work2 they show clearly how much the real ,etruscan vase differs from the true ,greek vase4 ,,chapter ,,iii4 ,,unglazed ,,pottery ,,at ,,the ,,great ,,exhibition ,,of #ahgf4 ,unglazed ,water-,colors4--,clay ,sketches4--,japanese ,clay ,figures4--,spanish ,pots4--,italian ,peasant ,pottery4--,egyptian4--,turkish4--,mexic an4--,watcombe ,terra-cotta4--,copenhagen ,pottery4 ,the reports of the judges have not yet appeared1 so that we do not and cannot know what their awards may be4 ,but as so many persons who saw and judged for themselves may never see these reports1 it may therefore serve to remind them of many things there if ,i put down here my own notes of what ,i saw and admired4 ,my notes do not cover the whole ground1 by any means1 but ,i think they touch upon the best examples of the unglazed work1 of which1 however1 the quantity in no degree equaled that of the glazed pottery or faience2 and1 indeed1 it could not1 because for most of the uses of life it is valueless4 ,the glazed pots are of course much stronger1 and1 for household uses1 have almost entirely supplanted the other4 ,unglazed pots and pans are still in common domestic use1 but they have a glaze on the inside which renders them capable of holding liquids4 ,unglazed vessels are much used along the shores of the ,mediterranean for the purpose of cooling water1 the percolation and evaporation from the surface bringing the water to a delicious coolness1 which is grateful to the parched palate2 indeed1 it is much more wholesome than the intense coldness created by the use of ice4 ,many a dyspeptic stomach with us would gladden if refreshed with the crisp water produced by the ,spanish or ,egyptian coolers1 which are now made feverish with the icy ,american draughts poured into them4 ,in ,paris are still made many small figures in unglazed clay1 some of which are full of artistic effects2 they are sketches in clay1 and are valuable when they are such4 ,a great many are made at some of the potteries in ,england1 which are useless as works of art1 and are useful only as cheap decorations4 ,some of them are well moulded1 and are pleasing4 ,i noticed none of these at the ,exhibition1 though it is likely they were represented there4 ,a very fine example of this sort of unglazed figure-work was to be seen in a case in the ,japanese collection sent by ,kiriu ,kosko ,kuwaisha4 ,it was a much higher class of work than the ,peruvian1 of which an illustration is given at page #ai1 and in its way could hardly be excelled4 ,the figure was about twelve inches high1 and seemed to be an intense embodiment of ,japanese jollity2 its half-shut eyes1 lolling tongue1 and relaxed figure1 told the story perfectly4 ,my ,japanese guide1 philosopher1 and friend1 did not consider it in any way a god1 though it was so like the ,chinese ,poutai1 god of content1 that one wondered4 ,if it indeed had been a domestic god1 our keen ,japanese gentleman would not have been likely to urge that view to us1 who have less regard for other people's gods even than for our own4 ,not far from the ,japanese exhibit was to be seen in the ,spanish collection a pyramid of unglazed pottery1 nearly or quite all of a light-buff color4 ,it had this value1 that it was such as is in use to-day in the houses of the common people2 and that is about all we can say for it4 ,the whole of it has been bought for the ,pennsylvania ,school of ,art4 ,why they should want a hundred pieces of this work one may well be at a loss to know1 unless it is true that to own what nobody else has is always a pleasure4 ,throughout the southern countries of ,europe1 in ,spain1 ,france1 ,italy1 ,greece1 ,turkey1 and on the southern shores of the ,mediterranean1 this kind of pottery is made and used1 and in some cases it has much merit in its forms2 when decorated1 it often reaches a nave and fascinating kind of art4 ,some very pretty1 simple1 and original pieces of this sort of pottery have been brought to us from time to time from ,naples1 though ,i have never seen any for sale4 ,i learn from one of the ,castellanis that in many places of ,italy this sort of work is made to-day1 much of it for decorative purposes4 ,at some of them vases and other vessels which are distinctly traditions derived from the ,greek potters of a thousand years ago are still made2 at others are made pots and vases1 cups and bnitiers1 which have sprung out of the simple artistic feeling of the potters themselves1 and which have that flavor of genuineness which cannot be too much encouraged4 ,the tendency everywhere is to copy something2 let us1 as far as we can1 buy the real and disparage the copy4 ,a hundred pieces of this peasant pottery were sent me a few years ago1 but they were wrecked upon the vexed ,bermothes1 and are lying at the bottom of the sea4 ,a few pieces of a light-gray body in the ,egyptian collection were excellent both in form and in their many-colored decoration4 ,these pieces were like1 but better than1 most of that which comes out from ,africa through ,tangier1 of which we saw none in the ,main ,building1 but learned that there was a collection in the ,tunisian ,building4 ,many good pieces of this barbaric pottery are in the country1 though most of the specimens are glazed4 ,these ,egyptian pots have this vast merit1 that they have come from the personal wants and the depths of the moral consciousness of the ,egyptians themselves2 from potters who know no language1 no country1 and no art1 but their own2 and therefore they are in no way imitations of what has been done in ,france1 or ,england1 or ,boston4 ,the dark-red terra-cotta ware from ,egypt was mostly in small pieces1 but was excellent in its modeling and finish2 and it was satisfactory to see that it was much bought by our people4 ,this clay1 with its polished surface1 is peculiar to ,egypt2 at least we see it nowhere else4 ,this red ,egyptian ware1 is much like the red ,roman ware often called ,samian1 which has been spoken of in a preceding chapter4 ,some larger pieces have been brought by private parties from ,egypt1 which have much merit in form1 as well as in incised decoration4 ,the ,turks sent a few examples of their simple pottery1 some of it unglazed1 and some covered with a deep-green glaze1 which were simply what they pretended to be4 ,their polychrome decoration was also good1 but not so good as the ,egyptian4 ,mexico1 too1 sent a small collection of this sort of work1 which ,illustration3 ,,fig4 #ed4--;,danish ,pottery4 smacked yet of the ,aztec races1 but too little of it to be of much use4 ,a few glazed pots painted in the native fashion were excellent1 and were bought up quickly1 because they suggested ,montezuma and his brown people1 who have been wholly consumed by the greedy whites4 ,the belief of ,seor ,alejandro ,cassarin1 the potter or dealer who sent from ,mexico1 evidently was that this native spontaneous pottery1 which doubtless is yet to be found1 in out-of-the-way places1 is not a thing to be proud of--at least1 it is not to be sent to us2 that what we want is a very poor imitation of ,european porcelain4 ,nor is such a delusion his alone4 ,of terra-cotta work in red and in buff there was a good show1 mainly from ,england and ,denmark4 ,the clay1 the modeling1 and the finish1 were quite perfect in many of these4 ,the ,watcombe people1 in ,england1 had already reached perfection in the color and texture of their clay2 and the ,greek vases1 as well as jugs1 ewers1 and a variety of things--their own designs--could not have been bettered some three years ago4 ,they were then satisfied to insure a simplicity which touched perfection4 ,in their exhibit at ,philadelphia it was clear that they are no longer satisfied with this1 or that a jaded taste needs excitement4 ,the work sent us constantly says1 ,we are trying to do something new and surprising1 if nothing better than before4 ,the principal novelty was the combining of two colors of clay in the same pot2 as1 for example1 a lighter body with a darker red for the handles1 mouldings1 and ornaments4 ,dignity and repose were thus lost1 and no new pleasure was supplied4 ,we felt sure that this would not last4 ,and then1 when bands of color or polychrome decoration are used on the fine red clay1 they nearly always do harm2 and the inevitable tendency to overdo cannot be restrained4 ,their modeled figures seemed to have neither the delicacy of the parian nor the sketchy freedom of some of the ,french designers4 ,the color of the clay and the finish of the ,watcombe terra-cotta vases are superior to any ,i have ever seen4 ,some years ago the ,copenhagen potters made a very considerable success in their revival of the ,greek vase1 both plain and painted in black1 with ,greek figures of horses1 warriors1 women1 etc4 7,fig4 #ed74 ,these have had for the last ten years a large sale2 and as we cannot have the real ,greek vases because of their scarcity and price1 it is well to have some examples so well copied as these are4 ,but there is a limit to one's capacity for copies of ,greek vases1 and it seems positive that we have reached it4 ,we hope so4 ,ipsen's widow sent us some of the yellow vases and pots1 most delicately and delightfully painted with the lotus and other ,egyptian designs1 which for subtilty of color and precision of touch cannot be surpassed4 ,these we were glad to see our people buying1 and not the other4 ,among much that was commonplace1 there were many examples of good work in the department of unglazed pottery4 ,it would have been a great satisfaction to have met with more which showed courage and freshness of design4 ,while the public are not so responsive to these as one could wish1 there is still enough to encourage potters and designers in this direction1 if they will only believe it4 ,,chapter ,,iv4 ,,glazed ,,pottery4--,,gr,s ,,de ,,flandre1 ,,french1 ,,german1 ,,etc4 ,definition of ,glaze4--,varnish4--,enamel in ,egypt1 ,babylon4--,the ,arabs and the ,moors4--,grs de ,flandre4--,cologne1 ,regensburg1 ,baireuth1 ,neuwied1 ,grenzhausen1 ,coblentz4--,holland4--,beauvais4--,flan ders4--,apostle-,mugs4 --,graybeards4--,bellarmines4--,pottle-, pots4--,modern ,work4--,doulton ,stone-ware4--,early ,german ,stone-ware at ,breslau4--,hirschvogel4--,nuremberg4 ,before saying anything about the various styles of glazed pottery1 it may be well to give the definitions of glaze1 as presented by ,marryatt1 thus3 ,,glaze 7,glauure1 ,vernis1 ,fr474--,the composition used for coating pottery is composed chiefly of lead and silex4 ,that for porcelain is analogous to flint-glass 7whence the derivation glassing or glazing74 ,in fact1 this term may be applied to any substance that covers the surface of the piece2 as1 for instance1 that produced by the decomposition of salt on stone-ware4 ,m4 ,brongniart classes the different kinds of glazing1 or vitreous substances with which pottery is covered when finished1 into three kinds3 ',varnish4--,every vitrifiable substance1 transparent and plumbiferous1 which melts at low temperature1 generally inferior to that required for the baking of the paste3 common pottery1 fine earthen-ware4 ',enamel4--,a vitrifiable substance1 opaque1 generally stanniferous 7tin73 majolica and common earthen-ware4 ',couverte4--,a vitrifiable substance1 earthy1 which melts at a high temperature equal to that of the baking of the paste3 hard porcelain1 some stone-wares4444' ,the mark caused by the absence of glaze is very apparent in ,oriental porcelain1 the bottom edge being rough and sandy4 ,this defective appearance is obviated in ,europe by supporting the piece upon a tripod with very small points 7prenettes1 ,fr474 ,the three ugly marks upon old ,chelsea china are caused by the clumsy tripod which was employed4 ,the use of glaze and of tin to form the glaze or enamel seems to have been known to the ,chinese beyond the time when ,occidental records were kept4 ,it appears1 according to ,sir ,gardiner ,wilkinson and ,mr4 ,samuel ,birch1 that very early indeed the ,egyptian potters knew the use of the siliceous glaze1 composed of sand and potash or soda2 and also that small sepulchral figures have been found1 coated with enamels made from oxides of tin or copper1 dating as far back as the sixth dynasty 7,b4 ,c4 #cgjc74 ,in the museums of ,europe are preserved tiles and bricks taken from the temples or palaces of ,egypt and ,babylon1 and they must have been largely used long before our historical time4 ,these glazed bricks are supposed to date back twenty-five hundred years before our era4 ,mr4 ,birch1 in his ,history of ,ancient ,pottery1 says that the use of these bricks was probably learned by the ,assyrians from the ,egyptians1 who at a very early period had inlaid in this manner the chamber of the ,pyramid at ,saqquara4 ,he says3 ,the glazed or enameled bricks from ,nimrd are of the usual kiln-dried kind1 measuring thirteen and a half inches square1 and about four and a half inches thick4 ,they were laid in rows horizontally above the slates of sculpture of the ,mosul marble1 and seem to have been employed in the construction of cornices4 ,they are glazed on one of the narrow sides or edges only1 having on this edge various patterns1 chiefly of an architectural nature1 such as guilloche or chain ornaments1 bands of palmettes or helices1 and fleurettes or flowers of many petals4 ,the colors employed were blue1 black1 yellow1 red1 and white4 ,the glaze1 which is much decomposed1 easily exfoliates1 and the colors have lost much of their freshness4 ,it would appear that patterns of tolerably large size were executed in this manner1 each brick having its appropriate portion enameled upon it4444 ,another brick1 found by ,mr4 ,layard in the earliest palace of ,nimrd1 has an horizontal line of inscription in arrow-headed characters of a darker color1 and with square heads like nails4 ,its tenor was of the usual purport3 ',this is the great palace of ,asar-aden-pal4' ,bricks of this glazed kind were found chiefly in the space between the great bulls which flanked the entrances of the chambers4 ,from ,nimrd were also brought corbels of blue faience1 or what has been called porcelain1 the under part modeled to represent the five fingers of the hand4 ,this much is given to show how the glaze was applied to pottery by the nations of that very early time4 ,where they got their knowledge--whether they discovered it for themselves in their search into the secrets of ,nature1 or whether they derived it from the great world of life which lay beyond in the far ,east--we do not and cannot know4 ,but why this so valuable knowledge was not applied universally by those acute peoples to the utensils of every-day life1 and to all which we now call artistic pottery1 remains a curious question4 ,that it was applied to some things1 we know2 for small vases1 toys1 marbles1 etc41 etc41 have been found among the ,egyptian tombs coated with this enamel2 but most of the pottery found in ,egypt is without glaze1 which would indicate that what was in ordinary daily use was unglazed4 ,examples of this enameled ware are to be seen in the ,british and other museums of ,europe4 ,coming to the ,greeks1 it is singular that nothing of this enamel-glaze is found4 ,the inference is1 that they had not the knowledge of it1 and that the art must have been lost2 for surely so valuable and beautiful an art1 if known1 must have been applied by so sthetic a people as the ,greeks to the uses of life4 ,upon the ,greek vases1 of which so many examples remain1 there appears sometimes to have been used a very thin and very transparent varnish2 but this does not seem to have been a glaze made either of glass1 or of lead1 or of tin4 ,if it was a varnish1 and not a polish1 the probabilities point to its being a thin wash of soda or potash4 ,this varnish served to protect the painting1 but did not prevent the percolation of water4 ,the ,greek methods prevailed among the ,romans4 ,among the great numbers of potters1 and the vast production of pottery1 the ,romans seem not to have used the glaze4 ,all that remains of their work1 found in ,gaul1 in ,britain1 and in other parts of ,europe1 is the unglazed ware4 ,the ,arabs and the ,moors brought into ,europe a knowledge of the stanniferous 7tin7 glaze1 as has been explained more fully elsewhere4 ,to this keen and most energetic civilization ,europe owes its beginnings in the arts of pottery1 as well as in many other things4 ,the value of the glaze in all the arts of life cannot be estimated4 ,when the only cooking-utensils were those made of unglazed pottery1 the cooking was of the simplest1 if not most insufficient1 character4 ,indeed1 at that time it is not likely that meat was cooked in the pot at all4 ,in addition to this1 the difficulty of making unglazed vessels capable of holding wine1 oil1 etc41 without wasting them slowly1 must have forbidden those things being kept to such a time as to insure perfection1 not to mention the inevitable loss4 ,it is likely that such unglazed pots were then painted on the inside with some resinous substance which in a degree met the difficulty1 but which1 at the same time1 imparted a flavor to the wine which we cannot believe to have been delicious4 ,between ,china and the ,spanish ,moors exist a wide gap and centuries of time1 in which glazed pottery and porcelain intended for the uses of domestic life seem to have been unknown4 ,and this1 too1 was among the ,greeks1 the ,phoenicians1 the ,romans--nations eager for every good thing1 astute1 keen1 grasping4 ,among the remains of ,roman art have been found a few pieces of pottery upon which are traces of the use of a glaze2 but1 if it was used at all1 it seems to have been almost an accident--not at all as with us1 to complete and perfect the work4 ,to the ,moors and the ,moorish civilization of ,spain1 ,europe owes the knowledge or the introduction of this most valuable art1 which has enabled her to reach such perfection in the making of fictile ware as we now see and enjoy4 ,not only has the glaze 7and enamel7 given great strength to pottery1 and increased its use to an infinite variety3 it has also enabled most nations1 beginning with the ,chinese1 to add to its beauty1 and1 indeed1 to develop or create a method of artistic expression which is peculiar and most interesting4 ,this subject will be treated more fully1 in the progress of this work1 in a chapter upon decorating porcelain and pottery4 ,after the work of the ,moors in ,spain1 which will be treated in a separate chapter1 one of the earliest applications of the glaze in ,europe was upon a hard sort of stone-ware made at various places along the ,rhine1 and in ,flanders and ,germany4 ,it has come to be known under a generic title of ,,gr,s ,,de ,,flandre1 while but little of it was really made in ,flanders4 ,a great centre of its manufacture and sale1 as early as the #acjj's of our era1 was at ,cologne2 and a more fit name for it would be ,grs de ,cologne2 still1 the usual name is the one the world knows it by4 ,the body or paste of which this is composed differs from the faiences or earthen-wares of which we write4 ,it is harder1 heavier1 and much more durable4 ,the commoner kinds are made so by a considerable mixture of siliceous sand2 while in the finer kinds1 known as ,grs de ,flandre1 there are mixed with the paste other clays1 such as terre de pipe and kaolin4 ,this hard and heavy body has long been used for common stone-ware jugs and pots made for every-day use4 ,in ,china it was and is still used as a body for vases and dishes1 which received a covering or engobe1 and upon that an artistic finish--such as the crackle-vases1 and many others4 ,the glaze upon what we know as ,grs de ,flandre was made by using in the furnace common salt2 the fumes of which1 combining with the fused silex1 resulted in what is termed the salt-glaze4 ,this requires a high degree of heat1 in which no colors will stay except the blue of cobalt1 a brown1 and a violet4 ,the ,grs de ,flandre1 of which we give two illustrations 7,figs4 #ee and #ef71 is now well known under that name4 ,its color is a liquid gray1 and its decoration is made with the blue of cobalt4 ,some pieces of this ware are highly and beautifully decorated1 as is seen on the fine fountain now in the museum of the ,louvre 7,fig4 #ee74 ,most of the figures and reliefs are made with moulds1 which have a quaint interest2 they were cut in wood1 carefully1 often with considerable artistic expression4 ,the best work of this sort was made in the fourteenth and fifteenth centuries1 and is mostly ,german4 ,illustration3 ,,fig4 #ee4--;,grs de ,flandre ,fountain1 ,muse du ,louvre4 ,there were factories at ,cologne1 at ,regensburg1 at ,baireuth1 at ,neuwied1 at ,grenzhausen1 at ,coblentz1 and at other places along the ,rhine4 ,the same work was also made in ,holland1 in ,flanders1 and in ,beauvais4 ,many pieces of this style of work were decorated with figures of saints1 and other sacred emblems4 ,some pieces1 such as salt-cellars1 inkstands1 and candlesticks1 were carefully modeled by hand1 and have thus an added interest4 ,i know of but few pieces of this work in our museums1 while those of ,europe have made special attempts to secure examples of it2 for it has a peculiar character of its own1 and in many cases is delicious in color and most quaint and artistic in its forms and decoration4 ,often coats-of-arms are found impressed upon tankards and bottles and flagons of this work1 and most of these are ,german4 ,they were evidently reproduced from the moulds1 and sold to others than the persons whose arms they bore4 ,illustration3 ,,fig4 #ef4--,pilgrim-shaped ,grs ,bottle1 in the ,british ,museum4 ,the making of this ware was undoubtedly one step by which ,bttcher at last succeeded in making true porcelain at ,dresden4 ,fig4 #ef is a pilgrim-bottle1 bought at the ,bernal sale by the ,british ,museum for eighteen pounds4 ,at ,baireuth were made1 in the #afjj's1 some very curious mugs1 called ,apostle-,mugs1 because the figures of the twelve apostles were worked in relief around the cup4 ,the clay was a dark-brown1 but the dresses of the figures and the inscriptions were painted in colors4 ,mr4 ,frederick ,j4 ,betts1 of ,new ,york1 has one of these interesting bits of work2 they are now hardly ever offered for sale4 ,illustration3 ,,fig4 #eg4--;,brown ,graybeard or ,bellarmine4 ,the ,graybeards1 or ,longbeards1 or ,bellarmines1 were made largely in the ,low ,countries for their own uses1 and were exported to ,england4 ,we give an illustration 7,fig4 #eg7 of one in ,mr4 ,prime's collection4 ,there is also an excellent one1 ,i believe1 in possession of ,dr4 ,breck1 of ,springfield1 ,massachusetts4 ,these were intended for use1 and usually carried from one quart to three gallons4 ,they were always in brown--at least ,i have seen none in the gray2 but their decoration was sometimes touched with the violet-color4 ,they are a very handsome and decorative bottle4 ,the name of ,bellarmine was given them because1 in the sixteenth century1 when these bottles were made and used1 the ,cardinal ,bellarmin was sent into the ,low ,countries to counteract the movements of the pernicious ,reformers then so zealously at work there4 ,he was cordially hated by the ,protestants1 and received from them his due share of contumely4 ,having a short stature and a large stomach1 like the ,longbeard bottles1 and1 as they said1 holding like them much vinous or other liquor1 they soon called the bottle a ,bellarmine1 which name it bears to this day--so that1 indeed1 it may be said1 the bottle has immortalized the man4 ,these bottles were largely in use on the ,continent and in ,england all through ,shakespeare's time1 and one was dug up on the site of the ,boar's ,head at ,eastcheap4 ,the pottle-pot1 as the bottle was then called1 held about two quarts4 ,in one of the old ,english plays1 ,clodpate says3 ,uds-buds1 my head begins to turn round2 but let's into the house4 ',tis dark1 we'll have one ,bellarmine more1 and then ,bonus ,nocius4 ,sometimes these ,graybeards were handsomely mounted1 and came to be ranked high among the household gods4 ,an inventory of the ,duke of ,burgundy1 made in #adfg1 speaks of one of them as being decorated with silver and gold3 ,ung hault ,goblet de ,terre ouvr et chiquet ung visaige d'un heremite1 garny au dessus et au dessoubs d'argent dor1 et le couvercle aussi d'argent dor4 ,upon the ,rhine these stone pots are still made for common uses1 and largely2 the same sort of clay is also extensively converted into seltzer-water bottles4 ,near ,coblentz are several potteries devoted to this sort of work4 ,at these places1 since the great desire for interesting pottery has sprung up1 some very fair copies of the old grs have been made4 ,at first they were made with considerable care1 and then had some value1 showing us1 as they did1 what this very quaint and very original pottery was2 and they were of value1 as we could not have the originals4 ,but now there is no restraint1 and they are turned out by the ship-load in a slovenly style1 and are to be seen in every shop-window4 ,fortunately1 they do not pretend to be the real thing2 and1 fortunately1 they will have but a short existence1 as they do not grow out of any true want or true use4 ,,doulton ,,stone-,,ware4--,on the other hand has sprung up at ,lambeth1 ,england1 in the potteries of the ,doultons1 stone-ware which is true1 original1 artistic1 and delightful4 ,this is the same paste as the ,illustration3 ,,fig4 #eh4--;,doulton ,ware4 grs2 but1 instead of imitating that1 a scale and a variety of colors have been developed which the old grs could not at all touch4 ,by means of thousands of experiments and much scientific knowledge1 colors have been found which will bear the heat1 and some of the results attained there of color alone are gratifying4 ,no pains or cost have been spared by the ,messrs4 ,doulton to bring about the best work4 ,artists have been employed--indeed1 have been created--to invent and to bring forth works novel in design and color2 and they have done it4 ,we cannot but welcome their work with open hands and open hearts2 and we have reason to believe that the public has welcomed it with open purses4 ,a very fine exhibition of this work was made at the ,united ,states ,centennial ,festival at ,philadelphia1 which attracted much and deserved praise4 ,among the artists early engaged were some ladies named ,barlow1 ,i think1 who did excellent work4 ,one of them etched in the wet clay groups of animals which were spirited and fascinating2 the other1 ,i believe1 did flowers and plants4 ,these ladies went to work1 and thus solved the woman question1 so far as it concerned themselves4 ,their work was much valued by collectors as far back as five or six years4 ,besides this style1 many decorated vases1 bottles1 jugs1 cups1 etc41 etc41 have been made1 of which examples will be seen in our illustration 7,fig4 #eh74 ,not only have great variety and beauty of form been reached1 but the methods of decoration are equally varied4 ,one of the most elaborate is in the use of beads in lines or singly1 so as to produce a jeweled effect1 often very brilliant and very finished2 this is in danger of being carried to excess4 ,so many pieces of their work have been brought to the ,united ,states1 that those interested can see them for themselves1 and will need no further description4 ,,early ,,german ,,glazed ,,pottery4--,before leaving this subject a few words may be said upon the early ,german work in pottery4 ,we know but little of the history of the ,german or ,teutonic tribes before the time of ,csar2 but it was found then that here existed strong1 handsome1 vigorous races1 who had reached an unexpected degree of civilization4 ,they had brilliant arms and armor2 they respected woman1 and honored old age4 ,in the museums are found examples of the early ,german unglazed pottery1 so much like that found in ,egypt1 in ,gaul1 in ,peru1 and in most other parts of the globe1 examples of which are shown in our first chapter upon unglazed pottery4 ,just when they began to use the glaze for the finishing and protection of pottery1 we do not know4 ,but it is known that it was in use there some two hundred years before it had been applied in ,italy in the #adjj's ,a4 ,d4 ,there are evidences sufficient to prove that the use of enamel1 in which tin was an element1 was known in ,germany as early as the thirteenth century4 ,the most famous piece of this early glazed pottery is to be seen in the ,church of the ,cross1 at ,breslau1 ,prussian ,silesia4 ,it is a great monument of pottery1 built in honor of the founder of the church1 ,henry ,,iv4 of ,silesia4 ,he lies at length1 the size of life1 wearing his armor and his crown1 and with a sword in the right hand1 a shield in the left4 ,around the sarcophagus upon which he lies are twenty-one figures in bass-relief1 the whole executed in the style of the earliest ,german-,gothic4 ,upon the monument is an inscription1 saying that ,henry ,,iv4 died on the night of ,st4 ,john1 in #abij1 etc41 etc4 ,this does not prove that the monument was executed then2 but there are other proofs that it was made about that time1 in the dress1 etc41 etc4 ,the name most conspicuous among the early potters of ,germany is ,hirschvogel1 who worked at ,nuremberg1 and who1 indeed1 founded potteries there which continued through the century4 ,he was born in #adda1 and died in #aebe4 ,he appears to have been a painter upon glass1 but from that went to the production of glazed pottery4 ,large plaques in bass-relief exist of this work1 and also artistic earthen-ware stoves1 some of which are elaborately and beautifully modeled4 ,examples of these1 as well as pots1 cruches1 etc41 etc41 are to be seen in the museum at ,nuremberg4 ,the work of the ,german potters appears to have been finished with the glaze earlier than that of any others of ,europe1 except that of the ,moors1 in ,spain4 ,,chapter ,v4 ,,glazed ,,pottery4--,,moorish1 ,,persian1 ,,rhodian1 ,,etc41 ,,etc4 ,the ,arabs in ,spain4--,cordova1 ,granada1 ,seville4--,enamel and ,lustres4--,hispano-,moresque4--,the ,alhambra4--,tiles4--,vase of the ,alhambra4--,malaga4--,majorca and ,maiolica4--,rhodian ,pottery4--,damascus ,pottery4--,persian and ,arabic ,pottery4--,persian ,porcelain4--,persian and ,arabic ,tiles4 ,before giving some particulars of the interesting examples of pottery which have come to us from the ,arabs and the ,moors of ,spain1 it may be well to devote a few moments to the people themselves4 ,i have thought it well to group under one head a number of their productions1 because they are peculiar1 and because they seem to have sprung from one centre1 or to have grown up under a corresponding sense of the beautiful1 so different from that of other peoples4 ,beginning with the pottery of the ,spanish ,moors1 now called ,hispano-,moresque1 and which is the latest1 we run backward to the ,rhodian1 the ,arabic1 the ,damascene1 and the ,persian4 ,from what examples ,i have been able to see of these1 they certainly show a strong family likeness in their colors1 their designs1 and their clays4 ,it is hardly to be supposed that this grew out of their religion1 or that the fervid soul of ,mohammed fired the souls of his followers with that striking and low-toned and intense and subtile harmony of blues1 greens1 and browns1 which is so often seen on their tiles and dishes4 ,it is more likely that1 beginning somewhere1 the ,arabian potters carried with them wherever they went their colors and their secrets2 and that what was desired in ,persia1 or ,damascus1 or ,cairo1 must be desired wherever the followers of the faithful were found2 and thus they went to work to produce these various fictile wares which are now so much sought for4 ,one of the most curious1 most interesting1 and most picturesque episodes in modern history is that of the ,moors in ,spain4 ,from the year #gab to the time of the discovery of ,america1 in #adib1 these ,moslems held possession of the finest parts of ,spain1 including the cities of ,cordova1 ,granada1 and ,seville4 ,of these1 ,cordova and ,seville are older than the ,romans4 ,in the first century they were fought over by ,csar and ,pompey1 but were not destroyed4 ,the shores of ,spain were visited by the ships of ,tyre1 and afterward by the ,greeks2 but these came as traders1 rather than as conquerors4 ,the old inhabitants1 the ,iberians1 were brave and determined2 but they could not organize1 could not resist the invading arms of ,rome1 which swept over the world under the leadership of some one able and daring leader4 ,then came in the ,vandals and the ,goths4 ,they swarmed down upon ,italy1 and into ,spain1 where they became strong and great4 ,as we read history1 we see almost nothing but one long1 fierce1 destructive fight1 and we wonder that there could have been any art1 any learning1 any kindness1 in the world2 for every man's hand was against every man1 and the chief vocation of great men was to rob and enslave other men4 ,so it has been1 so it is now2 the forms change1 the fact remains4 ,we have our feudal barons to-day4 ,but how came the ,moors--the ,arabs1 rather--in ,spain8 ,briefly this may be answered3 ,the amazing1 almost miraculous power with which ,mohammed the ,promised had inspired the ,arabian race led them forth to conquer and convert4 ,they went east and they went west1 until they stretched along the shores of the ,mediterranean ,sea and reached the ,pillars of ,hercules4 ,could the narrow strait stop their way8 ,they passed over it like dry land1 and spread their victorious bands over the southern part of the peninsula1 and possessed themselves of the lovely lands of ,andalusia1 ,estremadura1 ,castile1 and even penetrated to the cold and savage mountains of ,navarre4 ,what were these ,moors8 ,were they savage beasts1 cruel robbers8 ,they appear to have brought into ,spain not only ,art1 but the arts1 sciences1 learning1 literature4 ,under the strong and able rule of ,abderrahman ,,iii4 7#iab to #ifa71 agriculture1 science1 trade1 and decent living1 throve as they never yet had done in ,spain4 ,during the five or six centuries in which the ,moors held the land1 it is easy to believe that ,spain enjoyed a greater measure of worldly prosperity than before or since4 ,in this time ,cordova1 the seat of the caliphate1 grew to have a population of a million souls2 it had three hundred mosques and nine hundred baths4 ,its greatest mosque1 begun in #ghf1 shone with four thousand silver lamps1 and its dome was raised aloft on twelve hundred slender pillars4 ,the city of ,granada was built1 and upon the sides of its mountain sprang into being the fairy fortress and palace of the ,alhambra4 ,its halls1 its courts1 its galleries1 its arabesques1 its fretwork1 its fountains1 even in their ruin1 tell us of the power of this singular people4 ,in ,seville1 too1 the ,alcazar and the ,giralda even now bear beautiful witness to their art1 their skill1 their industry4 ,there seems little question now that the ,moorish potters brought with them into ,spain the arts which the ,persian or ,arabian potters knew1 not only for the preparing the clays1 but that they also had the secret for making the stanniferous enamel1 or glaze1 into which the use of tin enters4 ,they also applied to the decoration of their wares certain lustres1 which ,demmin says were produced by the fumes of bismuth1 of antimony1 or of arsenic4 ,it is not probable that gold was a component part of these lustres4 ,just when the ,moors went to work to make their tiles and their lustred dishes1 we do not know4 ,but as ornamental tiles--azulejos--were used to decorate their walls1 we conclude that the production began almost at once4 ,these tiles were not only used in bands or strips on the walls2 they were also used as pavements1 and the floors of the ,alhambra were glittering with them1 some few of which still remain there4 ,mr4 ,ford's description of them1 thus quoted by ,marryat1 says3 ,moorish very fine1 and most ancient2 surface plain1 painted and enameled blue2 the elaborate designs in gold lustre4 ,the inscription on the shield is the well-known motto of the ,mussulman founders of the palace of ,granada3 ',there is no conqueror but ,god4' ,the date of its manufacture may be placed about #acjj4 ,illustration3 ,,fig4 #ei4--;,from the ,alhambra4 ,our engraving of one of these tiles 7,fig4 #ei7 gives a good representation of the design1 but it cannot1 of course1 express the color4 ,no one can fail to see how far away it is from the commonplace and the ordinary geometric patterns into which the dull man invariably falls2 no one can fail to be struck with the simple intricacy which interests1 we cannot tell why4 ,another remarkable piece of their work is ,the ,vase of the ,alhambra 7,fig4 #fj71 one of the most beautiful and most interesting vases anywhere known4 ,this is sometimes called ,la ,jarra1 and is figured in ,owen ,jones's ,alhambra1 where will be found much more that is worthy of attention4 ,this is supposed to have been made about #acbj4 ,i take the description from ,marryat's work3 ,it is of earthen-ware2 the ground white1 the ornaments either blue of two shades1 or of that gold or copper lustre so often found in ,spanish and ,italian pottery4 ,this beautiful specimen of ,moorish workmanship1 which is four feet three inches in height1 was discovered1 with another similar to it1 beneath the pavement of the ,alhambra1 and is said to have been filled with gold4 ,it was copied in #ahdb1 at the manufactory of ,svres1 from drawings made in ,spain by ,dauzats4 ,it has since been copied by ,deck1 of ,paris4 ,illustration3 ,,fig4 #fj4--,the ,vase of the ,alhambra4 ,malaga was probably the place where the best of the ,moorish work was made1 and there the manufacture continued for centuries4 ,at ,valencia faiences were afterward largely produced1 as they are still4 ,the examples of ,moorish dishes remaining are marked by a peculiar lustre1 which ,i have mentioned1 which is either a lighter or a darker yellow1 and sometimes of a deep coppery color4 ,illustration3 ,,fig4 #fa4--;,hispano-,moresque ,plate4 ,a very fine example of this golden lustred ware is in the collection of ,mr4 ,wales1 at ,boston1 through whose kindness ,i am enabled to present the accompanying illustration 7,fig4 #fa74 ,it is now1 ,i think1 hung in the loan collection of the ,museum of ,arts at ,boston1 with many other of his valuable and interesting pieces4 ,that any pieces of this work should yet be in existence may excite our surprise4 ,the struggle between the ,christians and the ,moslems for the possession of the government and the religion of ,spain went on through the centuries4 ,yet through all these troubled centuries these ,moors found time to build great cities1 and to create those beautiful examples of their peculiar architecture which are so satisfactory even in ruin4 ,they also did more to encourage learning and the arts than any other nation of ,europe2 so that their schools and their scholars became renowned the world over1 and were flocked to by ,christian students4 ,in due time internal dissensions weakened them2 then they went to ruin1 and at last were driven out of ,spain by the combined ,christians4 ,then it was that the bitterness of war was intensified with the hatreds of religion2 and then it was that a war of destruction was waged1 not only against the persons of the vile ,moslems1 but against all their works2 so that nothing should remain to tell the story of their hated supremacy and their hated religion4 ,then it was that the ,moorish potters of ,malaga and ,valencia were slaughtered or expelled1 and then1 too1 their handiwork went with them into wholesale destruction4 ,in this wreck and ruin1 it is singular that the mosques1 those finest monuments of the arts and the industry of the ,moors1 were spared4 ,these remain1 and a few examples of their pottery1 of which we have striven to give some idea1 though faint4 ,one thing seems to be admitted on all hands1 viz43 that to the ,moors of ,spain ,europe owes either the invention or the introduction of siliceous or glass-glazed wares1 and that from that date begins all improvements in fictile work2 that directly from it came the potteries of the ,balearic ,islands1 and that from ,majorca came not only the names into ,italy1 but in all probability the potters or their secrets1 which resulted in the production1 in the fifteenth and sixteenth centuries1 of the wares now so famous under the name of ,majolica1 or1 as it is now spelled1 ,,maiolica1 of which we shall have something to say further on4 ,,rhodian ,,pottery4--,pursuing this subject eastward1 we find traces of a lustred pottery on the island of ,sicily1 believed to be the work of ,arabic potters4 ,still farther eastward1 upon the island of ,rhodes1 have been found many plates and dishes1 now classed as ,rhodian1 sometimes as ,persian1 and sometimes as ,damascus ware4 ,the styles of this work1 their colors and their designs1 seem to group them together1 and it is difficult to separate them in any consistent way4 ,the first ,i saw of these were hung on the walls of the house of ,mr4 ,frederick ,leighton1 the distinguished artist of ,london4 ,while following his art on the island of ,rhodes1 he had heard that some pottery of this sort was now and then to be found on the island2 the pieces he saw were very bold and striking1 and tradition there said that they were the work of ,persian potters1 who1 as prisoners1 had centuries before been placed on the island4 ,finding clay to their hands1 they went to work at their trade1 and1 with little doubt1 practised it diligently through a long time1 and handed it down to their children4 ,whatever was the truth of the tradition1 a search among the poor people of the island unearthed many pieces of the ware1 which ,mr4 ,leighton brought with him to ,london4 ,this was repeated on a second visit1 until now this private collection is probably one of the best in ,england4 ,upon his second return1 ,mr4 ,leighton told me he found in ,london1 for sale1 plates and dishes of the same character and coloring which were said to have been brought around from ,persia2 so that1 whatever may have been the origin of this ware1 whether ,rhodes1 ,persia1 or ,damascus1 the product was almost the same4 ,mr4 ,fortnum1 in his ,hand-,book upon ,maiolica1 says3 ,the paste varies in quality more than in kind1 being of a gray-white color and sandy consistence1 analogous to that of the ,persian wares4 ,the decoration is more generally rich in color1 the ground white1 blue1 turquoise1 tobacco-color1 and lilac1 sometimes covered with scale-work1 with panels of ,oriental form or leafage1 large sprays of flowers1 particularly roses1 tulips1 hyacinths1 carnations1 etc41 the colors used being a rich blue1 turquoise1 green1 purple1 yellow1 red1 black4 ,the forms are elegant3 large bowls on raised feet2 flasks or bottles bulb-shaped with elongated necks2 pear-shaped jugs with cylindrical necks and loop-handle2 circular dishes or plates with deep centres1 etc4 ,an interesting example of the highest quality of this ware is in the writer's possession1 and is described and figured in color in vol4 xlii4 of the ',archologia4' ,it is a hanging-lamp made for and obtained from the ,mosque of ,omar at ,jerusalem1 signed and dated ,june1 #aedi4 ,two leading varieties are known in collections3 namely1 ,damascus proper2 known by its evenness of surface and rich glaze with subdued but harmonious coloring1 certain tones of which are peculiar to this variety2 for example1 a dull lilac or purple1 replacing the embossed red so conspicuous on the ,rhodian1 and used against blue1 which is of two or three shades1 the turquoise being frequently placed against the darker tone2 a sage green is also characteristic4 ,the dishes of this variety usually have the outer edge shaped in alternating ogee4 ,this kind is much more uncommon than the other1 ,,rhodian or ,,lindus1 to which the greater number of pieces known in collections as ',persian ware' belong4 ,it is to ,mr4 ,salzmann that we owe the discovery of the remains of ancient furnaces at ,lindus1 in the island of ,rhodes1 from the old palaces of which he collected numerous examples4 ,this variety1 although extremely beautiful1 is generally coarser than the former1 and the decoration more marked and brilliant4 ,a bright-red pigment1 so thickly laid on as to stand out in relief upon the surface of the piece1 is very characteristic and in many cases is a color of great beauty2 the predominant decoration of the plates consists of two or three sprays of roses1 pinks1 hyacinths1 and tulips1 and leaves1 sometimes tied together at the stem and spreading over the entire surface of the piece in graceful lines2 the border frequently of black and blue scroll-work4 ,ships1 birds1 and animals1 are also depicted2 and a shield-of-arms occurs on some pieces4 ,a few of these striking ,rhodian plates are to be seen in ,america2 and ,i here engrave one 7,fig4 #fb7 from ,mr4 ,w4 ,c4 ,prime's collection1 which is an excellent example4 ,it shows a group of flowers starting from a point1 the central stalk being that of a purple hyacinth4 ,this method of grouping was a favorite one with these painters4 ,these plates vary in price in ,europe from fifteen to seventy-five dollars each4 ,of the ,,damascus pottery little can be said1 because little is known4 ,from time to time plates and dishes are purchased there and brought to us1 which possess the general character already described as ,rhodian1 but are thought to have a delicacy and fineness not found in that pottery4 ,a very handsome example is in ,mr4 ,wales's collection1 which bears a little gilding1 and which1 perhaps1 may be classed as of ,damascus4 ,illustration3 ,,fig4 #fb4--,persian and ,rhodian ,pottery4 ,of ,,persian and ,,arabic pottery it is impossible1 in the vagueness existing with respect to it1 to do more than make a few suggestions4 ,we cannot do better than to read what ,mr4 ,fortnum has gathered with regard to this ware3 ,we do not derive any information from ,m4 de ,rochchouart on the subject of the lustred wares1 except in his description of the tiles of the ,mosque of ,natinz of the twelfth century2 nor do we learn anything of that variety of creamy white pottery having the sides pierced through the paste1 but filled with the translucent glaze1 and which is believed to be the ,gombron ware of ,horace ,walpole's day4 ,but he gives interesting information on the subject of the tiles used for decoration1 of which the finest are those mentioned above2 those of ,ispahan and of the period of ,shah ,abbas being also admirable for their exquisite design4 ,the ,persian glazed pottery known to us may be divided into3 ,a4 ,wares1 generally highly baked1 and sometimes semi-translucent4 ,paste1 fine and rather thin1 decorated with ruby1 brown1 and coppery lustre1 on dark-blue and creamy-white ground4 ,b4 ,wares1 of fine paste1 highly baked1 semi-translucent1 of creamy color and rich1 clear glaze1 running into tears beneath the piece of a pale sea-green tint4 ,its characteristic decoration consisting of holes pierced through the paste1 and filled in with the transparent glaze3 the raised centres1 etc41 are bordered with a chocolate brown or blue leafage1 slightly used4 ,this is supposed to be the ,gombron ware4 ,c4 ,wares1 frequently of fine paste1 and highly baked to semi-transparency3 the ground white2 decoration of plants and animals1 sometimes after the ,chinese1 in bright cobalt blue1 the outlines frequently drawn in manganese2 some pieces with reliefs and imitation ,chinese marks also occur2 this variety is perhaps more recent than the others4 ,this description may apply rather to a sort of semi or imperfect porcelain of ,persian manufacture1 as to the reality of which there has been and is much doubt1 rather than to the peculiar class of faience of which we have been writing4 ,as to the porcelain or hard faience of ,,persia1 here and there are to be met with singular examples1 which1 because of a peculiar style of painting1 combined with a certain coarseness or imperfectness of paste1 have usually been relegated to the less dexterous potters of ,persia4 ,that pottery has been made in ,persia1 far back in the dimness of the ,dark ,ages1 there seems to be no doubt2 just what it was remains a doubt2 because even then a sort of commerce1 probably by sea and land1 existed with ,china1 and thence came porcelains of various qualities and many designs4 ,we are apt to believe that1 until our day1 there were few cakes and ale--little art1 or only coarse fabrics4 ,whereas fine and admirable work of many sorts1 and especially in porcelain and pottery1 had reached perfection before our ,european or ,western civilization began4 ,out of ,china came porcelain to ,persia2 out of ,persia and ,phoenicia came pottery to us4 ,of the ,persian porcelain1 or hard pottery1 a single example is to be seen in ,mr4 ,avery's collection1 now in the ,museum of ,art at ,new ,york4 ,it was bought at the ,vienna ,exhibition from ,prince ,ehtezad-es-,saltenet1 uncle to the ,shah of ,persia1 and we may suppose it1 therefore1 to have about it the true flavor of genuineness4 ,it is a bowl of rather coarse ware1 approaching to the hardness1 if not the translucency1 of porcelain2 it is painted with blue of a common color1 and with a not very interesting design2 and is valuable as an example of the probable work of ,persian potters4 ,but there exist many pieces of pottery besides these1 which have usually been called ,persian because of their peculiarities of design and of coloring4 ,some of these approach closely to the work already designated as ,rhodian or ,damascene4 ,in the upper plate of ,fig4 #fb1 from ,mr4 ,prime's collection1 is shown one of these1 which the owner is inclined to believe may be ,persian and not ,rhodian4 ,so also the painted faience egg 7,fig4 #fb71 obtained by him from a lamp in a mosque of the ,holy ,land4 ,the face and the coloring do certainly impress one with a ,persian faith1 though it may not be easy to explain the reason why4 ,in my possession is a sweetmeat-pot covered with an engobe or slip1 upon which are boldly painted in colors flowers and leaves2 these last are peculiar in shape1 and are by some believed to be ,persian work--,i doubt it1 but it is possible4 ,we have a few words to say of the ,persian or ,arabic ,,tiles4 ,these have been found inlaid upon the walls of mosques and palaces and tombs in ,damascus1 in ,cairo1 in ,ispahan4 ,as far back as the palmy days of ,babylon and ,assyria1 these enameled or glazed bricks or tiles were used to decorate the walls of their buildings2 and that is about all we know4 ,these bricks remain2 for1 of all the works of man1 the brick is seemingly imperishable4 ,it is also certain that upon some of these bricks or tiles is found a glaze or enamel made with the use of tin2 so that what is now called stanniferous enamel was known at that early day1 and long before it was used in ,italy by ,luca della ,robbia1 who at one time was supposed to have invented it4 ,the example here given 7,fig4 #fc7 is a very beautiful plaque1 made up of many pieces1 and is remarkable for the splendor of its color1 rather than for any perfectness of design4 ,it is interesting1 however1 as showing the dresses of the cavaliers of the ,persian court4 ,illustration3 ,,fig4 #fc4--,persian ,plaque4 ,in the walls of ,damascus1 of ,jerusalem1 and of ,cairo1 these tiles were imbedded for ornamental and decorative purposes1 and from them they have been gathered by those good people called collectors4 ,in ,fig4 #fb is an engraving of one in ,mr4 ,prime's collection1 which gives simply the lines1 but wholly fails to give the magic and mystery of color which endues it with beauty4 ,this cannot be described1 nor can it be pictured2 the combinations of blues are too subtile for the palette of the painter2 they have been sublimated in the fiery heats of the furnace4 ,a few of these tiles are in possession of ,mr4 ,prime and of ,mr4 ,wales2 and a very fine collection is now in the house of ,mr4 ,leighton1 of ,london1 of which ,i have spoken4 ,he has had them imbedded in the walls of his halls1 which they tinge with their peculiar and pensive light4 ,,chapter ,,vi4 ,,glazed ,,pottery4--,,italian ,,maiolicas4 ,the ,word ,maiolica1 or ,majolica4--,italian ,renaissance4--,the ,dark ,ages4--,the ,crusades4--,the ,mezza-,maiolica4--,the ,true ,maiolica4--,luca della ,robbia4--,urbino4--,xanto and ,fontana4--,raffaelesque ,ware4--,mr4 ,fortnum4--,prices to-day4--,gubbio4--,maestro ,giorgio4--,the ,lustres4--,castel-,durante4--,faenza4-- ,the ,sgraffito4--,forli1 ,venice1 ,castelli1 etc4--,castellani4--,maiolicas at the ,centennial4 ,the term ,,maiolica1 or ,majolica1 as has been often explained1 came from the island of ,majorca1 whence came to ,italy1 in the twelfth century1 some of those peculiar potteries already described under the name of ,hispano-,moresque4 ,the ,balearic ,islands1 lying in such convenient proximity to the mainland1 were then possessed by the active and enterprising ,moors--that most daring and doing race1 who had planted the standard of the ,prophet in ,southern ,europe4 ,from these convenient islands they could organize pleasant surprises upon the coasts of ,italy1 and gratify themselves with much plunder4 ,while human nature can bear and does bear much marauding1 there comes a time when endurance ceases to be a virtue1 and then--war ensues4 ,such a time had come in the twelfth century1 when the ,pisans1 and their friends along the ,italian coasts1 determined to plunder1 rather than be plundered2 and then they pounced upon the hated ,moors of the islands1 and turned the tables upon them4 ,it is believed that1 among the spoils carried away to ,italy1 were many pieces of the peculiar wares made by the ,moors in these islands as well as in ,spain4 ,that these examples1 and some of the potters themselves1 were carried away to the ,italian coast1 is most likely2 and that the ,italians1 always a people with quick sensibilities1 and a ready perception of the beautiful1 if not of the good or the true1 at once saw that here was a manufacture ready to their hands1 which combined use and beauty1 as their own did not4 ,at any rate1 it was during the most vivid period of the ,italian ,renaissance 7#acej to #afjj7 that the production of the highly-decorated fictile work1 known as ,maiolica1 sprang up1 culminated1 and went to decay4 ,through the centuries called the ,dark ,ages1 art and literature had not died2 their fires were kept bright in the monkish cell1 where some ,alcuin1 in ,england or in ,france1 traced with painful pen the lives of the saints1 or the romaunts of the ,lady2 and touched their illuminated margins with those exquisite colors which feed the eye with a pleasant surprise now1 when centuries have passed1 and books lie about our feet as thick as leaves in ,vallambrosa's vales4 ,during this dark time art and literature flourished among the ,saracens along the ,african coast1 and grew into splendor in the halls of ,cordova and ,seville4 ,but a day was at hand when ,peter the ,hermit made his pilgrimage to the ,holy ,city 7#ajic71 and came back to preach his fiery crusades against the abominations with which the ,moslems defiled the sepulchre of the ,lord4 ,then through some two centuries ,europe was converted into religious camps1 from which streamed out toward ,jerusalem the armies of the ,cross--the ,crusaders--and that ,oriental world was thus mingled in a great warlike confusion with the ,occidental world of ,europe4 ,how does all this touch upon the small matter of ,italian maiolicas1 of which ,i treat8 ,thus3 these religious wars made ,venice1 ,leghorn1 and ,genoa1 into great centres of commercial activity1 and into them flowed wealth1 as well as every kind of merchandise and manufacture known in the ,east4 ,the people of these small kingdoms grew rich1 and vastly so4 ,the ,dandolos1 the ,dorias1 the ,medicis1 founded princely families1 and became patrons of learning and art4 ,then1 too1 the ,church grew great1 all-powerful1 and rich2 for the fervor of piety1 which fired all hearts1 sought expression not only in shedding its blood to rescue the holy places1 it poured in of its earnings or plunderings rivers of wealth to enrich the coffers of the ,church4 ,the popes1 the cardinals1 the bishops1 grew great1 not so much in religious truth1 but more in lands1 in castles1 in gold1 and in goods4 ,thus every prelate and every patriarch became a prince1 with gold to give1 and favors to bestow4 ,then they became1 all through ,italy1 patrons of art and fosterers of learning4 ,we see in this the spring out of which flowed the ,renaissance of literature and the arts1 and which resulted in the architecture1 the painting1 the poetry1 the maiolicas1 and the luxury1 of that new ,italian life4 ,the term maiolica1 in its generic sense1 means what delft does in ,holland1 faience in ,france1 and earthen-ware in ,england4 ,all are soft pottery1 covered with an opaque glaze called enamel4 ,the term was once applied only to the lustred wares of ,spain and ,italy2 but now it has come to mean such dishes--ewers1 vases1 etc41 etc4--as were made in ,italy during the period of the ,renaissance1 which have an expression of art1 and can be termed decorative2 perhaps it goes still further1 for the druggists' pots 7,fig4 #fd71 then much in use1 and which may perhaps be classed wholly with the useful1 are not excluded2 for upon some of these much decoration was put4 ,the word also carries a subdivision called mezza-maiolica4 ,illustration3 ,,fig4 #fd4--;,druggist's ,pot4 ,,mezza-,,maiolica4--,we cannot attempt to give a history of all the potteries which sprang into being in ,italy during this time2 it would be both difficult and useless4 ,of course1 we know that many existed1 and must have existed even from the days of the ,roman dominion4 ,but1 under the influences mentioned1 they took on a new life4 ,not only had striking examples come to the ,italians from the ,moors of ,majorca1 but beyond question many others had reached them from time to time from the ,east4 ,common and unglazed potteries gave place to the better sorts2 and a vast stride was taken when the vessel came to be protected by a glaze made with the use first of lead 7plumbiferous71 and then of tin 7stanniferous74 ,the ,italian writers assert that the use of lead--the plumbiferous glaze--was applied in ,urbino as early as #acjj4 ,why need we doubt it8 ,at ,pesaro it reached its perfection about #aedj4 ,the common earthen or red ware of the country was dipped into a slip or engobe of white clay2 then it was dried or baked2 then painted1 and afterward covered with a thin skin of lead-glaze1 which was fixed with the fire4 ,the colors used in decorating these pieces were few1 being mostly yellows1 greens1 blues1 and black4 ,this lead-glaze was soft1 but it had a sort of metallic1 iridescent lustre1 which is one of its peculiarities and beauties4 ,it is almost useless to attempt with the engraving to express fully the characteristics of this ware2 the colors we cannot give4 ,one piece 7,fig4 #fe7 will serve to show the kind of design often used1 which bears unquestioned testimony to its ,moorish parentage4 ,this finer work seems to have been made about #aejj to #aeej1 and at ,pesaro4 ,the ,,true ,,maiolica is that which is covered with a glaze made with the oxide of tin and siliceous sand4 ,this stanniferous glaze or enamel takes the place of the slip or engobe1 and covers the potter's clay with a clear white enamel1 upon which the colors can be laid4 ,the avidity with which the new art was seized upon in ,italy by dukes and priests1 by workmen and artists1 we can hardly comprehend4 ,it would seem that the whole ,italian world then rushed into every form of art and literature with an eagerness only to be explained by a desire to make good the ,lost ,ages--often called the ,dark ,ages4 ,furnaces and potters sprang out of the ground1 and almost every good town sooner or later had its botega4 ,of these we may mention as among the most noted3 ,urbino1 ,gubbio1 ,pesaro1 ,castel-,durante1 ,faenza1 ,forli1 ,caffagiolo1 ,siena1 ,deruta1 ,venice1 ,castelli1 besides many others4 ,illustration3 ,,fig4 #fe4--,mezza-,maiolica4 ,before giving some particulars of these manufactures1 it may be well to refer to a name which seems to take precedence of others among the artists in ceramic work in ,italy4 ,this man was ,,luca ,,della ,,robbia1 born in the year #adjj4 ,m4 ,ritter says of him3 ,he was a sculptor first1 and a potter afterward4 ,an artist of the highest power1 he was inspired with all the marvelous sthetic force and subtilty and fertility of his age and of his country4 ,he was not satisfied1 as other sculptors are1 with form-beauty alone1 but cast about to add to his moulded figures the further beauties of coloring and surface-texture4 ,he no doubt well knew the wares of the ,moors of ,spain1 and probably was acquainted with the secret of the tin-glaze already used by the ,italian potters4 ,it is needless to assume1 as most writers do1 that he discovered tin-glazes for himself2 but he at any rate adopted the process1 and he has left us bass-reliefs and even life-sized statues covered with a fine stanniferous polychrome-glaze1 which are among the wonders of ,italian ,renaissance art1 and which to this day are1 in their way1 unsurpassed triumphs of skill4 ,the portrait 7,fig4 #ff7 which we give shows him to be among the strong and able men1 who might not only stand before kings1 but might be a king himself4 ,illustration3 ,,fig4 #ff4--,portrait of ,luca della ,robbia4 ,there are but few pieces of his work in this country--so far as ,i know1 only these3 one a ,virgin and ,child1 in possession of ,mr4 ,prime1 of ,new ,york2 the other now in the loan collection of the ,art-,museum at ,new ,york1 the property of ,mrs4 ,robert ,m4 ,grinnell4 ,it is thus described3 ,the child ,jesus lies on a mass of green grass4 ,white lilies with yellow stamens spring up behind him4 ,the ,virgin kneels2 above her two winged cherub heads1 and two arms stretched down hold a crown over her head4 ,on the crown1 yellow and blue spots4 ,from the description1 the reader will not be likely to rank this among works of the finest art4 ,these works were produced to meet the religious wants of the time and people1 and were in great demand4 ,but to-day1 for other than religious reasons1 they sell for twenty times the prices they then did4 ,in ,fig4 #fg is to be seen a retable1 now in the ,museum of the ,louvre1 which is probably among the best examples of his style of work4 ,these bass-reliefs were at first done with white figures on a blue ground2 subsequently other colors were introduced1 such as greens1 browns1 and yellows4 ,his four sons and a nephew carried on the same styles of work1 but failed to improve upon their master4 ,from the two or three pieces of the work which ,i have seen1 ,i could value them as examples in the history of ceramics2 as works of art1 for myself not at all4 ,italian writers naturally wish to claim for ,luca della ,robbia all possible merit1 and particularly that he discovered and first applied in ,europe 7outside of ,spain7 the enamel made from tin2 thus raising him to a high rank as a discoverer and originator1 as well as an artist4 ,much discussion and speculation has been indulged in1 which is1 however1 of but little interest to us1 and probably less to ,della ,robbia himself4 ,what he did do1 and for which he deserved praise1 was1 that he seems to have worked at the new business he had taken up with honesty and persistency2 that he was patient and painstaking4 ,these are always good4 ,he was merchant enough to make what then would sell2 that is1 works for the ornamentation of churches and altars1 one of which we have illustrated4 ,he was successful1 and that was a satisfaction to him as it is to us4 ,he made1 besides altar-pieces1 rondels and squares to be set into walls1 upon which were masks1 scrolls1 fruit1 flowers1 buds1 etc41 etc42 and these were sometimes white1 and sometimes enameled with various colors4 ,his nephew ,andrea followed his lead1 but did not improve upon his master2 and his four sons1 ,giovanni1 ,luca1 ,ambrosio1 and ,girolamo1 continued to make the same description of reliefs1 but greatly inferior to those of the first ,della ,robbia4 ,illustration3 ,,fig4 #fg4--;,altar-,piece1 by ,luca della ,robbia1 in the ,museum of the ,louvre4 ,,urbino4--,the ,dukes of ,urbino were foremost in encouraging and developing the maiolica work of ,italy2 and around them1 as a sort of centre1 the ceramic art seems to have gathered4 ,i give from ,mr4 ,fortnum's book a brief account1 which may interest many4 ,having had whatever good could be derived from the great and valuable collections of the ,kensington ,museum1 and being a man of keen perceptions and sound judgment1 whatever he writes deserves respect4 ,he says3 ,in #addc what had been but an unimportant mountain fief was erected into a duchy1 and the house of ,montefeltro ruled a fair territory in the person of the infamous ,oddantonio1 the first ,duke of ,urbino4 ,on his violent death in #addd1 ,federigo1 his illegitimate brother1 succeeded to the dukedom4 ,of enlightened mind1 as well as of martial capacity1 he developed the native capabilities of the country1 and gathered about him at the court of ,urbino the science and learning of the period4 ,he built a noble castellated palace at ,urbino1 for the embellishment of which he invited the leading artists of the day4 ,a patron of all art1 and a great collector1 he encouraged the manufacture of the maiolica wares which flourished under his reign4 ,on his death1 in #adhb1 his son ,guidobaldo ,i4 continued his father's patronage to the ceramic artists of the duchy1 although much occupied in the ,italian wars consequent on the ,french invasion by ,charles ,,viii4 ,passeri states that fine maiolica 7by which he means that covered with the tin-enamel7 was introduced into ,pesaro in #aejj2 and there is some reason to believe that the new process came from ,tuscany4 ,it differed materially in composition and manufacture from the 'mezza-maiolica' wares1 to which it was very superior1 and was known as 'porcellana1' a name applied at that period in ,italy to the choicer description of enameled earthen-ware4 ,passeri also states that in the inventory of the ducal palaces a large quantity of painted 'maiolica' vases were included under this name4 ,the superior whiteness of the enamel1 more nearly approaching to that of ,oriental porcelain1 was probably the reason for its adoption2 but we must not confound the term as used in this sense with its technical meaning in reference to a decorative design known as 'a porcellana4' ,these famous manufactories of maiolica at ,urbino1 ,gubbio1 ,pesaro1 and ,castel-,durante1 sprang into life about the end of the fifteenth and the beginning of the sixteenth centuries4 ,that of ,urbino perhaps took the lead1 being so directly under the patronage of the dukes4 ,the two most distinguished artists here were ,francisco ,xanto ,avelli da ,rovigo and ,orazio ,fontana2 they are commonly spoken of as ,xanto and ,fontana4 ,besides these were ,battista ,franco and ,raffaelle del ,calle1 among the best painters upon maiolica4 ,during the time of these artists many elaborate pictures were painted by them upon the vases and plates of ,urbino4 ,following the mezza-maiolica1 the work at first showed much of the ,oriental character of design1 and the lustred surfaces were continued4 ,but soon ambition seized them1 and they transferred to the surface of the clay elaborate scriptural1 historical1 and allegorical subjects4 ,original designs were made to some extent2 but to a larger extent the great pictures of the great masters were seized upon--such as ,raffaelle's ,triumph of ,galatea1 and other works of the same sort4 ,the engravings of ,marc ,antonio and of ,albert ,drer1 then just at hand1 gave easy aid2 and with such helps1 with a rich and art-loving public to encourage them1 we can see how the production should flourish4 ,the vase 7,fig4 #fh7 is a good example of one of their best works4 ,these fine pieces were used as presents by grandees to grandees1 and by princes to princes4 ,pieces and sets were painted expressly as gifts for lovers1 for espoused persons1 for safe deliveries2 as marks of favor1 and as persuasives for favors to come4 ,then grew up a large production of plates painted expressly for lovers1 upon which the portrait of the lady was painted2 in many cases1 ,i am sure1 with unnecessary ugliness1 but with a sufficiently lovely motto to atone in some degree for the injury1 no doubt unwittingly done--such as diva or paragon di tutti4 ,these are known as amatorii1 and are much prized4 ,in ,fig4 #fi we give one of these amatorii1 and one of the most pleasing2 some are of supreme ugliness4 ,this one is dedicated to ,vanna ,bella--the beautiful ,vanna2 and in its time was more beautiful than now1 for it was the inspiration of love4 ,among the fancies indulged in upon the amatorii plates and jugs are mentioned such as these3 ,on one1 we have two hands clasped over a fire2 and above1 a golden heart pierced by two darts4 ,on another1 a heart transfixed with a sword and an arrow over a burning flame1 bedewed with tears falling from two eyes placed above4 ,illustration3 ,,fig4 #fh4--,maiolica ,vase1 ,david and ,bath-sheba4 ,on a saucer is a youth kissing a lady1 and giving her a flower--,dulce est amare4 ,on another is a greyhound with a heart in its mouth--,per mento di mia f in te1 etc4 ,all of these are sufficiently youthful and sentimental to meet the wants of the valentine-makers of to-day4 ,but the subjects of paintings were not all either divine or historical or amatory4 ,many subjects painted from the old mythology had a too palpable quality which we more fastidious people might call coarse1 if not roughly vulgar2 and such subjects do not heighten the pleasure we expect to find in examining these works4 ,the ,raffaelle ware1 as it is sometimes called in ,england1 had a quality of design which is peculiar1 and therefore an example of it may be of service here 7,fig4 #gj74 ,the combination of scrolls1 masks1 ,cupids1 flowers1 buds1 etc41 which marks this style of work1 is found more or less to pervade much of the ornamentation of what is known as ,italian ,renaissance4 ,illustration3 ,,fig4 #fi4--;,example of ,amatorii4 ,it has sometimes been said that ,raffaelle himself painted upon the maiolica1 but it is not proved2 and the finest pieces were not made until after his death4 ,it is true that many of his pictures were copied or adapted by the maiolica-painters for their own uses2 and it is also asserted that some of his pupils painted upon the clay4 ,marryat states that the engraver ,marc ,antonio--good prints of whose works now sell to collectors for enormous prices1 beautiful specimens of which have been shown in the famous collection of ,mr4 ,rose1 of ,london--was in the height of his powers when the brilliant young painter ,raffaelle was in the full command of his2 and that the engraver lived in the house of the painter1 worked with him under his own eye1 and was influenced by his inspirations4 ,we cannot wonder1 therefore1 that the finest results were thus produced4 ,but it is not to be believed that either of them worked upon the clay4 ,copies of their pictures were painted upon the maiolica by other hands1 and vastly inferior ones to theirs4 ,illustration3 ,,fig4 #gj4--,raffaelle ,ware4 ,what is known as ,raffaelle1 or ,raffaellesque maiolica1 are not those pieces which carry copies of ,raffaelle's pictures1 but those1 like the example seen in ,fig4 #gj1 which are ornamented with arabesques1 chimeras1 scrolls1 etc4 ,of the painting of ,xanto1 a competent critic1 ,mr4 ,j4 ,c4 ,robinson1 thus writes3 ,xanto's works may be considered to represent perfectly the ',majoliche istoriate1' and he certainly had a talent for the arrangement of his works in composition1 nearly all his subjects being 'pasticci2' the various figures or groups introduced being the invention of other artists copied with adroit variations over and over again1 and made to do duty in the most widely different characters4 ,as an original artist--if1 indeed1 he can be so considered--he may be classed with the more mannered of the scholars of ,raffaelle4 ,his designs are generally from classical or mythological subjects4 ,xanto's execution1 although dexterous1 is monotonous and mechanical2 his scale of coloring is crude and positive1 full of violent oppositions1 the only merit1 if merit it be1 being that of a certain force and brightness of aspect2 in every other respect his coloring is commonplace1 not to say disagreeable even2 blue1 crude opaque yellow1 and orange tints1 and bright verdigris green1 are the dominant hues1 and are scattered over the pieces in full1 unbroken masses1 the yellow especially meeting the eye at the first glance4 ,in the unsigned pieces1 before #aeca1 the glaze is better and more transparent1 the execution more delicate1 and the outline more hard and black1 than in the later specimens4 ,some of ,xanto's wares are profusely enriched with metallic lustres1 including the beautiful ruby tint2 these specimens1 however1 form but a small1 percentage of the entire number of his works extant4 ,this class of piece is1 moreover1 interesting from the fact that the iridescent colors were obviously not of ,xanto's own production1 but that1 on the contrary1 they were applied to his wares by ,mo4 ,giorgio1 and the supposed continuers of ,giorgio's 'fabrique' in ,gubbio4 ,many pieces are extant which1 in addition to ,xanto's own signature1 nearly always written in dark-blue or olive tint1 are likewise signed with the monogram ',n' of the ,giorgio school in the lustre-tint2 and one specimen1 at least1 has been observed which1 though painted by ,xanto1 has been signed in the lustre-tint by ,maestro ,giorgio himself4 ,at this time there came to ,urbino some artists who took the name of ,fontana1 whose works have a great fame--when known2 their name originally is believed to have been ,pellipario4 ,these brothers appear to have founded a factory or botega of their own at ,urbino1 where they did much work which reached a high reputation4 ,but little of it1 however1 is surely known2 for these painters1 like most of the maiolica-painters1 but rarely signed their pieces4 ,with regard to the ,fontana family1 chiefs among ,italian ceramic artists1 we quote from the notice by ,mr4 ,robinson appended to the ,soulages catalogue4 ,he tells us that 'the celebrity of one member of this family has been long established by common consent4 ,orazio ,fontana has always occupied the highest place in the scanty list of maiolica artists1 although at the same time nothing was definitely known of his works4 ,unlike their contemporary ,xanto1 the ,fontana seem but rarely to have signed their productions1 and consequently their reputation as yet rests almost entirely on tradition1 on incidental notices in writings which date back to the age in which they flourished1 and on facts extracted at a recent period from local records4 ,no connected account of this family has as yet been attempted1 although the materials are somewhat less scanty than usual4 ,there can be no doubt that a considerable proportion of the products of the ,fontana boteghe is still extant1 and that future observations will throw light on much that is now obscure in the history of this notable race of industrial artists4 ,orazio ,fontana1 whose renown seems to have completely eclipsed that of the other members of his family1 and1 in fact1 of all the other ,urbinese artists1 is first mentioned by ,baldi1 at the beginning of the seventeenth century1 in his eulogy of the state of ,urbino pronounced before ,duke ,francesco ,maria ,,ii4444 ,from documents cited by ,raffaelli1 it is established beyond doubt that the original family name was ,pellipario1 of ,castel-,durante1 ,fontana being an adopted surname2 and it is not immaterial to observe that down to the latest mention of any one of the family 7in #afje7 they are invariably described as of ,castel-,durante4444 ,the ,fontana were undoubtedly manufacturers as well as artists1 i4e41 they were the proprietors of vaserie4 ,of the first ,nicola1 as we have only a brief incidental notice1 nothing positive can be affirmed2 but with respect to his son ,guido we have the testimony both of works still extant and of contemporary documents4 ,we know1 also1 that ,guido's son ,orazio also had a manufactory of his own1 and the fact is established that between #aefe and #aega there were two distinct ,fontana manufactories--those of father and son4 ,what became of ,orazio's establishment after his death1 whether continued by his brother ,camillo or reunited to that of the father1 there is no evidence to show4 ,with respect to the remaining members of the family1 our information is of the scantiest kind4 ,camillo1 who was inferior in reputation as a painter only to his elder brother1 appears to have been invited to ,ferrara by ,duke ,alfonso ,,ii41 and to have introduced the maiolica-manufacture into that city4 ,of ,nicola1 the third 787 son1 we have only incidental mention in a legal document1 showing that he was alive in the year #aegj4 ,guido1 son of ,camillo1 lived till #afje2 and of ,flaminio1 who may either have been son of ,camillo or of ,nicola1 ,dennistoun's vague notice asserting his settlement in ,florence is all ,i have been able to collect4 ,no signed pieces of ,camillo1 ,flaminio1 ,nicola the second1 or ,guido the second1 have as yet been observed4 ',a considerable proportion of the ,fontana maiolica is doubtless still extant2 and it is desirable to endeavor to identify the works of the individual members of the family1 without which the mere knowledge of their existence is of very little moment2 but this is no easy task2 although specimens from the hands of one or other of them are to be undoubtedly found in almost every collection1 the work of comparison and collation has as yet been scarcely attempted4 ,the similarity of style and technical characteristics of the several artists1 moreover1 working1 as they did1 with the same colors on the same quality of enamel-ground1 and doubtless in intimate communication with each other1 resolves itself into such a strong family resemblance that it will require the most minute and careful observation1 unremittingly continued1 ere the authorship of the several specimens can be determined with anything like certainty4 ,the evidence of signed specimens is1 of course1 the most to be relied on1 and is indeed indispensable in giving the clew to complete identification in the first instance2 but in the case of the ,fontana family a difficulty presents itself which should be noticed in the outset4 ,this difficulty arises in determining the authorship of the pieces signed ,fatto in botega1 etc4--a mode of signature1 in fact1 which proves very little in determining individual characteristics1 inasmuch as apparently nearly all the works so inscribed are painted by other hands than that of the proprietor of the ,vaseria4 ,in cases1 however1 in which the artist has actually signed or initialed pieces with his own name1 of course no such difficulty exists1 but the certainty acquired by this positive evidence is as yet confined in the case of the ,fontana family to their greatest name1 ,orazio4' ,with regard to the artistic quality of this work1 ,i will quote the criticism of a competent judge1 ,mr4 ,fortnum1 as upon the general question ,i have a few words to say further on2 for it is unfortunately true that too many buy for the name1 and not the merit4 ,he says3 ,the celebrated vases made for the spezieria of the duke were produced at the ,fontana fabrique1 and subsequently presented to the ,santa ,casa at ,loreto1 where many of them are still preserved4 ,those shown to the writer on his visit to that celebrated shrine some few years since did not strike him as being of such extraordinary beauty and great artistic excellence as the high-flown eulogy bestowed upon them by some writers would have led him to expect4 ,the majority of the pieces are drug-pots of a not unusual form1 but all or nearly all of them are 'istoriati1' instead of being1 as is generally the case1 simply decorated with 'trofei1' 'foglie1' 'grotesche1' the more usual and less costly ornamentation4 ,some of the pieces have serpent-handles1 mask-spouts1 etc41 but he vainly looked for the magnificent vases of unsurpassed beauty2 nor1 indeed1 did he see anything equal to the shaped pieces preserved in the ,bargello at ,florence4 ,the work of the well-known hands of the ,fontana fabrique is clearly recognizable1 and several pieces are probably by ,orazio4 ,some1 more important1 preserved in a low press1 were finer examples4 ,we have said that the pieces individually are not so striking1 but1 taken as a whole1 it is a very remarkable service1 said to have originally numbered three hundred and eighty vases1 all painted with subjects after the designs of ,battista ,franco1 ,giulio ,romano1 ,angelo1 and ,raffaelle2 and1 as the work of one private artistic pottery in the comparatively remote capital of a small duchy1 it bears no slight testimony to the extraordinary development of every branch of art-industry in the various districts of ,italy during the sixteenth century4 ,at the period of which we write1 ,italy had become the leading nation of ,europe in all that pertained to literature and the arts2 her painters1 sculptors1 and poets1 had thrown over her people and history a glory1 or rather a glamour1 which was but the iridescence which whispered of decay4 ,within a century all had sunk into insignificance and palsy4 ,to-day the world visits ,italy to see with curious eyes what she has been1 not what she is4 ,the art and the maiolica which she now produces are but copies1 and too often bad copies1 of that past4 ,the manufactories of ,ginori at ,florence1 and of ,giustiniani at ,naples1 make much good work2 but1 so far as ,i have seen1 they blindly copy the shapes1 the colors1 and the decoration1 of the fifteenth and sixteenth centuries1 and attempt nothing more4 ,and the pity is that we1 who buy to-day1 seem to want only those6 ,in our pursuit of art it may be well to remember that no nation can be created by art1 and none can be saved by it4 ,when it is enlisted only in copying the past1 it means feebleness and decay4 ,from about the year #aejj to #aefj is counted the fine period of maiolica-painting1 when the painters of whom ,i have spoken were transferring the compositions of such artists as ,raffaelle1 ,giulio ,romano1 and ,parmegiano1 to the clay4 ,these have always had a great value1 and always will4 ,the prices vary as the fashion varies4 ,i find at the ,bernal sale1 in #ahef1 the prices quoted range from five to one hundred and twenty pounds1 since which time they have enormously increased1 so that ,marryat quotes one piece at eight hundred and eighty pounds2 and a beautiful ruby-lustred dish of ,gubbio maiolica1 exhibited in ,sir ,richard ,wallace's collection at ,bethnal ,green1 was said to have cost forty thousand dollars1 which one easily doubts4 ,the most extreme prices were and are paid for the elaborate figure-pieces copied from the works of ,raphael and others4 ,when to these are added the brilliant lustres of ,gubbio1 we have all that maiolica can show4 ,when the fabric began to decline in quality1 the elaborate figure-painting rapidly went out of use1 and arabesques of all kinds1 conceits of all kinds--birds1 boys1 monsters1 anything--came in to vary the decoration3 these could be done by inferior painters2 and the decline of maiolica was as sudden as its rise had been rapid4 ,,gubbio4--,i have spoken of a beautiful plate1 brilliant with its ruby-lustre1 exhibited at ,bethnal ,green in the collection of ,sir ,richard ,wallace4 ,the work done at this small town of ,gubbio is noted for its lustres2 for1 while other maiolicas also were decorated with these exquisite flashings of color1 these had a marked superiority4 ,the paintings applied there1 like those at ,urbino1 ,castel-,durante1 and the other botegas1 were in considerable variety1 including sacred1 profane1 and historical subjects2 the beauty and the value of these colored lustres were soon discovered4 ,to one man the especial honor has been given of making them1 whether he was the discoverer or not4 ,he is known as ,maestro ,giorgio ,andreoli1 usually called ,maestro ,giorgio4 ,he was not only a painter and designer1 but he early saw and seized upon the magical art of imparting an added beauty by the use of what is termed lustre4 ,it was applied before his day by the ,moors of ,spain and ,majorca1 and also by the potters at ,pesaro4 ,but ,giorgio seems to have produced results finer than any2 and one1 the ruby-color1 seems to be identified with him4 ,besides the ruby1 he used1 with great effect1 gold1 silver1 and copper lustres2 and not only were these applied to the paintings done under his eye1 but works from other factories were sent to him to be endued with this subtile charm4 ,i cannot do better than to give here the results of ,mr4 ,fortnum's careful study of this subject3 ,chiefly under the direction of one man1 it would seem that the produce of the ,gubbio furnaces was for the most part of a special nature2 namely1 a decoration of the pieces with the lustre-pigments1 producing those brilliant metallic-ruby1 golden1 and opalescent tints which vary in every piece1 and which assume almost every color of the rainbow as they reflect the light directed at varying angles upon their surface4 ,that the ,gubbio ware was of a special nature1 and produced only at a few fabriques almost exclusively devoted to that class of decoration1 is to be reasonably inferred from ,piccolpasso's statement1 who1 speaking of the application of the maiolica-pigments1 says1 ',non ch'io ne abbia mai fatto ne men veduto fare4' ,he was the maestro of an important botega at ,castel-,durante1 one of the largest and most productive of the ,umbrian manufactories1 within a few miles1 also1 of those of ,urbino1 with which he must have been intimately acquainted and in frequent correspondence4 ,that he1 in the middle of the sixteenth century1 when all these works were at the highest period of their development1 should be able to state that he had not only never applied or even witnessed the process of application of these lustrous enrichments1 is1 we think1 a convincing proof that they were never adopted at either of those seats of the manufacture of enameled pottery4 ,although much modified and improved1 lustre-colors were not invented by ,italian artists1 but were derived from the potters of the ,east1 probably from the ,moors of ,sicily1 of ,spain1 or of ,majorca4 ,hence 7we once more repeat7 the name 'majolica' was originally applied only to wares having the lustre enrichment2 but1 since the decline of the manufacture1 the term has been more generally given3 all varieties of ,italian enameled pottery being usually1 though wrongly1 known as 'maiolica4' ,that some of these early bacili1 so well known1 and apparently the work of one artist1 were made at ,pesaro1 whence the secret and probably the artist passed to ,gubbio1 is far from improbable4 ,the reason for this emigration is not known1 but it may be surmised that the large quantity of broom and other brush-wood necessary for the reducing process of the reverberatory furnace in which this lustre was produced might have been more abundantly supplied by the hills of ,gubbio than in the vicinity of the larger city on the coast4 ,that the process of producing these metallic effects was costly1 we gather from ,piccolpasso's statement that sometimes not more than six pieces out of a hundred succeeded in the firing4 ,the fame of the ,gubbio wares is associated almost entirely with one name1 that of ,giorgio ,andreoli4 ,we learn from the ,marchese ,brancaleoni that this artist was the son of ,pietro1 of a ',castello' called ',judeo1' in the diocese of ,pavia2 and that1 accompanied by his brother ,salimbene1 he went to ,gubbio in the second half of the fifteenth century4 ,he appears to have left and again returned thither in #adib1 accompanied by his younger brother ,giovanni4 ,they were enrolled as citizens on the #bc;d of ,may1 #adih1 on pain of forfeiting five hundred ducats if they left the city in which they engaged to continue practising their ceramic art4 ,patronized by the dukes of ,urbino1 ,giorgio was made 'castellano' of ,gubbio4 ,passeri states that the family was noble in ,pavia4 ,it is not known why or when he was created a ',maestro'--a title prized even more than nobility--but it is to be presumed that it took place at the time of his enrollment as a citizen1 his name with the title ',maestro' first appearing on a document dated that same year1 #adih4 ,piccolpasso states that maiolica-painters were considered noble by profession4 ,the family of ,andreoli and the ',casa' still exist in ,gubbio1 and it was asserted by his descendant1 ,girolamo ,andreoli1 who died some forty years since1 that political motives induced their emigration from ,pavia4 ,maestro ,giorgio was an artist by profession1 not only as a draughtsman1 but as a modeler2 and1 being familiar with the enameled terra-cottas of ,luca della ,robbia1 is said to have executed with his own hands and in their manner large altar-pieces4 ,we were once disposed to think that great confusion existed in respect to these altar-pieces in rilievo1 and were inclined to the belief that1 although some of the smaller lustred-works may have been modeled by ,giorgio1 the larger altar-pieces were really only imported by him4 ,judging from the most important which we have been able to examine1 the ',madonna del ,rosario1' portions of which are in the museum at ,frankfort-on-the-,main1 it seemed to approach more nearly to the work of some member of the ,della ,robbia family4 ,this fine work is in part glazed1 and in part colored in distemper on the unglazed terra-cotta1 in which respect it precisely agrees with works known to have been executed by ,andrea della ,robbia1 assisted by his sons4 ,there are no signs of the application of the lustre-colors to any portion of the work1 but this might be accounted for by the great risk of failure in the firing1 particularly to pieces of such large size and in high-relief4 ,be this as it may1 from a further consideration of the style of this work and the record of others1 some of which are heightened with the lustre-colors1 and the fact stated by the ,marchese ,brancaleoni that a receipt for an altar-piece is still preserved in the archives of ,gubbio1 we are inclined to think that history must be correct in attributing these important works in ceramic sculpture to ,maestro ,giorgio ,andreoli4 ,if they were his unassisted work1 he deserves as high a place among the modelers of his period as he is acknowledged to have among artistic potters4 ,maestro ,giorgio's manner of decoration consists of foliated scrolls and other ornaments terminating in dolphins1 eagles1 and human heads1 trophies1 masks1 etc42 in the drawing of which he exhibited considerable power1 with great facility of invention4 ,these 'grotesche' differ materially from those of ,urbino and ,faenza1 approaching more to the style of some of the ,castel-,durante designs4 ,in the drawing of figures1 and of the nude1 ,giorgio cannot be ranked as an artist of the first class4 ,from #aeai his signature1 greatly varied1 occurs through succeeding years4 ,it would be useless to repeat the many varieties1 several of which will be seen in the large catalogue and among the marks on specimens in other collections4 ,we believe that to whim or accident may be ascribed those changes that have tasked the ingenuity of connoisseurs to read as other names4 ,his finer and more important pieces were generally signed in full1 ',maestro ,giorgio da ,ugubio1' with the year1 and sometimes the day of the month4 ,it may be said that the secret of this ruby-lustre was soon lost1 and has not been fully recovered2 although admirable pieces are now made in ,england4 ,it is impossible to convey in any engraving the subtile beauty imparted by these lustres2 it seems to me that this is by far the finest and most fascinating quality of the maiolicas4 ,of the work made at ,,castel-,,durante but little need be said in addition to what has been written upon the general subject of ,italian maiolica4 ,this was a small town in the neighborhood of ,urbino2 which town since then has been dignified with the name of ,urbania1 after ,pope ,urban ,,viii4 ,at ,castel-,durante pottery was made long before it reached the name and fame of maiolica4 ,through a book left by a potter of the place1 named ,piccolpasso1 it is perhaps better known than by the maiolica made there4 ,this manuscript book1 which he illustrated with pen-and-ink drawings1 gives some account of the wares produced there4 ,i believe the book is now the property of the ,kensington ,museum at ,london4 ,there are some few signed examples of the maiolica of ,castel-,durante in the collections of ,england and of the ,continent4 ,i know of none in the ,united ,states4 ,of a piece owned by ,mrs4 ,h4 ,t4 ,hope1 of ,england1 ,mr4 ,robinson says in his enthusiastic way1 ,in the design and execution of the painting1 splendor of color1 and perfection of enamel-glaze1 this magnificent piece is a triumph of the art4 ,the ware made here is said to be recognized by a pale buff-colored paste1 and great richness and purity of the glaze4 ,still none but an expert--a person who has made these productions a study--could distinguish them from those made at some other ,italian factories4 ,,faenza4--,under the name of ,faenza1 an old town of ,roman ,italy1 all sorts of waifs and strays which have no other home are likely to be classed4 ,its productions have no such peculiarities as mark those of ,urbino1 ,gubbio1 and some other ,italian botegas4 ,but for the antiquity and extent of its potteries1 and also because it seems to have given the name faience to all earthen-ware pottery made in ,france1 it has a certain importance4 ,i therefore give a single extract from what ,mr4 ,fortnum has written about it4 ,as there are a considerable number of these druggist's pots 7see ,fig4 #fd7 in this country1 the matter may be of interest4 ,he writes3 ,from an early period ,faenza seems to have produced a large number of electuary-pots and pharmacy-bottles2 a pair are in the ,htel ,cluny1 one bearing the name ,,faenza1 the other #aejj4 ,many of these vases are decorated in the style known as a quartiere1 being divided into compartments1 painted in bright yellow1 etc41 on dark blue1 with foliated and other ornament1 and usually having a medallion with profile head or subject on one side1 under which the name of the drug in ,gothic lettering is inscribed on a ribbon4 ,a curious example is in the ,british ,museum3 a large flask-shaped bottle of dark-blue ground with yellow leafage and with twisted handles1 upon the medallion of which is represented a bear clasping a column1 with the inscription1 'et sarrimo boni amici1' allusive1 in all probability1 to the reconciliation of the rival houses of ,orsini and ,colonna in #aeag4 ,we would here refer to the frequent occurrence on these vases1 as occasionally upon other pieces1 of pharmaceutical and ecclesiastical signs1 letters1 etc41 surmounted by the archiepiscopal cross and other emblems which we believe have reference to the uses of monastic and private pharmacies for which the services were made1 and not to be confounded1 as has been too frequently the case1 with the marks of boteghe or of the painters of the piece4 ,these emblems have no other value to us than the clew which they might afford to patient investigation of the locality and brotherhood of the conventual establishment to which they may have belonged1 and among the archives of which may be recorded the date and the fabrique by which they were furnished4 ,but what are of far greater interest are those admirable early pieces1 painted by ceramic artists of the first rank1 who1 beyond a rare monogram or date1 have left no record of their place or name2 and whose highly-prized works1 for their authors are several1 are jealously guarded in our public and private museums4 ,some of these1 with reasonable probability1 are believed to have been executed at ,faenza4 ,several examples are preserved1 of an early character1 perhaps the work of one hand1 who marked them on the back with a large ',m' crossed by a paraph4 ,they are usually plateaux with raised centre1 on which is a portrait-head1 or shallow dishes with flat border4 ,variations of the letter ',f' are found on pieces1 some of which are fairly ascribable to this fabrique2 but we need not point out the fact that many other localities of the manufacture can claim the same for their initial letter1 and that the characteristics and technical qualities of the pieces themselves are a necessary test4 ,later in the sixteenth century1 when subject-painting1 covering the whole surface of the piece1 was in general fashion 7istoriata71 the unsigned works produced at ,faenza are difficult to distinguish from those of other fabriques4 ,some examples exist in collections1 as one in the ,louvre1 with the subject of a cavalry-skirmish1 and inscribed1 '#aefa in ,faenca2' but we have no knowledge of their painters1 and even the occurrence of the name of that city is but rarely met with4 ,her wares are usually richly ornamented on the back with imbrication1 as was the manner of ,manara1 or with concentric lines of blue1 yellow1 and orange4 ,of the pottery produced at ,faenza during the seventeenth and the last century we have but little record4 ,some pharmacy-vases are mentioned by ,m4 ,jacquemart1 signed ',andrea ,pantales ,pingit1 #afaf1' but the signature does not appear to be accompanied by the name of that city4 ,in #afci ,francesco ,vicchij was the proprietor of the most important fabrique4 ,a modern establishment professes to occupy the premises of the ancient ,casa ,pirota1 where we have seen fairly good reproductions of the ordinary sopra azzuro plates of the old botega2 but these are but weak imitations1 and the glory of ,faentine ceramic art must be looked for in museums4 ,the ,,sgraffiato wares of ,italy do not come under the head of maiolica4 ,the term is used to designate work where the design is scratched or incised upon the clay2 and in ,italy1 often upon a white clay laid over a darker clay1 so that the design shows through the lighter slip or engobe1 as the covering is called4 ,of ,forli1 ,venice1 ,castelli1 or ,abruzzi1 and the many other manufactories of maiolica1 it will be almost useless to write here4 ,we have few1 if any1 examples of the work in this country2 and without examples it is difficult to make the subject interesting4 ,i have not attempted to give any marks of maiolica1 for two reasons3 one1 that we have so little opportunity for purchasing that the knowledge of the marks1 such as they are1 would be almost wholly useless2 and1 second1 these marks are of little use anywhere4 ,few of the painters were in the habit of marking their work2 and1 when they did1 their marks seem to have had no uniformity1 and were varied in many whimsical ways4 ,those who wish to buy pieces of maiolica1 unless they have made the matter a study1 will hardly do it without consulting a person of experience2 and a person of experience will not be guided solely by the marks4 ,it can do no harm to say that admirable counterfeits are now made1 both in ,italy and in ,france 7probably also in ,germany71 of the finest of the old maiolicas1 design1 color1 and all complete4 ,even judicious chippings of edges and mild cracks are added to please the exacting connoisseurs4 ,any person1 therefore1 who is looking for the best specimens of genuine old maiolicas1 at the smallest prices1 will be fairly and fully met in the shops of the ,continent4 ,illustration3 ,,fig4 #ga4--;,from the ,kensington ,collection4 ,with regard to some of the most celebrated maiolica1 ,i have quoted the judgments of two most competent writers as to the beauties of two of the most famous artists4 ,it is far from being high praise4 ,i venture to say1 in addition1 that much1 very much1 of what ,i have had the opportunity to see1 strikes me forcibly as being crude and poor in color1 bad in drawing1 uninteresting in design1 and wretched in clay and in glaze4 ,not that there are not good and beautiful works among the maiolicas2 but it seems to me they are few4 ,besides this1 ,i believe the great maiolica-painters1 such as ,xanto and ,giorgio1 were wholly wrong in attempting to transfer to pottery the pictures of ,raffaelle and ,giulio ,romano2 at least1 they can be but very poor representations of the pictures themselves1 and therefore unjust to their models1 and useless to us as examples of high art4 ,we copy here 7,fig4 #ga71 from ,mr4 ,fortnum1 one of the elaborate figure-pieces of maiolica in the ,kensington collection2 which1 as it seems to us1 is a striking proof of what has just been said4 ,in the collections of the ,museum of ,fine ,arts at ,boston are to be seen ten or twelve plates1 bowls1 etc41 which give a fair exhibition of the work of the sixteenth-century painters4 ,some of these are attributed to the best masters1 the ,fontana and ,xanto1 and one has the mark of ,xanto4 ,the large and varied collection of ,italian maiolicas brought to the ,philadelphia ,exhibition in #ahgf is now 7,may1 #ahgg7 to be seen in the rooms of the ,metropolitan ,museum of ,art at ,new ,york1 and it offers an excellent opportunity for examining and studying these styles of fictile work4 ,,what ,,is ,,doing ,,in ,,italy ,,now4--,a very large show of ,italian maiolica of to-day was made at the ,centennial ,exhibition at ,philadelphia in #ahgf4 ,what did we find there8 ,hundreds of imitations4 ,italy especially has been devoting herself with great industry to reproductions of the vases1 ewers1 tazzas1 plaques1 dishes1 and so on1 of the past2 and some very fair ones were sent from ,pesaro1 ,rome1 and ,faenza4 ,the vases and ewers bearing figure-pieces or mythological pictures had a certain quality peculiar to this style of work which at first may excite distaste rather than desire1 but after a time may induce a mild sort of assent2 more1 we believe1 from the low and quiet tones and harmonies of color than from any marked excellence of either the form of the vase or the painted subject4 ,the two names most conspicuous as potters in ,italy now--,ginori at ,florence1 and ,giustiniani at ,naples--did not appear among the exhibitors1 so far as we know4 ,of ,ginori's work we give a fine example in ,fig4 #ga;a4 ,but if draughtsmen and artists so good would only give us their pictures of the life of ,italy to-day as they so well could do--of the peasants and their donkeys1 their vine-dressing and wine-making1 their fishing1 their cooking1 their street-work in its thousand varieties6 ,that they could1 and do not2 that they continue on and on with the stupid round of copy after copy in all departments of art1 may mean that the good public who have money to spend want these copies1 and therefore potters and painters sink from the clear air of invention and originality into the dull inanities of copying4 ,illustration3 ,,fig4 #ga a4--,maiolica ,vase1 by ,ginori4 ,,chapter ,,vii4 ,,french ,,faience4--,,palissy ,,ware1 ,,and ,,henri-,,deux ,,ware4 ,bernard ,palissy4--,the ,catholics and the ,huguenots4--,saintes4--,figurines4--,th e ,centennial ,exhibition4--,prices4--,henri-,deux--wh ere made--when4--,copies at ,philadelphia4--,list of ,pieces extant1 and ,prices4 ,bernard ,palissy4--,over the name and fame of ,palissy hangs an aureola of glory4 ,he was a potter1 and he learned his trade through much perseverance and much suffering4 ,but1 more than that1 he was a ,protestant in the days of the ,leaguers1 when to be a ,protestant in ,france meant to persecute or to be persecuted2 and it meant also peril and probable death4 ,palissy was born about #aeaj1 and died in #aeij4 ,he lived1 therefore1 through the times of the bitter and cruel wars of the ,huguenots and the ,catholics1 when political and religious and social intrigues divided the nobility of ,france into factions1 which were not only ready to1 but did1 rend each other's throats4 ,he lived--he1 a ,protestant--through the wholesale butcheries of ,st4 ,bartholomew 7#aegb71 when it is asserted that from twenty to one hundred thousand ,protestants were slaughtered in the kingdom of ,france in cold blood4 ,palissy was one of those ,protestants1 was known as one1 and he was not slaughtered4 ,from this fact has come a good part of his glory1 as a few words may serve to explain4 ,for a long time the struggle for power between the ,catholic party and the ,huguenot party had raged1 with varying fortunes1 when both sides pillaged and persecuted1 and true religion was driven to the wall1 or fled from ,france4 ,at last the ,catholic party1 under the lead of the ,duke of ,guise1 secured the preminence1 and in due time--in #aeei--severe edicts were issued against the ,protestants4 ,palissy was not safe2 but by that time he had acquired reputation as a potter1 and had made pieces of his rustic ware for the king and for members of the court4 ,he was known to the king2 and the queen-mother1 ,catherine de' ,medicis1 brought him to ,paris1 established his furnaces in the grounds of the ,tuileries1 made him a servant of the king1 and so saved him for the time from the persecutions which swept away his brethren4 ,it must be remembered that those were days in which many men believed--believed that their truth or faith was the only thing to save them from the eternal fires of hell4 ,palissy was one of those earnest1 intense1 narrow natures who believed their faith was the only true faith for man4 ,all the influence of the queen1 the persuasions of the priests1 and even the appeals of the king1 could not shake him4 ,palissy has written his own story1 and it has the interest of romance and the fervor of faith4 ,when he was eighty years old he was thrown into the ,bastile1 with other stanch ,huguenots1 because of his faith4 ,the king1 ,henry ,,iii41 is reported to have said3 ,my good friend1 you have now been five-and-forty years in the service of my mother and myself2 we have allowed you to retain your religion in the midst of fire and slaughter4 ,now ,i am so hard pressed by the ,guises and my own people1 that ,i am constrained to deliver you up into the hands of your enemies1 and to-morrow you will be burned unless you are converted4 ,inflexible to the last1 the old man is reported to have answered the king in this wise3 ,sire1 ,i am ready to resign my life for the glory of ,god4 ,you have told me several times that you pity me2 and ,i in my turn pity you1 who have used the words ',i am constrained4' ,it was not spoken like a king1 sire2 and these are words which neither you nor those who constrain you1 the ,guisards and all your people1 will ever be able to make me utter1 for ,i know how to die4 ,the whole world admires pluck2 and that1 we cannot doubt1 marked the character of the man4 ,we need only to look at his face 7,fig4 #gb7 to believe that he might have said those words4 ,and those who came after him1 inheriting in a degree the hatred of the ,catholics which he enjoyed1 have not allowed the words nor the fame of the man to die4 ,but he was not put to death2 he lingered out his last year in the prisons of the ,bastile1 and then departed4 ,the story he left behind him1 of his own struggles and sufferings in seeking and finding the arts of the potter1 has been intensified by his admirers2 they have added to its intrinsic interest by telling of his patience1 his endurance1 his suffering1 and his final success--that which can be imparted by the glow of admiring souls1 who see in him a hero such as they would themselves wish to be1 but are not4 ,illustration3 ,,fig4 #gb4--;,bernard ,palissy4 ,that story is briefly this3 ,he was born poor1 but he had patience1 industry1 and an aspiring nature4 ,he studied1 he learned1 he sought2 he became something of a draughtsman1 a painter1 a surveyor1 a writer4 ,glass-painting may be said to have been his occupation1 or one of them2 and1 in following this1 he came quickly into sympathy with cognate arts4 ,we can well believe1 therefore1 that when he saw a beautifully-enameled cup--whether one of those now so famous as the ,henri-,deux ware1 or whether one of those already made at ,nuremberg by ,hirschvogel 7probably the latter7--we can well believe that it inspired his soul with enthusiasm1 and held him with the tenacity we know to have marked his character4 ,from that day he was possessed2 he had a mastering thought3 it was to discover the secrets of this art1 and to apply them to the production of like ware in ,france1 where it was not known4 ,with little or no knowledge of chemistry1 with none of pottery1 he set himself to the task4 ,he worked persistently1 indefatigably1 but darkly1 ignorantly1 wastefully1 and at last only reached a half-success4 ,he did this1 too1 by sacrificing largely of his own life for sixteen years1 and1 more than that1 as he has himself told the story1 by the hard and almost cruel sacrifice of the decent comforts of life of his wife and family4 ,he borrowed the money of his friends and neighbors to conduct his experiments2 he burned his tables and chairs to heat his furnaces2 he could not pay his assistants2 he could bear the tears and reproaches of his wife and his friends1 and did so for years2 and all this for what some persons call the glorious result of discovering a glaze for pottery--which had already been known and was in full practice at ,nuremberg1 only a hundred miles from him6 ,if1 as is stated by ,demmin1 he did himself visit ,nuremberg to see and learn what was there being done1 his course becomes still more inexplicable and unpraiseworthy4 ,and what makes the matter still more curious is that1 after all1 he did not succeed in discovering or applying the stanniferous enamel2 for ,m4 ,demmin states positively that his glaze was the plumbiferous glaze1 and not the stanniferous4 ,quoting his words1 he says3 ,on ne rencontre pas la moindre parcelle d'mail stannifre1 blanc ou autres1 sur les poteries attribues ce matre4 ,le blanc est une terre blanchtre qui1 couverte d'un vernis incolore1 conserve sa blancheur4 ,if1 therefore1 it may be questioned whether the object of discovering a stanniferous glaze was worthy the sacrifice of sixteen years of his own life1 as well as of the peace and comfort of his friends and family2 and if1 after all1 he did not discover it2 and if1 besides that1 he might have obtained it from ,hirschvogel without all this tribulation1 and did not--we may well be at a loss to understand the high praise which in some quarters has been lavished on ,palissy2 and for myself ,i am not willing to continue it4 ,martyrdom is usually a very poor business1 and the cause of good pottery certainly does not demand it4 ,illustration3 ,,fig4 #gc4--,large ,oval ,dish1 from the ,museum of the ,louvre4 ,the work begun at ,saintes about #aece1 and afterward carried on at ,paris1 is marked by peculiarities which for a long time were supposed to be confined to the wares of ,palissy4 ,these were the use of shells1 lizards1 snakes1 fish1 frogs1 insects1 and plants1 in high-relief upon the surface of his plates and dishes4 ,this will be shown in the example we give 7,fig4 #gc71 which is one of the finest pieces of this work extant1 now in the museum of the ,louvre4 ,and even this is now believed by some competent experts to be of modern manufacture4 ,these natural objects were modeled with considerable care1 and colored to represent the real things1 so that they have a value to the naturalist as well as to the potter4 ,illustration3 ,,fig4 #gd4--,palissy ,dish4 ,as works of ceramic art1 can we accord them a high rank1 or can we get much satisfaction in their contemplation8 ,can we accept them as art at all8 ,admit them to be clever imitations--and that is all1 it seems to me1 we can do--and they fall to the place of prettiness1 and rank with wax-flowers and alabaster-apples4 ,illustration3 ,,fig4 #ge4--;,a ,basket1 by ,palissy1 in the ,kensington ,museum4 ,it is quite certain that work of this sort was done by many potters after ,palissy1 if not by his contemporaries2 and collectors have been induced to pay great prices for things alleged to be the work of ,palissy which are now known not to have been made by him4 ,in addition to this1 the world is full of counterfeits of this sort of thing which out-,palissy ,palissy2 and the extravagant prices once paid for counterfeits cannot now be obtained for what are known to be genuine4 ,illustration3 ,,fig4 #gf4--,perpendicular ,view1 showing the ,marguerites on the ,edge4 ,the other two examples shown in ,figs4 #gd1 #ge1 and #gf1 differ from the first2 and it may be doubted whether these are not to be attributed to some other potter than ,palissy4 ,the cornucopia on ,fig4 #gd was a favorite decoration at ,rouen1 and might readily enough find a place there4 ,this style of work1 being made in moulds1 can be easily and cheaply reproduced4 ,at one time a large number of figurines1 such as ,the ,nurse and others1 were attributed to ,palissy1 notwithstanding that the dresses1 and in some cases the persons1 did not exist until after the time of ,palissy2 but it is now asserted that there is nothing at all to prove that ,palissy ever made this style of work4 ,a great number of examples may be seen of so-called ,palissy in the ,kensington ,museum at ,london and in the ,louvre at ,paris4 ,but they nowhere hold the high places they once did1 nor do they bring the prices they once did4 ,in the ,centennial ,exhibition at ,philadelphia of #ahgf a great variety of this sort of work was shown1 made by the clever potters of the day in ,europe4 ,illustration3 ,,fig4 #gg4--,palissy ,jug1 from the ,museum of the ,louvre4 ,a very large sale has been found within the last twenty years for imitations of ,palissy ware1 and these have been made with great skill by ,barbizt and ,aviso1 of ,france1 and by ,minton1 of ,england2 indeed1 some of these seem much better than any ,i have seen supposed to be the genuine thing4 ,the virtues most needed are1 of course1 patience and a keen faculty of imitation--art in any good sense is not essential4 ,the sales of ,palissy ware at the ,bernal sale were not at the high figures they afterward reached4 ,the prices ran from seven to one hundred and sixty-two pounds1 the latter price having been paid for a circular dish twelve and a half inches in diameter1 which1 having been broken into pieces and mended1 was bought by the ,baron ,rothschild4 ,we give1 in ,fig4 #gg1 another style of work--a very beautiful jug in the collection of the ,louvre4 ,it is there placed among the works of ,bernard ,palissy2 and there are various other pieces of like work so catalogued in the public and private collections of ,europe4 ,but there are doubts as to these1 which in some minds approach to certainty--doubts whether ,palissy himself worked at all with the human form4 ,it is well known that he was a naturalist1 a geologist1 a scientist1 but it is not certain that he was an artist in this direction4 ,some students assert distinctly that he was not2 and it seems most probable that he was not a modeler of the human figure4 ,as work like this1 shown in the last illustration1 has for so long a period been attributed to him1 it has seemed desirable to give an example of it in our pages4 ,that it is work of his time1 if not made by him or under his direction1 is not questioned4 ,,henri-,,deux ,,ware3 ,,faience ,d',,oiron4--,this unique earthen-ware for years perplexed the lovers of pottery4 ,it seemed to appear from ,touraine and ,la ,vende1 and only here and there a piece4 ,it was so peculiar1 so different from any and all the known styles1 that no one could decide whence it came or by whom it was made4 ,the impression--and it was only an impression--seemed to be that it must have come out of ,italy1 and that ,benvenuto ,cellini was as likely as any one to have had to do with its designs or execution2 and this simply because he was known to have stamped his peculiar taste upon works which might be classed with this only in expressing the finer forms and decorations of the ,italian ,renaissance4 ,a few pieces only of this ware came to light from time to time1 but they were eagerly seized upon1 and they gave rise to much speculation4 ,why there should be so few1 and why no traces of like ware were found in other directions1 remained for a time a mystery4 ,but it was solved4 ,i quote here from a paper by ,mr4 ,ritter1 which sums up what is now known upon the subject2 he writes with the knowledge and appreciation of a practical potter3 ,it was so late as the year #ahci that ,m4 ,andr ,pottier1 a ,french writer on art1 first announced to the world the existence of the singular species of pottery now known as ',henri-,deux' ware4 ,he gave it as his opinion that it was the production of ,florentine artists working in ,france4 ,until thus brought to the knowledge of connoisseurs1 the very existence of this exquisite ware had been forgotten4 ,it soon1 however1 became famous4 ,every corner of ,europe was ransacked for specimens of it4 ,dukes1 princes1 and millionaires1 contended with the heads of national museums for the few pieces still to be found4 ,no ware ever yet became so costly2 for every hundred pounds that a rare piece of ,svres or maiolica will fetch1 the ',henri-,deux' will bring its thousand4 ,as yet only about fifty pieces have come to light2 and of these fifty more than one-half have found their way into the galleries of our wealthier ,english amateurs4 ,those who see a specimen of this rare and precious pottery for the first time are apt to be extremely disappointed4 ,they see a vase1 or a ewer1 or a candlestick1 of fantastic shape1 covered with a thin1 greenish-yellow glaze1 the coloring not by any means brilliant1 and the surface seemingly inlaid and incrusted with the innumerable details of a most elaborate ornamentation1 made out in quiet browns1 blacks1 and sad neutral tints4 ,nothing is less striking to a casual or an ignorant observer--nothing in the whole range of decorative art so absolutely exquisite in design and effect to the cultivated appreciation of a connoisseur in ,renaissance-work4 ,no sooner was the ware discovered than speculations began as to its maker1 its date1 and the locality of its fabrication4 ,on no single point did the ten or twelve ,french writers on the subject come to an agreement1 and a certain amount of unsolved mystery still attaches to all these points4 ,there is no so-called 'potter's mark' on any of the pieces except one1 and this solitary mark is not recognizable as that of any known potter4 ,it may be tortured into a monogram1 or assumed to be a device1 at the pleasure of those who form their various theories on the origin of the ware4 ,the pieces are decorated with the arms of ,french royal and noble families4 ,one piece has on it the salamander surrounded by flames1 the device of ,francis ,i4 of ,france2 and very many out of the fifty bear the well-known monogram of ,henry ,,ii4 worked into the ornamentation of the surface--a circumstance which has given the ware its name4 ,the date is1 therefore1 more or less fixed to the short period between #aedj and #aefj1 or twenty years4 ,as to the nationality of the artist1 the best authorities join in thinking he must have been a ,frenchman1 because the work is essentially of the style of the somewhat distinctive ,french ,renaissance then prevailing4 ,the precise locality of its production could only be inferred to be somewhere in ,touraine1 because a majority of the pieces can be traced as coming from that province4 ,such was the mystery which hung about all connected with this curious ware--a mystery which not a little enhanced the interest taken in it1 and perhaps the estimation in which it was held4 ,this mystery is now1 to a great extent1 cleared up4 ,at the court of ,king ,francis lived a widow lady of high birth1 named ,hlne de ,hangest4 ,her husband had been governor of the king1 and ,grand-,master of ,france4 ,she was herself an artist1 and a collection of drawings by her of considerable artistic merit is preserved4 ,they are portraits of the celebrities of the period4 ,she was in favor at court2 the king himself composed a rhymed motto to each of her portraits1 and some of these verses are written in his own hand4 ,it is established that ,hlne de ,hangest set up a pottery at her ,chteau of ,oiron1 and that ,francis ,charpentier1 a potter1 was in her employ4 ,to his hand1 under the auspices of the ,chtelaine of ,oiron1 is due the famous ware of ',henri-,deux4' ,mr4 ,j4 ,c4 ,robinson gives it as his opinion that the technical merit of the ',henri-,deux' ware is very small4 ,with due deference to ,mr4 ,robinson1 who1 as a rule1 writes well and learnedly upon this and cognate matters1 we do not think he would say this if he had been able to appreciate the subject from a potter's point of view4 ,the body of the ',henri-,deux' ware is of admirable texture and quality2 the mode in which the various clays are incorporated into the substance of the pieces without shrinking or expansion1 the clearness1 thinness1 and smoothness of the glaze--which1 by-the-way1 is plumbiferous--all these things are so many marvels of skillful manipulation1 and fill the mind of a practical potter with admiration4 ,these curious and interesting facts were brought to light by the researches of a ,french savant1 ,m4 ,b4 ,fillon1 about #ahfb4 ,illustration3 ,,fig4 #gh4--;,henri-,deux ,faience ,vase4 ,it appears that this ware was not made for sale1 and that it was not sold1 but was made for presents1 and therefore was produced only in small quantities4 ,the clay itself is what the ,french term terre de pipe1 and what we know as pipe-clay--a white1 delicate1 and very light clay4 ,the inlaying1 or the incised lines which are filled with colored clays1 are most delicately cut1 and so much resemble work done by book-binders that some persons have suggested that they were made with the tools used in the bookbinder's trade4 ,at any rate1 one should give these pieces a close look1 for any thoroughly good piece of work is a source of supreme satisfaction4 ,admirable copies have been made of some pieces of this work by an artist named ,toft1 which were exhibited at ,philadelphia in #ahgf by ,minton1 of ,england4 ,illustration3 ,,fig4 #gi4--;,henri-,deux ,salt-cellar4 ,we give1 in ,figs4 #gh and #gi1 two examples1 more to exhibit something of the forms and conceits indulged in than to show the delicacy and precision of the work1 which are perfect4 ,fig4 #gh is termed a biberon2 it is but seven inches high4 ,the upper part is white1 the ornaments yellow2 and the lower part black1 with white ornaments4 ,on the shield underneath the spout are the three crescents interlaced4 ,fig4 #gi is a salt-cellar4 ,after the decease of ,madame ,hlne de ,hangest1 who was the widow of ,arthur ,gouffier1 a gentleman of rank1 the manufacture of this peculiar ware was continued at the ,chteau d',oiron by her son1 ,claude ,gouffier2 but the production was still limited1 and it is doubtful if any pieces were ever sold4 ,it is therefore of great rarity and of corresponding money-value1 only fifty-three specimens of it being known to exist4 ,the interest in these pieces is such now that many persons may like to know where they are and what they are thought to be worth4 ,i transcribe from ,chaffers as follows3 ,in ,england there are twenty-six pieces3 ---------------------------------------- --------- ,,description4 ,owner4 ---------------------------------------- --------- #a4 ,large ewer ,h4 ,magniac #b4 ,sir ,anthony de ,rothschild #c4 #d4 ,candlestick #e4 ,hanap #f4 ,tazza #g4 ,cover of a cup #h4 ,bouquetire #i4 ,candlestick ,andrew ,fontaine #aj4 ,biberon #aa4 ,salt-cellar #ab4 ,biberon ,baron ,lionel de ,rothschild #ac4 ,salt-cellar #ad4 ,tazza ,duke of ,hamilton #ae4 ,salt-cellar #af4 ,george ,field1 ,esq4 #ag4 ,part of ewer ,h4 ,t4 ,hope #ah4 ,small ewer #ai4 ,m4 ,t4 ,smith #bj4 ,biberon ,j4 ,malcolm #ba4 ,salt-cellar ,south ,kensington ,museum #bb4 ,tazza and cover #bc4 ,tazza #bd4 ,candlestick #be4 ,salver #bf4 ,salt-cellar ---------------------------------------- --------- ---------------------------------------- ------------------------------ ,,description4 ,whence obtained4 ,cost4 ,estimated ,value4 ---------------------------------------- ------------------------------ #a4 ,large ewer ,odiot sale1 #ahdb #if #a1ejj #b4 ,strawberry ,hill1 #ahdb #bj #a1bjj #c4 ,de ,monville collection #adj #a1bjj #d4 ,candlestick ,praux sale1 #ahej #bjh #a1jjj #e4 ,hanap ,de ,bruge sale1 #ahdi #bj #ejj #f4 ,tazza ,praux sale1 #ahej #dd #ejj #g4 ,cover of a cup ,unknown #aej #h4 ,bouquetire ,bought of a cur at ,tours #dh #hjj #i4 ,candlestick ,bought a century ago #a1jjj #aj4 ,biberon #hjj #aa4 ,salt-cellar #ejj #ab4 ,biberon ,bought of ,madame ,delaunay #hjj #ac4 ,salt-cellar ,strawberry ,hill1 #ahdb #ba #cjj #ad4 ,tazza ,praux sale1 '#ej2 ,rattier1 '#ei #bhj #ejj #ae4 ,salt-cellar #hj #cjj #af4 444 #cjj #ag4 ,part of ewer ,de ,bruge sale1 #ahdi #af #cjj #ah4 ,small ewer #bj #fjj #ai4 ,bought as ,palissy #fjj #bj4 ,biberon ,pourtals sale1 #ahfe #a1ajj #a1ajj #ba4 ,salt-cellar ,soltykoff1 #ahfa1 to ,napier #bfh #cjj #bb4 ,tazza and cover #dej #ejj #bc4 ,tazza ,poitiers1 #ej s41 ,delange #ahj #ahj #bd4 ,candlestick ,de ,norzy sale #fdj #gej #be4 ,salver ,espoulart1 #aheg #ahj #djj #bf4 ,salt-cellar ,addington collection #cjj #cjj ---------------------------------------- ------------------------------ ,in ,france there are twenty-six pieces3 ---------------------------------------- ------ ,,description4 ,owner4 ---------------------------------------- ------ #bg4 ,tazza ,le ,duc d',uzes #bh4 ,cover of cup #bi4 ,pilgrim's bottle #cj4 ,tazza and cover ,m4 ,hutteau d',origny #ca4 ,muse de ,cluny #cb4 ,salt-cellar ,baron ,a4 de ,rothschild #cc4 ,jug or canette #cd4 ,small ewer #ce4 ,candlestick ,baron ,g4 de ,rothschild #cf ,hanap #cg4 ,tazza ,baron ,james de ,rothschild #ch4 ,biberon ,museum of the ,louvre #ci4 ,salt-cellar #dj4 #da4 #db4 ,tazza #dc4 ,salt-cellar #dd4 ,tazza #de4 ,svres ,museum #df4 ,cover of cup #dg4 ,salt-cellar ,madame d',yvon #dh4 ,comte de ,tussau #di4 #ej4 #ea4 ,cover of tazza4 ,m4 ,b4 ,delessert #eb4 ,biberon ---------------------------------------- ------ ---------------------------------------- -------------------------- ,,description4 ,whence obtained4 ,cost4 ,estimated ,value4 ---------------------------------------- -------------------------- #bg4 ,tazza #ejj #bh4 ,cover of cup #aej #bi4 ,pilgrim's bottle #hjj #cj4 ,tazza and cover #ejj #ca4 ,bought by ,m4 ,thor in #agih #bj #ejj #cb4 ,salt-cellar #cjj #cc4 ,jug or canette ,bought by ,strauss1 #fjj #hjj #a1jjj #cd4 ,small ewer ,praux sale1 #ahej #dd #ejj #ce4 ,candlestick #a1jjj #cf ,hanap #ejj #cg4 ,tazza ,south of ,france1 #ahfj #dhj #ejj #ch4 ,biberon ,sauvageot1 from ,tours #hjj #ci4 ,salt-cellar ,sauvageot1 from ,lehri1 #ahbd #e #cjj #dj4 ,sauvageot1 from ,troyes #cjj #da4 #cjj #db4 ,tazza ,sauvageot1 bo't as ,palissy #h #ejj #dc4 ,salt-cellar ,revoil collection1 #ahbh #cjj #dd4 ,tazza #ejj #de4 #ejj #df4 ,cover of cup #aej #dg4 ,salt-cellar #cjj #dh4 #cjj #di4 #cjj #ej4 #cjj #ea4 ,cover of tazza4 ,south of ,france1 by ,rutter4 #d #aej #eb4 ,biberon ---------------------------------------- -------------------------- ,in ,russia1 one piece3 ---------------------------------------- ------- ,,description4 ,owner4 ---------------------------------------- ------- #ec4 ,biberon4 ,prince ,galitzin ---------------------------------------- ------- ---------------------------------------- --------------------------- ,,description4 ,whence obtained4 ,cost4 ,estimated ,value4 ---------------------------------------- --------------------------- #ec4 ,biberon4 ,praux sale1 #ahej #ajj #hjj ---------------------------------------- --------------------------- ,,chapter ,,viii4 ,,french ,,faience4--,,nevers1 ,,rouen1 ,,beauvais1 ,,etc4 ,number of ,manufactories4--,their ,rise and ,decline4--,nevers4--,prices4--,beauvais 4--,rouen4--,moustiers4--,strasbourg1 or ,haguenau4--,marseilles4--,sarreguemines 4--,sinceny1 ,nancy1 ,creil1 ,montpellier4--,paris4--,paris to-day4--,limoges4--,deck4 ,of ,french faiences1 the ,palissy ware and the ,henri-,deux have been already treated4 ,i now propose to give some account of the most prominent among the very large number of potteries which1 in the sixteenth1 seventeenth1 and eighteenth centuries1 sprang up in various parts of ,france4 ,mr4 ,chaffers1 in his work upon ,pottery1 etc41 enumerates one hundred and sixty-five factories which in #agij petitioned the ,national ,assembly that they might not be ruined by the floods of cheap pottery then being sent in from ,england2 and this was not the whole number in ,france4 ,great skill and much good taste have been expended upon the faiences of ,france1 and some of the work rises into the region of art4 ,much of that found in collections and museums is of this kind4 ,but it should not be forgotten that the great purpose and business of those manufactories was the production of dishes1 plates1 and services1 for the table--for the uses of life4 ,and in this direction the production in ,france was very large and profitable1 until the time when1 as said above1 the introduction of cheap wares from ,england ruined the makers4 ,these disastrous changes and whimseys of trade1 disagreeable as they may be to the masters and the workmen who are ruined1 do give a certain zest and variety to human history2 they relieve life from the monotony and dullness which usually attends upon unbroken prosperity4 ,as some of the doctrinaires tell us1 they are really blessings--often very much in disguise2 at least1 they seem so to those who are the immediate sufferers4 ,nearly the whole of the ,french potteries went down about the period of the great ,revolution1 from the effects of the wares introduced from ,england1 and the troubles growing out of the political disorders4 ,within this last quarter of a century a noted revival has come to this most interesting industry1 of which some notice will be made hereafter4 ,it is the fine examples of the work of the older potteries which collectors are desirous to get4 ,marks are often found upon pieces of the faiences of ,france1 the delft of ,holland1 etc42 but ,i do not reproduce them here1 partly because they are much less important than those on the porcelains1 and partly because we should have almost no occasion for their use4 ,,nevers4--,it is supposed that at ,nevers was made the first enameled pottery in ,france1 in the days of ,catherine de' ,medicis4 ,m4 ,broc de ,sgange1 in his work ,la ,faence1 les ,faenciers et les mailleurs de ,nevers1#f traces the beginning of the work to an ,italian named ,conrad1 who probably came to ,france with the queen1 and was naturalized in #aegh4 ,he and his brothers began the manufacture about that time4 ,another famous potter there was ,pierre ,custode4 ,it was inevitable that the early faience of ,nevers should bear a likeness to that which had grown up so rapidly in ,italy1 and had impressed itself so vividly upon the artistic mind of ,europe4 ,but it was not an imitation4 ,we have little if any examples of this work in our country1 and ,i give ,marryat's brief distinction3 ,the ,nevers pottery differs in many points from its ,italian original4 ,the outlines of the figures are traced in violet1 the flesh in yellow4 ,the red color is seldom used1 but a copper-green is peculiar to this ware4 ,blue and yellow are the predominating colors1 separated by a line of white4 ,the sea is represented by undulating lines of blue1 in the style of ,orazio ,fontana1 and the ,urbino school4 ,the lips of the ewers are in the form of leaves1 the handles in that of dragons4 ,illustration3 ,,fig #hj4--;,faences of ,nevers4 ,demmin separates the work done here into four styles or periods1 as follows3 #a4 ,the ,italian1 #afjb to #afgj4 #b4 ,the ,persian1 about #afdj4 #c4 ,the ,chinese and ,dutch1 #afdj to #agej4 #d4 ,the popular and patriotic1 about #aghi4 ,the examples shown 7,fig4 #hj7 are of the later periods1 and partake of a general character which prevailed at other manufactories of the periods in ,france4 ,the colors during the ,persian period were often effective1 and the lapis-lazuli blue was rich4 ,a very great quantity of plates1 vases1 dishes1 etc41 was made1 many of them rude and cheap1 during the time of the ,french ,revolution1 which were decorated with revolutionary emblems1 pictures of the destruction of the ,bastile1 with the liberty-cap1 and with patriotic cries1 such as ,libert1 galit1 ou mort6 and ,vive le roi citoyen6 ,at the beginning of the eighteenth century there were twelve manufactories1 or fabriques1 in full blast at ,nevers4 ,at the present time there is a very considerable production of faience at ,nevers1 much of which is only the imitations or reproductions of that made in the earlier centuries4 ,nothing of special interest1 so far as ,i know1 was shown at the ,centennial ,exhibition at ,philadelphia4 ,at the ,bernal sale was ,no4 #aiha3 ,a pair of bottles of ,nevers ware1 light blue1 spirally fluted with dark-blue flowers2 twelve inches high4 ,eleven pounds4--,j4 ,s4 ,forbes1 ,esq4 ,,beauvais4--,how early pottery was made at ,beauvais is not certainly known2 one of the earliest notices is of a pot of ,charles ,,vi4 in #acii1 ,un godet de terre de ,beauvais1 garny d'argent2 and ,rabelais mentions this work more than once1 in this way1 ,une salire de terre2 et ung goubelet de ,beauvoys1 etc4 ,various pieces of this very quaint and interesting pottery are extant in the museums of ,europe4 ,the great plate we illustrate is in the ,imperial ,library at ,paris1 and bears the date of #aeaa 7,fig4 #ha74 ,it is of fine paste1 and is about seventeen inches in diameter4 ,its ornaments are in relief1 and are the arms of ,france and of ,brittany at that period4 ,many elaborate and decorative pieces were made here1 and some of them were designed and were used for presents to distinguished personages who visited the city4 ,not only were these works of luxury made1 but large quantities of household work were manufactured for the uses of ,france2 and there was a very considerable export of it to ,england4 ,illustration3 ,,fig4 #ha4--;,beauvais ,pottery4 ,,rouen4--,one of the most extensive productions of pottery in ,france began at ,rouen as early as #aedb2 and after #afdj were made here many large and highly-decorated pieces1 of which we give some illustrations4 ,just when work of this kind was first produced does not clearly appear2 but a very considerable number of fabriques were established in this city1 and many men and women were employed4 ,there is no question that at one time the potteries of ,delft had a considerable influence upon the work at ,rouen1 and much that was then made ,illustration3 ,,fig4 #hb4--,rouen ,faience4 showed traces of imitation4 ,pieces of large size were produced1 such as fountains1 vases1 busts1 figures and figurines1 and even mantel-pieces4 ,work was done for the table1 some of which holds high rank4 ,when ,louis ,,xiv4 sent his silver to be minted in #agac1 to pay for his extravagant wars1 he had it replaced by a service made at ,rouen4 ,some pieces in the ,svres ,museum1 marked with the fleur-de-lis1 may have belonged to this4 ,illustration3 ,,fig4 #hc4--,rouen ,faience4 ,many of the rich and the noble followed his example1 and the result was that a marvelous impulse was given to the increase and the perfection of the faiences at ,rouen4 ,before the final closing of the works1 about #aghi or #agij1 some eighteen extensive fabriques were in active work4 ,the variety of articles made at ,rouen was very great1 ranging from salt-cellars and candlesticks to mantel-pieces and stoves4 ,illustration3 ,,fig4 #hd4--,rouen ,faience4 ,the paste of the ,rouen faience is stronger than that of ,delft1 and the pieces ,i have seen show a reddish clay through the breaks of the enamel4 ,many of the paintings indicate much taste and skill4 ,it seems to me that this work is marked by more originality1 and by a finer perception of the fit and the beautiful1 than any other ,french pottery4 ,the pieces shown in ,figs4 #hb and #hc1 as far as engravings can do it1 prove this4 ,they do not show the variety and the richness of color which distinguish much of the best work4 ,the early ,rouen work1 in a considerable degree following the ,delft1 was painted1 as some suppose1 by men brought from there4 ,imitations of the ,chinese at one time were in vogue2 and a good deal of work was done in blue--en camaeu--in one color only4 ,but the colored or polychrome ,rouen is most distinctive1 most brilliant1 and most desired4 ,one of the styles most sought for is termed la corne1 showing cornucopias combined with flowers and birds4 ,it is very effective4 ,the example engraved is a beautiful plate from ,mr4 ,wales's collection at ,boston 7,fig4 #hd74 ,many pieces of this ware are in existence1 and they are found in all the museums and in many private collections of ,europe4 ,mrs4 ,moses ,ives1 at ,providence1 has some perfect examples1 gathered by her from old houses in ,rhode ,island4 ,her belief is1 that they got into ,rhode ,island from ships captured by privateers and brought into ,newport1 where their cargoes were sold and scattered4 ,it seems probable4 ,,moustiers4--,within the last twenty-five years the faience of ,moustiers has been separated from that of other places in ,france1 into which it had once been merged4 ,the little town in the department of the ,lower ,alps seems to have had a fabrique as early as #afhf1 when the records mention the name of ,antoine ,clerissy as matre fayensier4 ,two other names are known as master-potters of that town--,olery and ,roux4 ,all these made ornamental work of an excellent class1 some of which is much valued4 ,three styles of decoration are assigned to these potters4 ,the earliest is recognized as being painted in blue camaieu 7in one color71 with subjects--hunting-scenes1 escutcheons and armorial bearings1 country-scenes1 figures of the time of ,louis ,,xiv41 etc4 ,most of these are assigned to ,clerissy4 ,the second style runs from about #agjj to #agde4 ,the specimens of this period are better known to amateurs1 and not so rare2 they are also decorated in blue camaieu1 with highly-finished and gracefully-interlaced patterns1 among which are ,cupids1 satyrs and nymphs1 terminal figures1 garlands of flowers1 masks1 etc42 and canopies resting on consoles1 or brackets1 from which hangs drapery bordered or framed with foliage and hatched spaces2 mythological personages1 vases of flowers1 and other designs1 being frequently introduced2 the centre subjects are classical or champtre figures in costume of the time1 sometimes coats-of-arms4 ,some of the faience of this period is painted in cobalt-blue in the ,chinese style1 which ,m4 ,davillier attributes to ,pol ,roux1 and refers to a similar plate in the ,svres collection bearing the arms of le grand ,colbert4 ,in this style there is evidently a following of the maiolicas of ,italy in what is known as the ,raffaelesque ware4 ,but that was never1 ,i believe1 painted in blue4 ,illustration3 ,,fig4 #he4--;,faience of ,moustiers4 ,the third style1 running from #agde to #aghi1 is almost always painted in polychrome2 the colors are blue1 brown1 yellow1 green1 and violet4 ,garlands of flowers1 fruits1 and foliage1 are used4 ,mythological subjects also appear--,cupids1 medallions1 gods and goddesses1 etc4 ,to this class apparently belongs our illustration 7,fig4 #he74 ,some of these ornamental pieces are well painted1 and latterly have been much sought for1 but they do not rank with the work of ,nevers or ,rouen4 ,at the time of the ,french ,revolution there was a large industry in pottery at ,moustiers--some twelve fabriques being in full activity4 ,nearly all have disappeared1#g and the town has dwindled into one-third its former size4 ,,strasbourg1 ,,or ,,haguenau4--,the beginnings of a faience fabrique here were probably about #agba4 ,hannong was a potter1 who came to the town from ,germany and established himself at ,haguenau1 near to or a part of ,strasbourg4 ,this had been a ,german city until ,louis ,,xiv4 clutched it and made it ,french and ,catholic4 ,in #ahgj the ,germans took it back1 and are now converting it to ,german and ,protestant4 ,the faience made here has never taken so high a place as that made at the other fabriques ,i have mentioned4 ,but some of the decorated pieces--vases especially--were of good form and pleasing coloring4 ,the most common painting was roses and flowers1 in a free1 bold1 and rather rough style4 ,sometimes this has been confounded with delft2 but it is quite different4 ,it more resembles the pottery made at ,marseilles4 ,some of the marks on the faience are like those on the porcelain which was made here for a short time2 these were an ,h4 or ,p4 ,h4 combined1 indicating the maker's name--,hannong4 ,the ,,marseilles potteries were in full activity at the beginning of the #agjj's--a single piece exists which is marked #afig4 ,in the middle of this century the number of fabriques had increased to some twelve1 employing about two hundred and fifty workmen4 ,all have gone down4 ,the faience made here followed that of ,moustiers for its best work1 and that of ,strasbourg for the more common4 ,the flower-painting done here is said to be distinct from that of ,strasbourg1 in that the flowers are perceptibly raised by the paint2 while in that of ,strasbourg the painting is melted into the glaze4 ,a very pleasing style of classic vases1 made here in the time of ,louis ,,xv41 are painted in camaieu rose-color1 the wreaths and ornaments often being in relief4 ,at ,,sarreguemines1 in the ,moselle country1 very beautiful faience was made in the last century--about #agge--some of which was highly finished in the lathe4 ,work was made there1 too1 with white figures on blue and colored grounds1 much resembling the jasper ware made by ,wedgwood4 ,there is an extensive pottery now at work at ,sarreguemines1 in which great quantities of domestic pottery are made for the market4 ,at ,,sinceny1 ,,nancy1 ,,creil1 ,,montpellier1 and many other small places1 potteries were at work in the last century2 few1 if any1 of which continued beyond the great ,revolution4 ,,paris1 too1 had many small fabriques of faience1 but none of them reached much importance4 ,the name of ,briot is yet kept in mind4 ,,to-,,day 7#ahgf7 ,france has burst into a great blossoming1 not only of porcelain1 but of decorative faience4 ,in ,paris1 ,collinot has made a style of relief-enamel1 in imitation of cloisonn1 which is rich and effective in color1 and often very beautiful2 many have followed him4 ,,barbiz,t has made and is making the imitations of ,palissy better than ,palissy himself4 ,,brianchon has made and perfected a lustrous ware like mother-of-pearl1 which he calls ,nacre2 it is pretty and fanciful1 and is very like what is made in ,ireland1 and called ,belleek4 ,,durand ,,ruel had1 in his exhibitions in #ahge1 some of the most superb and richly-colored faience-vases ,i have ever seen2 but the name of their manufacturer was not made known4 ,,laurin1 ,,chapelet1 and some other artists at ,bourg-la-,reine1 struck out a style of faience-painting about the same time--#ahgd to #ahge--which1 for richness and mystery of color1 freedom and force of design1 and for delicious treatment--if ,i may call it so--has rarely been surpassed4 ,it is original1 and different from anything the ,orientals have done1 and quite as good4 ,illustration3 ,,fig4 #hf4--,limoges ,faience4 ,the ,,havilands1 at ,limoges1 have gone on with this work1 and have not let it falter2 their exhibition at ,philadelphia in #ahgf was excellent4 ,i venture to include my notes made at the ,exhibition3 ,but1 in the way of earthen-ware1 nothing in the ,french or ,english exhibits is at all equal to the vases1 bottles1 etc41 shown by ,haviland1 from ,limoges4 ,these1 we were told frankly and with all desire to ,illustration3 ,,fig4 #hg4--,limoges ,faience4 give the artists their due share1 were modeled by ,lindencher and painted by ,lafon 7we hope we have their names right74 ,the forms of the pots and the relief-modelings are bold1 unconventional1 and excellent4 ,the artist has studied ,nature1 and art also1 but not to copy4 ,this is true too of ,lafon1 whose lavish and daring use of color is remarkable4 ,nothing is niggled or petty1 as in this kind of work nothing should be4 ,as examples of real art1 they are equal to the best work of ,china and ,japan2 and a true man would wish rather a hundred such vases as the ,pennsylvania ,industrial ,museum has bought1 than one of those great vases from ,svres which stand in the ,french picture-gallery4 ,this is the same kind of art-work which for a few years has been done by ,chapelet and a little band of artists near ,paris1 some of which has been brought to ,boston by the ,household ,art ,company1 and has had a tedious sale4 ,these painters are artists in color4 ,bold and strange as the work is1 nothing is glaring1 showy1 bright1 or flashy2 throughout there is that reserve which indicates strength and creates confidence4 ,i give also some illustrations of their work1 which in a faint degree exhibit its excellence4 ,the color cannot be expressed 7,figs4 #hf and #hg74 ,,deck1 of ,paris1 should not be forgotten4 ,i believe he is an ,alsatian2 he1 his brother1 and sister1 are all fine specimens of the ,german-,french2 they have been at work since #ahei in producing some of the most beautiful things to be made2 and the work done there now sells at high prices4 ,t4 ,deck is himself an artist2 but many others are engaged there in making flower1 figure1 and other paintings4 ,their exhibitions at ,london have attracted much attention1 and their productions have been quickly sold4 ,no doubt other artists are to-day engaged at ,paris in this fascinating work1 which is attracting so much attention1 and feeding well the desire for the useful and the beautiful4 ,great establishments1 with hundreds of workmen1 are now in full activity at ,nevers1 at ,gien1 at ,nancy1 producing wares at low prices1 which have much merit1 and for every-day uses are good4 ,mostly they follow the old designs1 and attempt little else4 ,as they do not pretend that these are anything more than that1 and as the prices are very reasonable1 they reach a great sale4 ,,chapter ,,ix4 ,,dutch ,,delft ,,and ,,english ,,earthen-,,ware4 ,delft1 ,number of ,fabriques4--,haarlem4--,paste4--,great ,painters4--,violins4--,tea-,services4-- ,a ,dutch ,stable4--,broeck ,dutch ,tiles4--,england4--,queen ,elizabeth4--,pepys's ,diary4--,brown ,stone-ware4--,the ,tyg4--,lambeth ,pottery4--,fulham ,pottery4--,elers4--,elizabethan ,pottery4--,stoke-upon-,trent4--,josiah ,wedgwood4--,cheapness4--,queen's-ware4- -,jasper-ware4--,flaxman4 --,cameos4--,basalt4--,the ,portland ,vase4--,prices4 ,there was a day 7about #afej7 when the ,dutch town of ,delft had fifty manufactories of earthen-ware1 and employed in them over seven thousand people4 ,to-day she has but one--if even that--and the work done there has sunk into insignificance4 ,to those who are fond of change1 of excitement1 this will be a pleasant fact to know2 it goes to show that ,macaulay's prophecy1 that the coming ,new-,zealander will sit on the piers of ,london ,bridge in the good time that is coming1 and moralize over the ruins of ,london1 may come true--pleasanter for the ,new ,zealand savant than for the ,english statesman6 ,haydn's ,dictionary of ,dates states that pottery was made at ,delft as early as #acaj2 and there are records of its importation from there into ,england in the time of ,king ,henry ,,iv4 7#acii to #adac74 ,the great industry was undoubtedly stimulated by the close knowledge of ,japanese and ,oriental porcelains which the ,dutch merchants at a very early day and for so long a time had access to2 which they brought to ,holland in such large quantities1 and which by them were distributed over ,europe4 ,but the cost of these was1 of course1 very considerable for those times2 and the discovery of good clays in ,holland gave the ,dutch every facility for engaging in the manufacture1 which they had the wit to seize and the skill to develop2 so that they were able to make earthen-ware of good quality1 with creditable ornamentation1 at comparatively small prices4 ,the ,dutch were then the great traders of the world4 ,they soon sent this pottery far and wide1 into ,germany1 ,france1 and ,england2 and they got much money for it4 ,holland grew rich4 ,haarlem was also a centre for this industry2 but it made less impression there than at ,delft1 and went down sooner2 so that but little is known of it4 ,the paste of the ,delft1 or at least some of it1 is of a fine quality1 so that it was worked quite thin1 and yet preserved sufficient strength for use4 ,to make this1 a good deal of pains and skill was applied to it before it went to the deft hand of the modeler4 ,of course1 the great production at ,delft was for the uses of the table1 and its work did much to effect a revolution in the household-art of the table4 ,before this production the plates and dishes of the common people were of wood or tre2 often only a square bit of board upon which the meat could be laid and cut4 ,the better-off people had plates of pewter1 and kings and princes indulged in those of silver4 ,boitet1 writing in #affg of ,delft1 says3 ,one of the principal branches of industry at present consists in the manufacture of a kind of porcelain#h which nowhere in ,europe is made of such fine quality and so cheap4 ,for some years1 indeed1 porcelain has been manufactured in ,saxony1 and also at some places in ,france4 ,the former is finer than that made at ,delft1 but more expensive likewise1 and therefore not much in general use2 whereas the ,delft porcelain1 on account of its more moderate price1 is more salable2 and it is sent not alone to most places in ,europe1 but even to ,asia also4 ,the clay of which it is made comes from the neighborhood of ,maestricht1 and is purified in ,delft by divers processes4 ,besides larger articles for general use1 complete services are made here1 ornamented with escutcheons1 as they may be desired1 beautifully gilt and painted1 almost equal to the ,east ,indian in transparency1 and surpassing such in the painting4 ,many persons of property have such sets with their escutcheons made here1 which then pass for ,japan or ,chinese porcelain4 ,we must receive ,m4 ,boitet's judgment that the ,delft surpassed the ,east ,indian 7or ,chinese7 in the painting with many grains of allowance4 ,still1 when it is known that many services were painted with landscapes after ,berghem1 and that ,william ,vandervelde1 ,van der ,meer1 and ,jan ,steen1 painted some of the ware themselves1 we may easily believe that many pieces of delft had a character of their own1 which gave it a very high rank4 ,i have myself never seen such pieces of these1 and hardly know where to look for them4 ,marryat says that in the ,svres ,museum is a large dish1 in the centre of which is a landscape1 with animals and figures after ,berghem1 which is one of the finest examples known2 and that other fine pieces are in the ,japan ,museum at ,dresden4 ,some of these finest pieces are 7or were7 in the collection of ,m4 ,demmin at ,paris2 one of them is a portrait of ,jan ,steen himself about twenty-five or thirty years of age1 with flowing light hair covered with a cap or bonnet4 ,of the paintings upon delft by ,van der ,meer1 ,demmin enumerates a number2 among which the ,head of a ,woman1 a ,landscape1 and a ,view of ,delft1 are at the ,hague2 the ,porch at ,delft1 upon which 'le ,taciturne' was assassinated1 is in the ,museum at ,amsterdam2 and a variety of portraits1 landscapes1 city views1 etc41 are in private collections4 ,demmin describes a very elaborately-painted picture upon delft tiles in the ,gallery ,suermondt at ,aix-la-,chapelle1 containing a country-house1 a figure of a woman1 a well and a person drawing water from it1 a pigeon1 a tree1 and the sunlight shooting through it and touching the walls of the house here and there4 ,this very elaborate picture1 so well and minutely painted1 has been attributed both to ,ruysdael and to ,hobbema2 it is now ascribed to ,van der ,meer4 ,this is work which will bring any price1 because it is so difficult and so uncommon2 but it is not what ,i should value upon delft or porcelain4 ,it can never be so good as upon canvas2 it is much more difficult to make it1 and a small accident ruins it past repair4 ,it is not decorating china2 it is simply trying to make a picture with materials unsuited for the purpose2 and its only merit is that it shows difficulties overcome4 ,it is precisely the same in principle as the mosaics4 ,it would have been idiotic for ,raffaelle to have made the ,dresden ,madonna in mosaic or on porcelain4 ,illustration3 ,,fig4 #hh4--;,delft4 ,in the decorative work of the ,delft potters it seems to me the things to desire are the fine plates and dishes painted1 as many of them are1 with luminous blues almost equal to the celestial blues of ,china1 such as we see in ,fig4 #hh2 and the vases1 the flagons1 the cups and mugs1 in every style and shape2 the same things in polychrome1 with those bold groups of flowers1 equal in their way to the work of the ,orientals4 ,besides1 there are the figures of peasants1 etc42 also their cows and horses1 which have a quaint interest not easily explained4 ,the ,dutch potters ran into many things1 such as small foot-stoves1 barbers' basins1 casters1 salt-cellars1 etc4 ,about much of the good delft is that same quaint1 countrified beauty of which ,i have spoken4 ,it is good1 because it is real and native to the people and its painters4 ,when they left this and went to imitating the ,chinese and the ,japanese1 their work seems to me almost worthless2 because it was an imitation1 and it was inferior4 ,in one of the largest workshops1 or fabriques1 a custom prevailed that one should read portions of the ,bible1 which all might hear and all might discuss4 ,this was a time when religious heat was fervent2 when the great questions of church direction and free thought were rife2 when ,catholic and ,protestant often went from the assault of the tongue to that with the arquebuse4 ,this practice no doubt made good ,protestants1 but also without doubt poor potters4 ,the most curious pieces of delft known are four violins1 still extant1 very carefully made and very carefully painted4 ,one is 7or was7 in the museum at ,rouen1 one at the ,conservatoire at ,paris1 the third in the collection of ,m4 ,demmin1 and the fourth in a private collection at ,utrecht4 ,the story still lives that these four violins were made by the master-modelers for marriage-gifts to the four daughters of the master of the fabrique1 about to marry four young potters2 and that the music for the dance was drawn from them4 ,it was a pretty conceit4 ,some elaborate dinner-services were made at ,delft1 which required much skill and much work4 ,the covers of the dishes were modeled in the likeness of birds or fish1 indicating whatever was to be served in them2 these were painted carefully to imitate ,nature1 so that the guest1 in seeing the table1 would know if it were a turkey1 a pheasant1 a ptarmigan--whatever luxury had been provided for his delectation4 ,,tea-,,services4--,it is possible there are persons who believe that tea has always been known1 and that the lovely tea-services out of which1 we sometimes drink it have existed from the time of ,noah and the ,deluge2 not so4 ,pepys1 in his ,diary1 speaks of it in #affa as a ,china drink of which ,i had never drunk before4 ,and at that time it sold in ,england at fifty or sixty shillings a pound--an enormous price4 ,tea and coffee pots were first brought to ,holland from ,china1 and do not appear earlier than about #agjj2 so that those which came over in the ,mayflower and the ,half-,moon and the ,ark must have been made by ,elder ,brewster and ,henry ,hudson and ,leonard ,calvert from the depths of their moral consciousness4 ,tea1 we must remember1 was not drunk in ,england earlier than about #affj1 and then but rarely2 and coffee was introduced into ,england about #afcg4 ,teapots have from time to time been a collector's fancy1 and persons have again and again got together four or five hundred1 of all patterns and decorations4 ,nothing would be more pleasing in this way at the afternoon tea1 when every guest should have each his own service1 and every one beautiful4 ,that the use of delft-ware for ornament throughout ,holland was great is evident from the number of decorated plates and vases1 many of large size1 and many showing a careful style of painting2 these are now constantly coming from that country1 and they are not counterfeits4 ,most of them certainly are rudely but effectively painted1 and are very decorative4 ,upon a farm1 not far from ,amsterdam1 the cows during the summer season being upon the pastures1 ,i found the stables carefully cleansed and whitewashed1 and the stalls and walls hung with large and gayly-painted plates and plaques2 and some pieces of brass-work were added to impart a desired brilliancy4 ,nearly every house1 great and small1 in the palmy days of ,holland had more or less decorative delft-ware hung upon its walls and placed upon its mantel-pieces2 many of these have been carefully treasured up1 and they are the stores from which the world now makes its drafts4 ,a favorite decoration was a garniture for the mantel-shelf1 consisting of three covered and two uncovered vases1 such as are seen in ,fig4 #hi4 ,they are often painted in blue alone1 which for a long time was the prevailing color1 and which sometimes nearly equaled the best blues of ,china4 ,the ones here figured are of an excellent blue1 and show a religious subject--the ,virgin1 ,child1 and ,st4 ,john4 ,the variety of decoration was great2 but mostly of birds1 flowers1 fruit1 and other objects of ,nature4 ,illustration3 ,,fig #hi4--;,delft4 ,afterward these1 as well as plates1 dishes1 mugs1 etc41 were painted with many colors2 and some of these were quite rude and garish1 to suit a low and garish taste4 ,but1 as decoratives1 these too have a certain value4 ,at the small village of ,broeck1 some seven miles from ,amsterdam1 there was in #ahgj a very nice collection of delft for sale1 among which were a dozen or more large plates of the best blue4 ,it was the collection of a woman who had for a long time been a dealer there4 ,the town of ,broeck1 as most know1 has been a point to visit2 it was at one time the cleanest spot in the known world1 no horse or cow or other animal being permitted in its streets4 ,in those days it was a sort of country-seat for the rich ,amsterdam merchants4 ,it is changed now4 ,the marks upon delft are mostly those of the individual painters1 and may be found in considerable variety in ,demmin's more elaborate work4 ,illustration3 ,,fig4 #ij4--;,delft ,plate4 ,fig4 #ij is a good representation of the bold painting of the ,delft workmen4 ,these great plates1 when standing on shelves or fastened to the wall1 produce a striking and pleasing effect4 ,they are now much sought for2 and the high-class work brings high prices1 though not such prices as the ,italian maiolicas4 ,,tiles were made from an early period in ,holland1 and during the seventeenth and eighteenth centuries in great quantities4 ,they were used to decorate fireplaces1 stoves1 walls1 hearths1 etc4 ,the blue and brown ,scripture-tiles were made in great numbers1 and found a wide and ready sale4 ,they are rude1 quaint1 and interesting--are not art at all1 but whimsical expressions of a religious sentiment4 ,they are still made in ,holland almost identical in design and feeling with those produced three hundred years ago4 ,,english ,,pottery ,,or ,,earthen-,,ware4 ,very primitive unglazed pottery was made in ,england by the ,britons and ,saxons before the days of written history4 ,some account is given1 in the chapter upon ,unglazed ,pottery1 of the red ,roman unglazed ware found in ,london and elsewhere1 which1 beyond any reasonable doubt1 was made largely in ,england4 ,an account of the use and production of glazed pottery in ,england will be in place here4 ,down to the times even of ,queen ,elizabeth 7#aeeh to #afjc7 we know that trenchers of wood1 and cups and bottles of wood as well as of leather 7these were called black jacks71 were in common use even in good houses4 ,as late as #affc1 ,pepys1 in his most entertaining ,diary1 says that at the lord-mayor's feast meats were served on wooden dishes1 and were eaten off trenchers4 ,the common dishes in ,queen ,elizabeth's housekeeping were of wood2 while those for the queen's table were of silver1 or possibly of pewter4 ,these silver and pewter services prevailed on the tables of the wealthy till some time after the introduction of porcelain from ,china1 and delft from ,holland1 which came in in considerable quantities about #afej and later4 ,the first glazed ware made in ,england seems to have been the brown stone-ware1 which1 ,chaffers says1 was in use down to about #afhj1 and mostly in the shape of pitchers1 jugs1 and bottles4 ,it did not at first come into use for table-dishes4 ,after this dishes were made of coarse and gritty clay1 not at all equal to the delft-ware1 upon which a lead-glaze was used of a greenish or dark-yellowish color4 ,this lead or plumbiferous glaze continued in use for a long time2 but when it was first used in ,england seems unknown4 ,salt-glaze was used in ,staffordshire in #afhj4 ,one of the earliest attempts at fancy in ,english pottery is to be seen in the drinking-cup called a tyg1 which has three handles1 intended for three friends2 so that each could drink from his own lip in succession4 ,mugs with two and four handles were also made4 ,at ,,lambeth it is believed that some ,dutch potters made earthenware resembling delft as early as #afej4 ,a patent was granted to some potters by the name of ,van ,hamme in #afgf4 ,various pieces of glazed pottery with ,english designs remain1 bearing dates from #afdb down to #afhb1 which it is thought were made here4 ,at ,,fulham stone-ware of a fine quality seems to have been made by a ,mr4 ,dwight as early as #afga4 ,this1 in the accounts of the day1 was sometimes called porcellane4 ,there is reason to believe that a good degree of advance was reached here1 and that the work approached that made at ,cologne1 now called ,grs de ,flanders4 ,figures and busts were also made here1 a few of which are still extant4 ,two gentlemen named ,,elers1 who came to ,england with ,william of ,orange1 were clever men1 and one of them was a chemist4 ,they discovered clay at ,bradwell1 and established a pottery there1 where for a time they produced good ware from the red clay4 ,but curious eyes were at work to discover their processes1 and one ,astbury1 pretending to be a half-witted fellow1 succeeded in doing it2 and then their business was ruined and broken up4 ,from ,paul ,elers descended the wife of ,richard ,lovel ,edgeworth1 whose daughter is known as ,maria ,edgeworth4 ,a white salt-glazed stone-ware was made in ,staffordshire about #agjj1 which has been called ,elizabethan4 ,this often had designs made from a mould applied to the surface4 ,,stoke-,,upon-,,trent1 in ,staffordshire1 very early became a centre for potter's work1 as it is to-day2 the country there for miles being a string of villages1 filled with furnaces and the houses of potters4 ,it is not my purpose to attempt a detailed history of the immense pottery industries which have been developed in and about ,staffordshire--potteries which1 for variety and extent1 have never been equaled1 unless perhaps in ,china4 ,there is1 however1 one potter1 whose life and work have had a distinguished influence upon the potteries of ,england1 to whom some space must be given2 he is ,,josiah ,,wedgwood4 ,born in #agcj at ,burslem1 he came from an ancestry of potters1 and he breathed the air of the potteries1 so that he may be said to have been a born potter4 ,he was one of thirteen children2 he grew up with the small amount of school education then in vogue in that part of ,england--especially among his class of workers--and was apprenticed to a potter when he was but fourteen years old4 ,the ,english nation has in these latter days gone into a sort of frenzy upon the subject of school education1 having got the impression that that will enable them to compete with or excel all the nations of the world4 ,this ,i believe to be a mistake4 ,i may1 ,i think1 fairly point to ,germany1 whose commissioner at the ,american ,exhibition writes home that the productions of ,germany are marked by lack of taste1 lack of thoroughness1 and lack of honesty2 in other words1 ,germany1 with the most thorough system of common-school education1 is distinguished for the cheap and nasty in her work4 ,what was it1 then1 ,i may ask at this point1 which made ,josiah ,wedgwood1 this unschooled boy1 the most able and successful potter of ,england1 and perhaps of all the world8 ,i attempt to answer it by stating my belief that he was not living for riches1 but for excellence4 ,he worked all his life to combine the useful with the beautiful more and more perfectly2 and in a surprising degree he succeeded4 ,this was not because of his intellectual ability1 but because of his sense of honor4 ,the world has gone into a craze for intellect--not at all for honesty4 ,i mean by honesty not a sickly sort of conscientiousness1 which often hinders2 but honesty of intention1 showing itself in work4 ,to illustrate my meaning1 ,i may say that my own experience has been that the larger part of mankind are quite willing to shab a thing--to do it poorly--provided it will sell1 and give them their wages4 ,this1 it seems to me1 was just what made ,wedgwood what he was2 he could not do that4 ,all the work of his ,i have seen was done as well as it could be done4 ,i do not mean that all his designs were good or his decorations faultless2 but1 as it was1 it was as well done as he could do it4 ,illustration3 ,,fig4 #ia4--,portrait of ,wedgwood4 ,it seems to me that in his portrait 7,fig4 #ia7 a good deal of this robust1 manly1 honorable character is to be traced4 ,i like to think that the face here1 as in many cases1 is a sort of promise of the man4 ,i cannot do better than to quote1 from one of ,wedgwood's catalogues1 his own words1 which are better than any sermon1 better than much burnt-offering and sacrifice2 which phrase of the prophet shows that there were shabby fellows then1 even in the days of ,god's ,jews4 ,i quote3 ,a competition for cheapness1 and not for excellence of workmanship1 is the most frequent and certain cause of the rapid decay and entire destruction of arts and manufactures4 ,the desire of selling much in a little time1 without respect to the taste or quality of the goods1 leads manufacturers and merchants to ruin the reputation of the articles which they make and deal in2 and while those who buy1 for the sake of a fallacious saving1 prefer mediocrity to excellence1 it will be impossible for them either to improve or keep up the quality of their works4 ,all works of art must bear a price in proportion to the skill1 the taste1 the time1 the expense1 and the risk1 attending the invention and execution of them4 ,those pieces that for these reasons bear the highest price1 and which those who are not accustomed to consider the real difficulty and expense of making fine things are apt to call dear1 are1 when justly estimated1 the cheapest articles that can be purchased2 and such are generally attended with much less profit to the artist than those that everybody calls cheap4 ,beautiful forms and compositions are not to be made by chance2 and they never were made nor can be made in any kind at small expense2 but the proprietors of this manufactory have the satisfaction of knowing1 by a careful comparison1 that the prices of many of their ornaments are much lower than1 and all of them as low as1 those of any other ornamental works in ,europe of equal quality and risk1 notwithstanding the high price of labor in ,england2 and they are determined to give up the making of any article rather than to degrade it4 ,from all this is it not evident that ,wedgwood too found his world full of shabby buyers8 ,i think so2 and that has been the misfortune of others4 ,while the buyers are apt to vituperate the workmen1 in too many cases they are the culprits4 ,few will dispute it1 that nearly all the manufacturing and trading world has been sliding downward into shabbiness since ,wedgwood's day2 and few will dispute it1 that the mania to buy cheap and sell dear always did and always will debase any people4 ,it is not my purpose to give any detailed history of the life and doings of ,wedgwood4 ,all who are enough interested will find these in his ,life1 by ,llewellynn ,jewitt1 and in that by ,miss ,meteyard1 both of which are full1 and are profusely illustrated4 ,what ,i can do here is to call attention to some of the most distinctive things accomplished by this great potter4 ,almost from the first1 ,wedgwood perceived or felt that there were good and bad both in form and decoration2 and he set to work to secure perfection in both4 ,while all his life he wished to make1 and did make1 vases and other works for purely ornamental and artistic purposes1 in which the expression of beauty alone was sought1 he had that practical sense which taught him to apply his skill and his perception first to the production and improvement of earthen-ware which came into the daily uses of life4 ,out of this came his queen's-ware1 which soon had such a reputation for form and quality that it went in large quantities all over the trading world4 ,from this it should be known that ,wedgwood made the money with which he carried forward those investigations and experiments which at last culminated in his finest works of fictile art4 ,it may as well be said here that even his art-work made him no money1 although many of his pieces were reproduced4 ,the fifty copies of the ,portland ,vase--of which more hereafter1 and which sold for fifty guineas each--cost him more than he got for them4 ,it is best to say this1 because some men and women think that artists are sure to become rich4 ,no man should attempt to be an artist with such an expectation2 for1 while here and there one is caught on the wave of fashion and borne onward to fortune1 the number of these is few4 ,no artist must expect a speedy recognition for good work4 ,wedgwood would not have been ,wedgwood had he not had a foundation for his art-work in his queen's-ware4 ,upon this ware a word of explanation may be desirable4 ,he early brought this every-day ware to great perfection1 not only of form1 but of paste and glaze4 ,it was not painted1 but was of a creamy white2 and1 being at such a small price1 it went into very wide use4 ,having sent some pieces of it as a present to ,queen ,charlotte1 she was induced to order a complete table-service1 and to request that it might be called queen's-ware thenceforth1 as it is to this day4 ,this service was painted in the best style then in vogue by the two chief artists at the works1 ,thomas ,daniell and ,daniel ,steele4 ,one of the most remarkable dinner-services made by ,wedgwood was for the ,empress ,catharine ,,ii4 of ,russia1 for her palace near ,st4 ,petersburg called ,grenouillire4 ,it is thus described by ,chaffers3 ,this splendid service was commenced in ,april1 #aggc1 and had upward of twelve hundred views of the seats of noblemen and gentlemen in ,england1 and a green frog was painted underneath each piece4 ,the form chosen was the royal pattern1 and was made of the ordinary cream-color ware1 with a delicate saffron-tint4 ,the views were in purple camaieu1 bordered with a gadroon pattern in ,indian-ink1 and round the edge a running wreath of mauve flowers and green leaves4 ,the two services for dinner and dessert consisted of nine hundred and fifty-two pieces1 had twelve hundred and forty-four enamel views1 which cost1 on an average1 twenty-one shillings each1 the borders and frogs to each about fifteen shillings more2 making the entire cost1 with fifty-one pounds eight shillings and fourpence for the cream-ware itself1 a total of twenty-three hundred and fifty-nine pounds two shillings and one penny1 without calculating many extras4 ,the price ultimately paid by the empress was stated to be three thousand pounds4 ,in ,june1 #aggd1 the service was sufficiently completed to exhibit at the new rooms in ,portland ,house1 ,greek ,street1 ,soho1 ,no4 #ab1 where it remained on show for nearly two months4 ,the empress showed it to ,lord ,malmesbury when he visited the ,grenouillire in #aggi4 ,i may refer here also to his partnership with ,mr4 ,bentley as another of the important elements of his success4 ,bentley was a man with capital1 and also a man with an artistic sense2 and he coperated heartily with ,wedgwood in a desire for thorough work1 for excellence1 and for profit4 ,the artistic work for which ,wedgwood is so distinguished is what the pottery collector is most interested in4 ,this1 as ,wedgwood himself has said of all good work1 was not the result of chance4 ,from the first he used his own brains and those of others4 ,he studied whatever he could find to improve his profession1 and became something of a chemist2 so that the values of clays and silex1 and the composition and use of metallic oxides for coloring them1 grew to be an art in themselves in his hands4 ,the work upon which ,wedgwood applied his inventions and his art may be classified in this way3 #a4 ,queen's-ware1 for the table4 #b4 ,terra-cotta1 to represent porphyry1 granite1 etc4 #c4 ,basalt1 or black ,egyptian4 #d4 ,white biscuit4 #e4 ,bamboo1 cream-colored biscuit4 #f4 ,jasper1 or onyx4 #g4 ,a hard porcelain biscuit1 for chemists1 etc4 ,he conceived that he could produce a paste or body so fine1 compact1 and homogeneous1 as to be finished without a glaze1 and1 at the same time1 be susceptible of receiving color in purity and perfection throughout this body4 ,this he succeeded in doing1 and this is what is now known over all the world as ,wedgwood's jasper1 or onyx4 ,this is the ware upon which he afterward applied the cameo ornaments in white upon a ground or body of various tints--blues1 sage-green1 and purple4 ,at first the color permeated the whole paste2 afterward it was applied on the surface only by means of a dip4 ,this was begun about the year #aggf1 and went onward till the end of his life4 ,it is of interest for us to know how the beautiful cameo ornaments used on this ware were obtained4 ,the enthusiasm and the sense of honor which inspired ,wedgwood gave him access soon to the best people and the best collections in ,england4 ,in the collections of ,sir ,william ,hamilton1 and others1 were the exquisite intaglios found in the antique art-work of ,egypt1 ,greece1 and ,rome4 ,wedgwood took most careful and delicate impressions of these1 and from these his careful and delicate cameos were formed4 ,not only did he draw thus from the ancients1 he also enlisted the best designers and workmen wherever he could find them1 and among these the most distinguished was the sculptor ,flaxman4 ,it may interest the rising sculptor to know that ,flaxman's price for designs made for ,wedgwood was a half-guinea each4 ,at this time he was a young man struggling into recognition2 and he was glad of the opportunity1 as well as of the money1 which ,wedgwood gave him4 ,his designs all bear unmistakable indications of ,greek inspiration1 and he has been called an ,english ,greek4 ,miss ,meteyard1 in her ,life of ,wedgwood1 quotes a number of the bills paid to ,flaxman4 ,one in #agge runs thus3 ,a pair of vases1 one with a satyr1 the other with a triton-handle1 three guineas2 bass-reliefs of the ,muses and ,apollo1 ,hercules and the lion1 ,hercules and the boar1 ,hercules and ,cerberus1 ,bacchus and ,ariadne1 ,jupiter1 ,juno1 ,minerva1 ,justice and ,hope--for each of these he received ten shillings and sixpence2 table of the four seasons1 two pounds and two shillings1 etc4 ,flaxman modeled1 too1 a goodly number of busts of distinguished persons4 ,models and designs were also procured from artists in ,italy1 many of which were made under the supervision of ,flaxman while he was studying and working there4 ,of this jasper was made a great variety of objects1 besides vases and tea-services4 ,of the last we engrave portions of one in possession of ,mr4 ,wales1 of ,boston1 which is as near perfection as any work of this kind can be 7,fig4 #ib74 ,illustration3 ,,fig4 #ib4--,old ,wedgwood4 ,this jasper-ware was used in many ways1 as the following list will indicate4 ,it shows something of the variety of art-work made by ,wedgwood3 #a4 ,cameos and intaglios4 #b4 ,bass-reliefs1 medallions1 and tablets4 #c4 ,kings and illustrious persons of ,asia1 ,egypt1 ,greece1 etc4 #d4 ,busts of kings1 emperors1 popes1 etc41 down to modern times4 #e4 ,heads of poets1 painters1 divines1 etc4 #f4 ,busts1 statuettes1 animals1 etc4 #g4 ,lamps and candelabra4 #h4 ,ornamental vases and antique vases4 #i4 ,painted ,etruscan 7,greek7 vases1 etc4 ,so great was the production of the cameos and antique ornaments1 and so greatly were they used as articles of jewelry1 for settings in furniture1 etc41 that over two thousand different moulds and designs were made4 ,we engrave here one of these small cameos1 which1 however1 fails to convey a full sense of the delicate character of the work 7,fig4 #ic74 ,they reached almost the perfection of gems4 ,illustration3 ,,fig4 #ic4--,wedgwood ,cameo4 ,illustration3 ,,fig4 #id4--,teapot4 ,fig4 #id1 a teapot1 which is not remarkable for beauty of form or execution1 is given as an example of the work done by the ,english potters before ,wedgwood's day1 to meet the ordinary wants of common life4 ,it should be kept in mind1 in estimating ,wedgwood's character1 that he combined1 in an eminent degree1 the artistic and the commercial faculties1 and thus was able to produce results of a striking kind4 ,like ,shakespeare1 he was omnivorous1 and browsed wherever the pastures were sweet4 ,all food was good which could be turned into delectable milk4 ,some of the most perfect of ,wedgwood's work was made in the black basalt2 which1 however1 lacks the brilliancy that colors gave to the jasper-ware4 ,the example engraved 7,fig4 #ie7 is from ,mr4 ,wales's collection4 ,illustration3 ,,fig4 #ie4--,wedgwood ,basalt4 ,in #aghg the most celebrated vase of antiquity1 called the ,barberini ,vase1 and now the ,portland ,vase1 was to be sold by auction4 ,wedgwood was inspired with a desire to possess it2 probably with the intention of making copies4 ,he kept bidding upon it1 but his competitor was the ,duchess of ,portland1 who also was inspired with the desire of ownership4 ,finally1 when the price had reached eighteen hundred guineas1 she sent ,wedgwood word that he should have the loan of the vase1 if he would withdraw his competition4 ,it was so agreed2 and ,wedgwood set to work4 ,he paid ,webber five hundred guineas to make the model1 for he was not allowed to make a mould4 ,he then produced fifty copies 7some say fewer7 in his jasper-ware1 the body being black1 with a tinge of blue2 the reliefs being in white4 ,it was as nearly a perfect reproduction as could be made by the hand of man4 ,as ,i have said1 the cost of these was more than the price received4 ,this remarkable piece of antiquity is now in the ,british ,museum4 ,it was once shown to a crazed man1 who1 with a blow of his stick1 broke it into a dozen pieces4 ,it is1 however1 thoroughly repaired4 ,the original vase is nine and three-fourths inches high and twenty-one and three-fourths inches in circumference4 ,wedgwood's reproduction of it was pronounced by the best judges to be faultless4 ,it was exhibited at all the principal courts of ,europe by his son in #agia4 ,the moulds are still in existence1 and other copies have frequently been made by ,wedgwood's successors1 but they are not equal to the first in finish4 ,we give a photograph of this celebrated vase as a frontispiece4 ,miss ,meteyard gives the following account of this renowned vase3 ,the original vase is supposed to have been manufactured in the glass-works of ,alexandria at their best period4 ,brought thence to ,rome1 it was used as a receptacle for the ashes of the funeral-pyre1 as it was found inclosed in a sarcophagus of excellent workmanship1 and this in a sepulchral chamber beneath a mound of earth called ,monte del ,grano1 about three miles from ,rome1 on the road to ancient ,tusculum4 ,the discovery was made between the years #afbc and #afdd1 during the pontificate of ,urban ,,viii4 7,barberini74 ,an inscription on the sarcophagus1 which was otherwise covered with fine bass-reliefs1 showed it to have been dedicated to the memory of the ,emperor ,alexander ,severus1 and his mother1 ,julia ,mamma1 both of whom were killed in the year #bce1 during the revolt in ,germany4 ,the vase1 ten inches in height1 was deposited in the library of the ,barberini family1 and the sarcophagus in the museum of the capital4 ,the material of which the former is composed was1 by ,montfauon and others1 conjectured to be a precious stone1 but ,wedgwood's examination proved it to be formed of glass2 the ground being a dark blue1 so nearly approaching black as to appear to be of that color1 except when held in a strong light4 ,the white bass-reliefs are of glass or paste1 the material having been fused on in a mass1 and then cut out by the skill and patience of the gem-engraver4 ,the subjects of these bass-reliefs1 as also the age and place of production of the vase1 are points so wholly unknown as to be open to conjecture and criticism4 ,with respect to the first1 critics have differed4 ,they have been generally considered to bear reference to the ,eleusinian mysteries2 but one of the most learned critics of our own day1 whose works on ',gems' are known to every artist1 scholar1 and man of taste1 considers that one of the group represents ,peleus approaching ,thetis4 ,at best1 the vase must ever remain what ,erasmus ,darwin termed it1 ',portland's mystic urn4' ,wedgwood valued the copy represented at two hundred pounds4 ,i must say for myself that1 having seen the original--now in the ,british ,museum1 where it is most jealously guarded--,i cannot but admire the careful and beautiful cutting of the figures in the designs which surround the body2 but ,i did not when ,i saw it1 nor do ,i now1 think the form of the vase in any degree equal to the best of the ,greek or ,etruscan vases4 ,wedgwood's life was an active and a productive one4 ,he learned how to live1 not from books1 not in schools1 but in doing the work his hands found to do4 ,he was born a potter1 he remained a potter1 and he died a potter4 ,he did not esteem his occupation a thing to be dropped as soon as possible1 that he might be something else2 or1 as many persons are apt to do1 that he might do nothing4 ,work1 to him1 was not only honorable1 it was necessary4 ,the old notion1 that work was a curse1 never entered his sound head4 ,it is an honorable thing that his merits were recognized while he lived2 for this is rare in the heat and hurry and competition of this day of ours4 ,before he died1 in #agie1 he was made a ,fellow of the ,royal ,society1 and of the ,society of ,antiquaries2 and was recognized by a large number of people as a thorough worker and an able man4 ,since his death1 honors have descended on his head4 ,his ,life has been carefully written by ,mr4 ,jewitt and by ,miss ,meteyard2 and ,mr4 ,gladstone1 ,england's ablest man1 has spoken with generous and discriminating praise of him and his works4 ,in many private collections1 as well as in all public ones1 these works are prized2 and not the least interesting and valuable of these collections is that of ,mr4 ,gladstone1 now loaned to the city of ,liverpool4 ,the prices which fine pieces of ,wedgwood's work have sold for will be seen in the following1 from a sale of ,mrs4 ,brett's1 in ,england1 in #ahfd3 ,plaques1 white on blue ground1 ,virgil reciting before ,augustus1 #g-a_/b by #ah inches #dd ,five groups1 infant bacchanals1 #e by #bc inches #fd ,basin1 with ,cupids and figures #aj ,at a sale of ,de la ,rue's1 in #ahff3 ,pair of two-handled seaux1 with satyrs1 gnomes1 etc4 #ci #ahs4 ,dish1 nautilus-shell #i #ajs4 ,large bowl on foot1 with boys1 festoons1 etc4 #bg #fs4 ,busts in black-ware sold as follows3 ,de ,witt #ag #ags4 ,seneca #ae ,bacon #aj #ajs4 ,venus #ae #aes4 ,cato #i #ajs4 ,at ,mr4 ,marryat's sale3 ,a black tazza supported on three figures1 #aa inches #f #ajs4 ,a pair of black vases and covers1 with white figures in cameo1 #ab inches #df ,a black lamp1 with red figures #b #ajs4 ,a granite vase1 with handles1 gilt ornaments1 etc41 #i inches #d #ds4 ,a watch-stand1 with ,cupid in relief in white1 on sage-green ground1 #f inches #h ,a candlestick1 in form of a tree1 with ,cupids ditto1 #aa inches1 #af ,staffordshire now smokes for miles with the fires of her kilns1 and vast quantities of wares are produced4 ,within the last twenty-five years a growing desire has been felt to bestow upon these articles of every-day use some grace of form and some decoration of art2 and in both the ,english and the ,french pottery of to-day beauty and use are combined4 ,,chapter ,x4 ,,the ,,porcelain ,,of ,,china ,difficulties4--,the ,porcelain ,tower at ,nanking4--,first ,making of ,porcelain4--,kaolin and ,pe-tun-tse4--,marco ,polo4--,portuguese ,importation4--,the ,city of ,king-te-chin4--,jacquemart's ,groups4--,symbolic ,decoration4--,inscriptions4--,the ,ming ,period4--,the ,celestial ,blue4--,the ,celadons4--,reticulated ,cups4--,the ,crackle4--,various ,periods4--,individualism4--,marks and ,dates4 ,no people and no civilization have been or are still of greater interest than those of the ,flowery ,kingdom2 and1 spite of much study and careful investigation1 of none are we less certain than of these4 ,through thousands of years a peculiar people have developed a peculiar social system--most striking1 most distinct1 and1 in its way1 as complete as any other1 even if compared with ours1 of which we loudly boast4 ,and now this singular people--a people who have grown into a population of four hundred millions1 having their barriers broken down by the guns and rams of ,england1 so that trade should enter--are themselves coming out to do the work of the world cheaper than any others can do it4 ,we see them in ,batavia1 in ,siam1 in ,singapore1 in great numbers1 as workers1 as brokers1 as merchants1 as manufacturers1 and now they are flowing a steady tide into ,california2 and who can say where the flood will reach1 where it will stop1 and whom it will submerge8 ,no other question of such importance now presses upon us as this4 ,but here we have to deal only with one of the most perfect and most beautiful of industries--one which seems to have had its rise and its culmination with this strange people4 ,what we know of it we can hardly be said to know4 ,the ,chinese have always kept their own secrets1 and have not cared to convert us to their methods1 or to cater to our ways4 ,we therefore gather1 here and there1 a scrap of information upon the subject of porcelains2 we get1 when we can1 examples of their work2 we try to learn something of their processes2 but1 after all1 can only submit what we gather with some misgivings as to the absolute truth4 ,we do not know how to spell their names in our letters1 and they vary infinitely2 so too the inscriptions upon their plates and dishes vary with the knowledge and the fancy of the translator4 ,of course1 we approximate to the truth1 but not more2 for no two ,chinese quite agree as to what this most flexible writing may mean4 ,as to dates on the pieces1 some certainty seems to have been reached2 and such is valuable4 ,i have added to this article marks and dates as now understood by the best authorities in ,england1 and as arranged by ,mr4 ,a4 ,w4 ,franks1 who is the latest writer upon the subject4 ,the knowledge of these helps the student1 and is valuable to the collector4 ,illustration3 ,,fig4 #if4--,pou-tai1 ,the ,god of ,content4 ,the opening cut 7,fig4 #if7 in our chapter shows the ,chinese god ,pou-tai--the ,god of ,content4 ,he is described as corpulent1 his chest uncovered1 mounted upon or leaning on the wine-skin which holds his terrestrial goods2 his face1 with half-closed eyes1 beaming with an eternal laugh4 ,his image1 done in porcelain1 is found in the workshops of ,china1 where men wish more than they can obtain2 he allays1 perhaps1 but does not quench4 ,this image would be most useful--at least1 most suggestive--if it could be set up in every bourse of the ,western world4 ,illustration3 ,,fig4 #ig4--,the ,porcelain ,tower at ,nanking4 ,the ,nanking ,tower 7,fig4 #ig7 once stood near the city of ,nanking1 from which city much of our finest porcelain comes4 ,it was built with bricks or pottery1 the face of which was coated with a dip or slip of porcelain2 and the whole thing was valuable and interesting as a monument of the potter's art4 ,it is now razed to the ground1 the last destruction being that of the ,taiping rebels4 ,the history of pottery is in a good degree the history of man4 ,all nations have done something in this way1 from the rude clay pots of the barbarians1 through the gayly-painted dishes of the incipient civilization1 up to the culmination of the art1 when perfection seems to have been reached in ,china through the centuries extending up to the sixteenth4 ,this manufacture1 which reached in ,china and ,japan to the point of finest art1 has not been surpassed by any civilized race1 if equaled4 ,i am unable to do anything but admire a people whose workmen did and liked to do such fine and faithful work1 and found such large patronage for it2 and it seems a ludicrous and stupid judgment for us1 who admire and pay for the sculptures of ,mr4 ,mills and ,miss ,ream1 to call those peoples barbarians6 ,are they not justified in calling us outside barbarians8 ,this chapter will treat briefly upon these ,oriental productions1 and ,i hope no apology is needed4 ,three thousand years 7#bfig ,b4 ,c47 before our ,christian era these ,chinese were great potters1 had reached to a high point in form and decoration2 and porcelain1 the finest pottery1 began to be made some two hundred years before our era4 ,at that time our ancestors were in a state of gross1 if not beastly1 barbarism2 while they showed skill1 taste1 refinement1 in this and in other ways4 ,as late as the seventeenth century cups and trenchers of honest tre1 or wood1 were used in the best castles of ,england1 and the dishes were often square bits of board2 and down even to a much later day the fingers were used to carry the meat to the mouth4 ,some two hundred years1 then1 before ,christ1 it appears that the ,chinese had discovered and applied to the making of porcelain two fine clays1 one called kaolin1 and the other pe-tun-tse2 the first is a decayed feldspar2 combined1 these clays produce the fine semi-transparent body which we call china or porcelain4 ,all china1 then1 has in a greater or less degree this quality of translucency4 ,it appears1 therefore1 that most of the ,canton ware brought to us is not porcelain at all1 but simply a kind of stone or earthen ware1 coated with an enamel or slip1 which sometimes may contain porcelain4 ,so1 too1 the most beautiful ,satsuma ware from ,japan is not porcelain1 but a fine sort of pottery or earthen-ware1 the decoration of which is most marked and harmonious4 ,for more than two thousand years the heathen ,chinee has been working at the production of porcelain--and apparently most intelligently and skillfully4 ,he has accomplished this3 #a4 ,the materials used are selected with the greatest care4 #b4 ,they are combined1 and ground1 and mixed1 with consummate knowledge4 #c4 ,the articles desired are turned and modeled with great precision and dexterity1 oftentimes with the keenest perception of beauty of line4 #d4 ,the decorations exhibit an exquisite feeling as to value and harmony of color1 and freedom of design4 ,this combination of knowledge1 skill1 and taste1 the ,chinese were the first to combine in pottery and porcelain1 and they have not been excelled4 ,to those who are ignorant1 it seems a very paltry thing to make a dinner-plate2 but to make a perfect one requires most of the best faculties of man4 ,ignorant and foolish people hold the china-lovers in contempt2 we reciprocate3 we believe that the man who does not perceive and enjoy all this beautiful handiwork is willfully ignorant or pitiably stupid3 he has our pity and our prayers4 ,traces of porcelain are found in the ancient tombs and among the mummies of ,egypt1 in the form of small bottles as here shown 7,fig4 #ih74 ,just what was their use or significance we do not know2 but some think they prove that intercourse existed between those countries in very early days4 ,marco ,polo visited ,china in the latter half of the thirteenth century1 and he told of the great factories for the production of porcelain there2 and how certain kinds of earth were collected1 and1 after being exposed to air and rains for thirty or forty years1 were then fit to be made into cups and bowls4 ,great quantities were sold in the city4 ,for a ,venetian groat you may purchase eight porcelain cups4 ,beginning of course with useful articles simply1 this manufacture progressed until pots and vases and dishes were made for purely decorative purposes4 ,illustration3 ,,fig4 #ih4--,porcelain ,bottle1 from ,egyptian ,tomb4 ,as porcelain was introduced into ,europe by the ,portuguese about the year #aeah1 we are obliged to pierce into the dimness of the past with the aid of the ,chinese themselves4 ,m4 ,julien1#i a ,frenchman1 has compiled from the ,chinese writings mostly all we know1 some parts of which may come into this chapter4 ,jacquemart1 ,marryat1 ,chaffers1 ,demmin1 and others1 have drawn from him4 ,as early as the ,tchoin dynasty 7about #ehc7 fine qualities were produced1 and the court of the emperors demanded it4 ,artists began to appear1 and rare and rarer qualities were made4 ,we find that different styles were sought for and were held in highest esteem2 that the ,tsin held the blue china in high estimation2 the ,soni or ,sui 7#eha to #fah7 gave the preference to green4 ,the ,thang dynasty 7#fah to #ijg7 required that it should be white2 and in #fba ,ho made porcelain for the emperor of a white ground1 brilliant as jade2 while the ,emperor ,tchi-tsong 7#ied to #iei7 gave his family name to a beautiful blue1 the most highly esteemed of all the ancient porcelains of ,china4#aj ,how fine this was we cannot know1 as it is not likely that any piece of it exists with us1 even if among the ,chinese4 ,the production grew1 until in #acfi in the city of ,king-te-chin1 according to the statement of ,father d',entrecolles1 it was estimated at a million pieces a year4 ,a vast and varied industry in making china was carried forward here1 down even to the present times1 when the ,taiping rebels 7who we are told were ,christians7 completely destroyed it4 ,from the accounts1 mostly of the ,french missionaries1 it seems that while the three thousand furnaces at ,king-te-chin baked the porcelain which was modeled there1 it was taken to ,nanking and ,canton to be decorated2 and1 as far as we know1 the painting of ,nanking was superior to that of ,canton4 ,king-te-chin is swept away1 and ,nanking is almost destroyed2 so that we can expect no more fine art-work in porcelain from ,china4 ,it is likely1 however1 that much decoration was done at the great city of ,king-te-chin2 but what we know now as the celestial or ,nanking blue was probably done at ,nanking2 of this more will be said in the progress of this chapter4 ,it is impossible here to dwell upon or to know much of the various descriptions of china made down to the period of the ,ming dynasty 7#acfh to #afdi74 ,upon the productions of this period the ,chinese collectors and antiquaries place the highest value--in many cases much greater even than is now given to them in ,europe4 ,some examples of this period are to be seen in ,europe and a few in ,america4 ,one of our commissioners1 who met the ,chinese and ,japanese at the ,vienna ,exposition1 was told by them that they were purchasing choice pieces of porcelain1 intending to take them back to their countries1 where they are more valuable than in ,europe3 for1 from the earliest days1 it seems that both the ,chinese and ,japanese have been keen critics and lovers of this most fascinating work4 ,jacquemart and others have attempted to arrange the decorated work into groups as follows3 ,the ,,archaic--of which perhaps none exists4 ,the ,,chrysanthemo-,p,,onienne4 ,the ,,famille-,,vert1 or ,,green4 ,the ,,famille-,,rose1 or ,,pink4 ,besides these are many sub-varieties4 ,these groups indicate the style of decoration of which we shall attempt to give some sketches1 although1 as they want color1 they must necessarily be faint4 ,the chrysanthemo-ponienne exhibits the use in various ways of the chrysanthemum and peony4 ,we give here examples to show the style of decoration1 as far as we are able to do it without color4 ,illustration3 ,,fig4 #ii4--,pot from ,mrs4 ,burlingame's ,collection4 ,fig4 #ii is a pot from ,mrs4 ,burlingame's collection4 ,it stands about twenty inches high1 and is a fine example of the early style of work4 ,the paste and glaze are not so good as in the rose family1 but still all is excellent4 ,the chrysanthemums are yellow1 red1 and black4 ,this work is no doubt very old4 ,we give 7,fig4 #ajj7 a sketch of a small snuff-bottle from the same collection1 drawn the real size4 ,it is a perfect piece of work3 the paste ,illustration3 ,,fig4 #ajj4--;,from ,mrs4 ,burlingame's ,collection4 ,illustration3 ,,fig4 #aja4--;,from ,mrs4 ,burlingame's ,collection4 is a fine white2 the overturned preserve-pot is a clear lemon-yellow1 with a little color in the rings2 the grasshopper is alive and is brilliant with greens1 blacks1 and blues4 ,the stopper is a bit of purple amethyst4 ,it is so complete that it fills the mind with satisfaction1 more thorough than the sight of ,st4 ,peter's can give4 ,illustration3 ,,fig4 #ajb4--;,chinese ,vase4 ,illustration3 ,,fig4 #ajc4--;,from ,miss ,wyman's ,collection4 ,the famille-vert1 or green1 is so called because a clear1 brilliant green is the only or prevailing color4 ,the plate here shown 7,fig4 #aja7 is also from ,mrs4 ,burlingame's collection4 ,the paste is a brilliant white1 the glaze perfect2 and the dragons1 in green1 have all that freedom and fancy for which the early ,chinese artists were remarkable4 ,the vase1 ,fig4 #ajb1 also belonging to the green-family1 from ,jacquemart1 is a beautiful example of this style of work4 ,the figures are most deftly drawn and colored4 ,the subject we suppose to be historical4 ,illustration3 ,,fig4 #ajd4--;,from ,mr4 ,wales's ,collection4 ,the famille-rose1 or red1 describes a group where the rose and ruby colors are the distinguishing ones4 ,this fine color is produced from gold4 ,nearly all of this work shows the color in low-relief4 ,three very fine examples are given of this rose-family4 ,fig4 #ajc is an octagon plate1 with an exquisitely flowered and diapered border1 from the collection of ,miss ,wyman1 of ,cambridge4 ,figs4 #ajd and #aje are equally good1 from ,mr4 ,wales's collection4 ,in this class rank the delicate egg-shell cups and saucers with rose-backs1 in which ,mr4 ,andrews's collection at ,new ,york is so rich4 ,in these three divisions is contained much of the very best productions of ,china4 ,the chrysanthemum and peony decoration was probably most in use1 and was made in greater quantities than any4 ,some of the older pieces of this show the chrysanthemum in black 7,fig4 #ii71 as well as in other colors4 ,the body of this group is not so fine as the two later descriptions1 but the decoration is full of beauty and variety4 ,in the green and rose groups1 the paste1 the decoration1 and the coloring1 reached perfection2 and it is impossible to surpass the best work of these classes4 ,illustration3 ,,fig4 #aje4--;,from ,mr4 ,wales's ,collection4 ,but in all this work there is no imitation1 no absolute copying of the flower1 the bud1 the landscape1 the lady4 ,the ,chinese were fond of a symbolic or fabulous decoration4 ,the engraving 7,fig4 #ajf7 pictures a conflict going on between the spirits or demons of the water and the air2 it is most free and effective4 ,this vase belongs to the collection of ,mrs4 ,burlingame4 ,i saw in ,england a small blue vase1 at ,mr4 ,talbert's1 upon which was shown the ,trinity 7three figures7 in a sort of balcony in the sky2 beneath them was a sea of fire1 out of which appeared the dragon or devil spitting venom at the ,godhead1 one of which was warding it off with a drawn sword4 ,it was curious1 if not true1 and showed their notions of ,european beliefs1 obtained1 no doubt1 from the early missionaries4 ,the ,dog of ,fo is one of the sacred symbolic animals1 and was placed at the thresholds of temples to defend them from harm4 ,illustration3 ,,fig4 #ajf4--;,from ,mrs4 ,burlingame's ,collection4 ,he has feet armed with claws1 a great grinning face full of teeth1 a curly mane1 and might be supposed to be modeled1 by an ,oriental fancy1 from the lion4 ,sometimes this creature has been described as a chimera4 ,the fong-hoang also is sometimes pictured4 ,this is a strange and immortal bird1 which descends from the regions of highest heaven to bless mankind4 ,it bears a fleshy head1 soft silky feathers about its neck1 the body ending with a tail combining the feathers of the peacock and the argus pheasant4 ,in very early centuries this bird was the symbol of royalty4 ,other symbolic and sacred creatures are often pictured1 among them the kylin1 which was believed to foretell good fortune4 ,its body is covered with scales2 its branched head represents that of the dragon2 its four delicate feet are terminated by cloven hoofs1 resembling those of a stag2 it is so gentle and benevolent1 notwithstanding its formidable aspect1 that it avoids1 in its light step1 to tread under foot the smallest worm4#aa ,the dragon1 symbol there of empire and power1 is thus described3 ,it is the largest of reptiles with feet and scales2 it can make itself dark or luminous1 subtile and thin1 or heavy and thick2 can shorten or lengthen itself at pleasure4 ,in the spring it rises to the skies1 in the autumn it plunges into the water4 ,there are the scaly dragon1 the winged dragon1 the horned and the hornless dragon1 and the dragon rolled within itself1 which has not yet taken its flight into the upper regions4#ab ,the example 7,fig4 #aja7 shows this dragon as pictured by the ,chinese4 ,the dragon is shown with five claws1 for the imperial household2 four claws1 for a lower rank in ,china2 while in ,japan the creature is usually figured with but three claws4 ,he appears to have been accepted as the symbol of power1 much as the lion has been with ,occidental nations4 ,the white stag1 the axis deer1 and the crane1 express longevity2 the mandarin duck1 affection4 ,symbolism also prevailed in the uses of colors and of flowers4 ,green and vermilion upon the walls of a house belonged only to the emperors4 ,the primary colors were applied in this way3 ,red belonged to fire2 ,black to water2 ,green to wood2 ,white to metal2 ,earth was represented by a square2 ,fire by a circle2 ,water by a dragon2 ,mountains by a hind4 ,pots and vases were made for special occupations1 such as those for soldiers1 governors1 writers1 etc4 ,jacquemart describes a bowl in his collection3 ,it is a cup of 'the learned2' at the bottom is seen the author1 seated under a fir-tree1 in deep meditation2 his ss1 placed near him1 permits him to modulate the songs he may have composed4 ,on the exterior we see the scholar1 with his elbows on the table1 surrounded by his literary treasures4 ,he reflects1 and from his forehead1 which he leans on his hand1 issues a stroke which unrolls into a vast phylactery1 upon which the painter has traced various scenes of the drama to which his genius is giving birth4 ,in ,mr4 ,avery's collection is an admirable example of this cup4 ,vases1 figures1 etc41 were made for religious uses1 and upon the household altars were placed vases for burning perfumes1 cups and bowls for wine1 images of ,fo and other representative deities4 ,use was1 at the beginning1 the motive for the production of all fictile dishes2 and china was at first1 and it has always been1 made for the purposes of the table4 ,twelve small dishes of fine porcelain were presented to ,mrs4 ,burlingame while at ,peking2 and the high compliment was enhanced by the fact that they were sent to her unwashed after they had been eaten from by the ,chinese owner4 ,the paste and glaze are excellent1 and the decoration of the outsides exquisite2 but the insides show painting of a much commoner type4 ,a gift of this kind is considered the height of courtesy in ,china1 where the visitor is treated as a friend4 ,in ,chinese houses are found decorative pieces of the highest excellence and value4 ,it is no uncommon thing for a piece of rare china to sell for a thousand dollars there4 ,many of them bear inscriptions1 such as3 ,a precious thing to offer2 ,splendid1 like the gold of the house of ,jade2 ,i am the friend of ,yu-,tchouen4 ,the chrysanthemo-ponienne1 the customary decoration1 while most in use1 is1 so far as ,i know1 never seen on dinner-services sent to us4 ,i may ask attention to a characteristic of all the best ,oriental art3 it is not imitative--not absolutely a copy4 ,the artist seizes the spirit1 the action1 the color1 of a bird or flower1 and1 by a few fine1 keen strokes1 fastens them upon the china4 ,no attempt is made to display a botanical or ornithological specimen4 ,all is free1 bold1 effective--a sketch1 but not a slovenly one4 ,it is not easy for words to explain this4 ,now1 the methods of the ,occidental and civilized peoples1 as we call them1 are the reverse of this4 ,at ,svres and ,dresden1 for example1 is to be seen the most elaborate1 careful1 and detailed penciling or imitation of a flower1 or a face1 or a landscape1 requiring extreme and persistent attention and labor4 ,this is copying--the spirit is rarely seized2 the other is art1 and is certainly the highest and the most satisfactory4 ,the ,oriental feels2 ,the ,occidental reasons4 ,the ,oriental perceives and creates2 ,the ,occidental criticises and copies4 ,herein lies a supreme difference1 sufficient to explain why so much of the ,oriental china touches the imagination1 and why the ,european china so rarely does4 ,the ,oriental leads us away out of the region of the real and the commonplace1 into a state of ideal and spiritual-sensuous art4 ,he is never without body1 the real part1 the base of all life and art2 but he has glorified it by a display of the fine and subtile essence which may be called its soul4 ,this is not always so4 ,often he is most clumsy and rude in form1 and common in decoration2 but1 when he is an artist1 he is the finest we know of4 ,it is probable that the ,chinese had some blue equivalent to cobalt ,illustration3 ,,fig4 #ajg4--;,from ,mrs4 ,burlingame's ,collection4 from an early day1 but the real cobalt blue was introduced into ,china from ,europe during the ,ming period 7about #aejj74 ,they at once seized it1 and from it was produced that charming variety known as the heavenly or celestial blue2 the glaze1 the clay1 and the color1 are all perfect2 and it certainly deserves its name of heavenly4 ,a mania for it has existed1 and continues to exist1 in ,europe4 ,one of the finest collections in ,england--that of ,mr4 ,rossetti1 the poet--was recently sold4 ,in ,america1 ,mr4 ,avery and ,mr4 ,hoe1 of ,new ,york1 ,mr4 ,wales1 of ,boston1 and ,mrs4 ,burlingame1 of ,cambridge1 have many beautiful examples4 ,fine pieces of this blue sell for from twenty-five to ,illustration3 ,,fig4 #ajh4--;,celestial ,blue ,teapot4 ,illustration3 ,,fig4 #aji4--;,celestial ,blue ,snuff-,bottle4 five hundred dollars4 ,the color varies from light to dark2 some collectors choose one1 some the other4 ,some pieces are known as the six-mark1 and many attach an added value to this evidence2 but it does not seem to indicate greater perfection3 many of the finest pieces ,i have seen have no potter's mark4 ,within the last twenty-five years a very active desire for these fine blues has broken out in ,england1 which does not abate4 ,it has not been so keen in ,france1 and prices have not there gone so high4 ,illustration3 ,,fig4 #aaj4--,pot in ,boston ,art ,museum4 ,this celestial blue was painted at ,nanking1 and is a wholly different thing from the ordinary ,canton blue of trade4 ,it is probable that some of this blue dates back to the ,ming dynasty4 ,the color was mostly painted under the glaze4 ,this luminous blue is nothing like the turquoise1 which also the ,chinese carried to great perfection4 ,the turquoise was produced from copper1 the celestial from cobalt4 ,the pieces ,figs4 #ajg1 #ajh1 and #aji are excellent examples of the celestial blue4 ,fig4 #ajg is a large vase of ,mrs4 ,burlingame's1 and has the stately palm which is much used in this color4 ,the vase is some eighteen inches high4 ,fig4 #ajh is a delicately-formed teapot1 with exquisite glaze and paste1 the blue showing in the reserves and along the handle and spout4 ,it was given to the writer by a gentleman in ,holland4 ,fig4 #aji is a most dainty bit1 a small snuff-bottle4 ,there are some few others in this country--two of them1 mounted in silver1 belong to ,mr4 ,schlesinger1 of ,boston4 ,illustration3 ,,fig4 #aaa4--;,incense-,pot1 from ,mr4 ,avery's ,collection4 ,the ,art-,museum of ,boston has now two exquisite pots of turquoise blue1 bought at the sale of ,mr4 ,heard's collection for some six hundred dollars4 ,we picture one of these to show the form1 and the dragon which finishes the top 7,fig4 #aaj74 ,the dragon is in dark red1 the pot in turquoise blue2 but this blue has another and a rare quality3 it is covered all over with delicate spots or dots of the same color1 what is called souffl--this is said to be produced by blowing the color through a fine screen or gauze on to the clay4 ,the sea-greens 7cladons7 are among the rarest ,chinese colors1 and some pieces are thought to be among the oldest--dating back possibly one thousand years4 ,the violets and crimsons are also rare and beautiful2 they are almost always applied to vases and bottles2 and are often flamed1 splashed1 or clouded4 ,the imperial yellow1 some pieces of which are in the ,green ,vaults at ,dresden1 was never sold2 it was made only for the royal family of ,peking4 ,i have not seen it1 but it is described as a very clear and beautiful citron-color4 ,marryat mentions two pieces in ,mr4 ,beckford's collection as having been sold for their weight in gold2 they would now sell for ten times that4 ,the small incense-pot 7,fig4 #aaa7 is from ,mr4 ,avery's collection4 ,it is a very pure lemon-yellow1 and is quaint in form and peculiar in every way4 ,nothing can be better here than the condensed information prepared for his catalogue by ,mr4 ,a4 ,w4 ,franks4 ,it is as follows3 ,the tints are very numerous2 we find1 for instance1 sea-green or cladon1 yellow1 red1 blue1 purple1 brown1 black1 and several variegated hues4 ,these glazes owe their color to various metallic oxides1 of which an account may be found in the ',history of ,king-te-chin1' book vi41 section xi4 ,the exact tint must be in some measure due to the amount of firing which the vase has undergone1 and the mottlings and other variations of color which they present must have been to a certain extent accidental4 ,among these simple colors the first place must be assigned to the bluish or sea-green tint1 termed by the ,french cladon4 ,it is probably of considerable antiquity2 and it is remarkable that the earliest specimen of porcelain that can now be referred to as having been brought to ,england before the ,reformation--the cup of ,archbishop ,warham1 at ,new ,college1 ,oxford--is of this kind4 ,by the ,persians and ,turks it is termed mertebani1 and it is much valued by them as a detector of poisonous food4 ,specimens of this porcelain were sent to ,lorenzo de' ,medici1 in #adhg1 by the ,sultan of ,egypt4 ,it owes its preservation1 no doubt1 to its great thickness4 ,the surface is sometimes covered with impressed or engraved patterns filled in with the glaze4 ,yellow glazed porcelain is much valued by collectors1 owing to the supposed scarcity of specimens of this color1 it being the imperial color of the reigning dynasty4 ,many of them1 however1 bear dates of the ,ming dynasty1 when the imperial color was green1 and can therefore have no relation to the emperor4 ,the red glaze is of considerable antiquity2 some of the vases made under the ,sung dynasty at ,tsing-cheou are mentioned as resembling chiseled red jade4 ,one tint1 the sang de boeuf of ,french collectors1 is much valued in ,china4 ,occasionally portions of red glazed vases appear purple1 owing probably to a different chemical condition of the coloring-matter in those parts4 ,blue glazes must have come into use in very early times1 as blue is stated to have been the color of the vases of the ,tsin dynasty 7,a4 ,d4 #bfe to #dai74 ,the tints appear to have varied greatly1 one of the most celebrated being the blue of the sky after rain1 which was the tint selected for the palace use by the ,emperor ,chi-tsung 7#ied to #iei74 ,the purple glaze is another beautiful variety4 ,specimens of this color are mentioned as early as the ,sung dynasty 7#ijj to #abgi74 ,the brown and coffee-colored glazes do not appear to be very ancient1 as ,pre d',entrecolles1 writing in #agab1 mentions them as recent inventions4 ,a brilliant black glaze is by no means common1 excepting where it is used in combination with gilding1 and is probably not very ancient1 as a brilliant black is said to have been invented under the reign of the ,emperor ,keen-lung 7#agcf to #agie74 ,the variegated and mottled glazes may properly be included under this head1 as they owe their appearance not so much to a difference in the coloring-matter as in the mode in which it is applied4 ,they are called by the ,french flamb1 and were no doubt originally accidentally produced4 ,according to ,pre d',entrecolles 7second letter1 section xi471 such vases are called ,yao pien1 or transmutation-vases4 ,it is probable that many of the specimens which are covered with single glazes are of a coarse ware--rather a kind of stone-ware than true porcelain4 ,some of the glazes have been applied at a somewhat lower temperature1 called by the ,french demi-grand feu4 ,porcelain-painting is done in two ways3 under the glaze directly on the clay1 or upon the glaze4 ,most of it is upon the glaze1 into which it is melted by a mild heat4 ,to show to the uninitiated what time1 talent1 and labor1 are applied to pottery and porcelain1 it may be well to state that fine work requires many firings1 and that the delicate teacup1 which fools hardly look at1 passes through some seventy hands to reach its perfectness6 ,in some eyes a big thing 7even if ugly7 is admirable2 a small thing1 however beautiful1 is contemptible4 ,in the eye of ,god is anything small1 anything large8 ,,enameling is a style of glaze mostly applied to a stronger1 more opaque body1 often not porcelain at all4 ,the enamel1 which is made from oxide of tin1 may be applied in masses of color upon the glaze so as to produce the effect of slight relief1 or cameo4 ,much of it is beautiful1 but it often lacks the fineness and preciousness of china4 ,of the ,,egg-,,shell china most have seen excellent examples brought from ,japan1 where it is now made4 ,the cups are turned down to an extreme thinness1 almost to that of thick writing-paper1 before the last glaze is applied4 ,the oldest egg-shell was a pure white2 later1 flowers in colors were applied4 ,illustration3 ,,fig4 #aab4--;,grains-of-,rice ,pot4 ,the reticulated cups are very curious and interesting2 the inner cup for holding the tea is surrounded by another pierced through its side with a variety of designs4 ,it is difficult to see how these could have been baked together without fusing and fastening them4 ,the grains-of-rice cups are made by cutting the design through the body1 which spaces are then filled with a translucent glaze2 the cut spaces show when held up to the light1 and resemble in most cases grains of rice4 ,the engraving 7,fig4 #aab7 represents a pot in ,mr4 ,avery's collection4 ,just when the crackle decoration was applied cannot well be known1 but it was in vogue in the beginning of the ,ming dynasty4 ,it seems that the purity of the paste was greater during this period than later1 and that the colors1 therefore1 became more brilliant4 ,crackle china has long been prized1 and much sought for1 especially the best specimens4 ,this ware shows a network of veins covering the whole piece1 the lines of which are sometimes filled with a color such as brown1 black1 green1 etc4 ,it remains a mystery to us how this effect is produced1 though it is still made4 ,marryat seems to believe that the crackle is produced in the glaze1 and possibly by subjecting it1 when heated1 to sudden cold1 which causes the contraction and crackle2 a close examination shows that the crackles are in the body itself1 and are afterward covered with the glaze4 ,this decoration is curious rather than beautiful4 ,the crackles vary in size from a half-inch to a very fine network2 and this last is most valued4 ,mr4 ,franks gives the following as the result of his investigations3 ,this is one of the most peculiar productions of the art of the ,chinese potter1 and has not been successfully imitated elsewhere4 ,occasionally ,european pieces assume a crackled appearance1 but this has not been intentionally produced1 and has been subsequent to the baking4 ,there is a considerable variety in the colored glazes which are thus crackled4 ,some colors1 such as turquoise-blue and apple-green1 seem nearly always to assume a crackled appearance2 others1 such as the reds1 are rarely affected4 ,the color chiefly selected is a grayish white2 the forms are archaic1 and with ornaments in dark brown1 occasionally gilt4 ,the crackled appearance1 though now always artificial1 doubtless owes its origin in the first instance to accident1 and at an early period4 ,some of the vases of the ,sung dynasty 7,a4 ,d4 #ifj to #abgj7 are noticed as being crackled4 ,the productions of the two brothers ,chang1 who lived under that dynasty1 were distinguished by one being crackled and the other not4 ,crackled vases were called ',tsui-khi-yao1' under the southern ,sung dynasty 7#aabg to #abgi71 and are thus described in the ',history of ,king-te-chin3' ',the clay employed was coarse and compact1 the vases were thick and heavy2 some were of a rice-white1 others pale blue4 ,they used to take some ,hoa-chi 7steatite71 powder it1 and mix it with the glaze4 ,the vases exhibited cracks running in every direction1 as though broken into a thousand pieces4 ,the cracks were rubbed over with ,indian-ink or a red color1 and the superfluity removed4 ,then was seen a network of charming veins1 red or black1 imitating the cracks of ice4 ,there were also vases on which blue flowers were painted on the crackled ground4' ,illustration3 ,,fig4 #aac4--;,crackle ,vase4 ,a different mode of making the crackles is described in another ,chinese work1 and is as follows3 ',after covering the vases with glaze1 they are exposed to a very hot sun1 and1 when they have become hot1 they are plunged into cold water for a moment4 ,on being baked1 they appear covered with innumerable cracks4' ,the way in which the size of the crackle is regulated seems to be indicated in one of the receipts for making crackle-vases1 given in the ',history of ,king-te-chin' 7page #bad71 from which we learn that the material of the glaze was to be finely or coarsely washed1 according to the size of the crackle required4 ,the difference between the paste and the thick glaze is well illustrated by fragments of ancient vases1 some of which are exhibited4 ,the interior is of a coarse paste1 nearly resembling stone-ware1 and of a buff or even pale-red color4 ,this is coated on both sides with a white material1 in which alone the crackles appear4 ,this illustrates a passage in the ',history of ,king-te-chin1' where porcelain is spoken of as having red bones4 ,such vases would not be transparent4 ,illustration3 ,,fig4 #aad4--;,from ,mr4 ,avery's ,collection4 ,the ,japanese now produce a crackle under the glaze1 and also a very fine crackle in the glaze itself2 which last is probably much the easiest to do4 ,fig4 #aac1 copied from ,m4 ,jacquemart's work1 represents a rather clumsily-shaped vase with the larger crackle1 which is less prized4 ,fig4 #aad is finely crackled1 and is most subtile in form4 ,it is in ,mr4 ,avery's collection4 ,at the end of this chapter will be found some of the most important marks for dates1 etc4 ,these few are used by the ,chinese as symbolic3 ,illustration3 ,pearl4 ,illustration3 ,sonorous ,stone4 ,the ,pearl is the symbol of talent1 and was sometimes used to mark pieces intended for poets and literary men2 the ,sonorous ,stone was for high judicial functionaries2 the ,tablet of ,honor for men in official positions2 the ,sacred ,axe for warriors2 the ,cockscomb promised longevity2 and the ,outang or ,leaf1 the ,shell1 the ,precious ,articles1 had each a significance1 and often indicate pieces of china intended as presents or as expressions of honor4 ,illustration3 ,tablet of ,honor4 ,illustration3 ,sacred ,axe4 ,illustration3 ,cockscomb 7flower74 ,illustration3 ,outang4 ,illustration3 ,shell4 ,illustration3 ,precious ,articles4 ,it is probable that many of the best examples of ,chinese porcelain date from the ,ming dynasty1 some of which are to be found in our public and private collections4 ,the history of the manufacture there since that time is thus summed up by ,mr4 ,franks3 ,the troubles of the later emperors of the ,ming dynasty1 who succeeded one another rapidly1 and were constantly at war with the ,tartars1 probably caused the porcelain-works to fall into decay2 we hear1 at any rate1 nothing of their productions1 nor have any dated specimens been seen4 ,with the accession of the ,tsing dynasty of ,tartars1 still occupying the throne of ,china1 a new period of activity commenced4 ,under ,kang-he1 the second emperor of the dynasty 7#affa to #agbb71 a great impulse was given to the ceramic arts4 ,the long and peaceful reign of this emperor1 extending to sixty-one years1 his great understanding1 and the assistance perhaps of the ,jesuit missionaries1 led to many improvements in the porcelain-manufacture1 and to the introduction of several new colors4 ,it is probably to this reign that we may refer most of the old specimens of ,chinese porcelain that are to be seen in collections1 even when they bear earlier dates4 ,the wares made under his successor1 ,yung-ching 7#agbc to #agcf71 do not appear to have been remarkable4 ,the fourth emperor1 ,keen-lung 7#agcf to #agie71 reigned for sixty years1 when he abdicated4 ,a large quantity of fine china was made during his long reign1 much of it exhibiting very rich and minute decoration4 ,under his successors the manufacture appears again to have diminished in excellence2 and the destruction caused by the rebellion of the ,taipings not only greatly interfered with the extent of production1 but caused the downfall of the most celebrated of the fabrics--that of ,king-te-chin4 ,as we have already said1 however1 the native accounts do not furnish much information that can be rendered available2 but they show very clearly that at all times the porcelain-makers were in the habit of copying the works of their predecessors1 and instances are given where they have even succeeded in imposing upon the best judges of their own country4 ,the places at which manufactories of porcelain have existed or still exist in ,china are very numerous1 no less than fifty-seven being recorded in the ',history of ,king-te-chin4' ,they extend to thirteen of the eighteen provinces into which the country is divided1 but are especially numerous in ,honan1 ,chihkiang1 and ,kiangsi1 probably owing to the presence of the materials for the manufacture in these provinces4 ,the following is a summary3 ,chihli #e ,keang-nan #e ,shansi #e ,shantung #b ,honan #ac ,shensi #d ,kansuh #a ,chihkiang #h ,kiangsi #h ,szechuen #a ,fokien #b ,kwangtung #a ,hoonan #b ,of all these manufactories1 the most famous appears to be that of ,king-te-chin1 in the province of ,kiangsi4 ,it has long been the site of a fabrique1 as in ,a4 ,d4 #ehc the then emperor ordered the inhabitants of the district now called ,king-te-chin to send him porcelain vases4 ,the old name was ,chang-nan-chin1 and the present one was assumed in the period ,king-te 7,a4 ,d4 #ajjd to #ajjg71 whence its name4 ,in #agab ,pre d',entrecolles states that there were three thousand porcelain furnaces in this town1 which found employment for an immense multitude of people4 ,the manufactory has suffered severely1 as we have already stated1 during the rebellion of the ,taipings4 ,porcelain is termed by the ,chinese ,yao1 a name which seems to have been brought into use at the commencement of the ,tang dynasty 7,a4 ,d4 #fah71 before which it had been called ,tao4 ,the word 'porcelain' is ,european1 possibly ,italian1 and is supposed to have been derived from the similarity of the glazed surface to that of the cowrie-shell 7porcellana71 which itself took its name from its form 7porcella1 a little pig74 ,marco ,polo employs the word in both senses4 ,in ,french medival inventories the word 'pourcelaine' is often found1 and evidently denoted a substance which could be sculptured4 ,m4 de ,laborde has collected a number of quotations1 in the valuable ',glossaire' appended to his catalogue1 of the enamels in the ,louvre1 and has come to the conclusion that mother-of-pearl was intended2 it will1 however1 be safer to consider that the word was used for any kind of shell1 the cowrie and other shells being as well1 or even better1 adapted for carving than mother-of-pearl4 ,in later inventories the word seems to have been used both for shell and ,oriental porcelain4 ,the claim of greatest antiquity that has been hitherto put forward for specimens found out of the limits of the ,celestial ,empire have been in favor of the little ,chinese bottles1 which were stated by ,rossellini and others to have been found in undisturbed ,egyptian tombs1 dating from not less than #ahjj years ,b4 ,c4 ,this claim has1 however1 been disallowed4 ,the bottles are of good white porcelain1 painted in colors1 and bearing inscriptions4 ,now1 we have seen that the ,chinese themselves do not claim a greater antiquity for the invention of porcelain than between ,b4 ,c4 #bjf and ,a4 ,d4 #hg4 ,color-painting must have been introduced at a much later date4 ,the inscriptions are in the grass-character1 which was not invented till ,b4 ,c4 #dh1 and contain passages from poems which were not written till the eighth century of our era4 ,they are1 in fact1 identical with snuff-bottles still for sale in ,china4 ,their introduction1 therefore1 into ,egyptian tombs must have been due to the fraud of ,arab workmen4 ,the whole subject has been gone into by ,m4 ,stanislas ,julien1 in the preface to the ',history of ,king-te-chin1' as well as by others4 ,the next claim has been made on behalf of the murrhine vases of the ancients1 which are described as 'cooked in ,parthian fires4' ,now1 it is probable that1 at the commencement of our era1 ,chinese porcelain was not far advanced beyond pottery or stone-ware1 and little superior to the so-called ,egyptian porcelain4 ,no fragments of ,chinese vases have been found with ,greek or ,roman antiquities1 nor of imitations of them in other materials1 so as to correspond with the false murrhine of the ancients4 ,it is therefore far more probable1 as has been suggested by ,mr4 ,nesbitt1 in his notes on the ',history of ,glass-making1' that the murrhine vases were made of agates and other hard stones1 of which the colors had been modified in the ,east by heating and staining4 ,the false murrhines would then be the glass bowls imitating hard stones1 but with various strange tints not to be found in natural stones4 ,in #aaga we first find any distinct mention of porcelain out of ,china4 ,in that year ,saladin sent to ,nur-ed-din various presents1 among which were forty pieces of ,chinese porcelain4 ,marco ,polo1 traveling in #abhj1 visited one of the sites of the porcelain manufacture1 and mentions that it was exported all over the world4 ,it is probable that he may have been the means of calling the attention of his countrymen to this production of the far ,east4 ,many other notices from travelers of the fourteenth and fifteenth centuries might be cited4 ,it was probably through ,egypt that it reached ,europe2 at any rate1 a present of porcelain vases was sent by the ,sultan of ,egypt1 in #adhg1 to ,lorenzo de' ,medici4 ,to the ,portuguese is no doubt due the first direct importation of ,chinese wares into ,europe1 in which they were followed by the various ,india companies of ,holland1 ,england1 ,france1 ,sweden1 etc4 ,it may be convenient shortly to describe the mode of making porcelain in ,china1 as derived from the letters of ,pre d',entrecolles 7#agab to #agbb71 and the ',history of ,king-te-chin1' in which ,m4 ,julien has reproduced the ,chinese plates illustrating the processes4 ,porcelain in ,china is usually formed of two materials3 the one1 termed in ,chinese ,pe-tun-tse1 is a white1 fusible material--a mixture of feldspar and quartz1 obtained from a pounded rock by repeated washing1 and formed into cakes or bricks1 whence its ,chinese name1 'white-clay bricks2' the other1 termed ,kaolin from its locality1 is infusible1 being a hydrated silicate of alumina1 derived from the decomposed feldspar of granite2 this is also formed into cakes4 ,these two materials1 having been thoroughly cleansed1 are kneaded together in varying proportions1 and form a clay ready for the potter4 ,the wet clay is turned on the wheel or potter's table1 and1 after passing through the hands of several workmen1 who add handles and other accessories made in moulds1 smooth the surface1 etc41 the vessel is put out to dry1 the foot still remaining a solid mass2 any decoration in blue1 or other colors which require to be highly fired1 is then added4 ,the glaze is next applied1 either by dipping1 or by blowing it on with a tube4 ,this strengthens the vessel sufficiently to enable the workmen to fashion the foot on the wheel1 and to inscribe any mark2 this being likewise coated with glaze1 the vessel is ready for the furnace4 ,the pieces of porcelain are packed in clay seggars to protect them from injury1 and placed according to the degree of heat which each specimen requires4 ,the furnace is then lighted1 the entrance walled up1 and it is kept supplied with wood during a night and a day1 when it is allowed to cool and the porcelain removed4 ,if enamel-colors are to be applied1 it then passes into the hands of the painters1 who are very numerous1 and each confined to his own special detail2 any gilding or silvering is added at this stage4 ,it is then baked again1 at a much lower temperature1 in a small muffle or an open furnace4 ,it should be mentioned that the glaze is formed of ,pe-tun-tse1 mixed with fern-ashes and lime1 but other materials are occasionally used2 for instance1 ,hwa-chi 7steatite7 is employed1 sometimes mixed with the glaze1 as well as sometimes with the paste of the porcelain4 ,any colors which will bear to be highly fired1 and are required to cover the whole surface1 are mixed with the glaze before it is applied4 ,there is considerable difficulty in distinguishing glazed vases of ,chinese pottery from true porcelain1 as the colored glaze in many cases conceals the material1 and the thickness prevents their being translucent--a distinguishing quality of porcelain4 ,the substance of many of the vases is coarse1 sometimes gray or even red1 and such as would1 in ,european fabriques1 be termed stone-ware4 ,by ,chinese writers1 however1 no distinction seems to be made1 and even enamels on copper are included in the term they use for porcelain4 ,it has1 therefore1 been thought best to class together glazed ,chinese pottery and porcelain1 though some of the specimens are undoubtedly stone-ware4 ,the key to ,oriental decoration may be expressed by the word individualism4 ,the artist did draw from the depths of his moral consciousness1 and did not copy blindly4 ,he seems to have expressed what he felt1 rather than what he saw4 ,his perception and arrangement of color seem to have been inspired1 not learned4 ,he is daring2 he does not hesitate to hang his ladies in a balcony up in the air above the procession passing beneath1 as may be seen in a very ancient vase belonging to ,mrs4 ,gridley ,bryant1 of ,boston2 he does not fear to put blue leaves to his trees1 or to make a green horse2 his butterfly is as large as a man1 if he wishes to show a figure or a mass of color2 his boats are smaller than the passenger1 if that suits his fancy2 he attempts little perspective1 and it is1 we may say1 impossible on a china bowl2 symmetry he abhors2 pairs do not exist4 ,what is the result8 ,we see it in the porcelain of ,china and ,japan1 the shawls and carpets of ,india1 the pottery of the ,persians and the ,moors1 the architecture of ,karnak and the ,alhambra1 all of which are satisfying to the eye and to the taste4 ,i believe they had no schools of art2 they were not taught to do what some one else had done1 to copy a master or to copy ,nature1 or to think symmetry beauty1 or the circle the perfect line4 ,the artist was1 as he ought to be1 a law to himself2 he saw what he saw1 and felt what he felt1 and he expressed these in his own way2 not in ,titian's way1 or ,rembrandt's way1 or ,giorgione's way4 ,there is1 therefore1 a freedom1 a freshness1 an abandon about this work that we find nowhere else1 and a charm which never tires4 ,we are intellectualists rather than artists2 and1 moreover1 we are ruined by cheap and incompetent criticism1 the whole gospel of which is1 ,always condemn1 never praise4 ,too much writing about art and too little doing it1 is the fashion of to-day2 and he who does least finds most fault with him who creates4 ,the artist is the creator1 the critic the destroyer2 and yet the last values himself most6 ,the third estate did not rule in ,china4 ,if we are to have a true and high artistic expression1 our artists1 must dare2 and we must allow them to dare2 we must encourage rather than discourage4 ,we must1 above all1 get rid of the base old notion that head-work is divine and gentlemanly1 hand-work ignoble and vulgar3 both are divine1 and when the two are combined we shall see the finest possible man--an artist1 whether he works with paint1 marble1 wood1 clay1 or metal4 ,,marks1 ,,etc4--,the following copies of marks1 as translated by ,mr4 ,franks1 will be found useful3 ,illustration3 #a4 ,a4 ,d4 #agba4 ,illustration3 #b4 ,a4 ,d4 #ajgh to #ajhf4 ,illustration3 #c4 ,a4 ,d4 #acfh to #acii4 ,illustration3 #d4 ,a4 ,d4 #adjc to #adbe4 ,illustration3 #e4 ,a4 ,d4 #adbf to #adcf4 ,illustration3 #f4 ,a4 ,d4 #adfe to #adhh4 ,illustration3 #g4 ,a4 ,d4 #adfe to #adhh4 ,illustration3 #h4 ,a4 ,d4 #adhh to #aejf4 ,illustration3 #i4 ,a4 ,d4 #aejf to #aebb4 ,illustration3 #aj4 ,a4 ,d4 #aebb to #aefg4 ,illustration3 #aa4 ,a4 ,d4 #aefg to #aegc4 ,illustration3 #ab4 ,a4 ,d4 #aegc to #afbj4 ,illustration3 #ac4 ,a4 ,d4 #afdd to #affa4 ,illustration3 #ad4 ,a4 ,d4 #affa to #agbb4 ,illustration3 #ae4 ,a4 ,d4 #agbc to #agcf4 ,illustration3 #af4 ,a4 ,d4 #agcf to #agie4 ,illustration3 #ag4 ,a4 ,d4 #agif to #ahba4 ,illustration3 #ah4 ,a4 ,d4 #ahba to #ahea4 ,illustration3 #ai4 ,a4 ,d4 #ahea to #ahfb4 ,illustration3 #bj4 ,a4 ,d4 #ahfb to #ahge4 ,illustration3 #ba4 ,a4 ,d4 #ahge4 ,illustration3 #bb4 ,a4 ,d4 #ajjd to #ajig4 ,illustration3 #bc4 ,a4 ,d4 #adjc to #adbe4 ,illustration3 #bd4 ,a4 ,d4 #adbf to #adcf4 ,illustration3 #be4 ,a4 ,d4 #agbc to #agcf4 ,illustration3 #bf4 ,a4 ,d4 #agcf to #agie4 ,illustration3 #bg4 ,a4 ,d4 #agcf to #agie4 ,illustration3 #bh4 ,a4 ,d4 #agif to #ahba4 ,illustration3 #bi4 ,a4 ,d4 #ahba to #ahea4 ,illustration3 #cj4 ,a4 ,d4 #ahea to #ahfb4 ,illustration3 #ca4 ,a4 ,d4 #ahfb to #ahge4 ,,chapter ,,xi4 ,,the ,,porcelain ,,of ,,japan4 ,corean ,porcelain4--,katosiro-ouye-mon4--,the ,province of ,idsoumi4--,styles prevailing in ,japan4--,marks4--,japanese ,blue4--,indian ,porcelain4--,dutch ,east ,india ,company4--,egg-shell and ,crackle4--,mandarin ,china4--,kaga ,ware4--,satsuma ,ware4--,japanese ,art4--,the ,philadelphia ,exhibition4 ,of porcelains from the island of ,corea but little is known1 and all our statements are made with doubt4 ,it is believed by some that from ,corea came the first porcelain-makers into ,japan4 ,in ,new ,york1 ,mr4 ,hoe and ,mr4 ,avery have each pieces which are peculiar1 being bolder in decoration and cruder in color than the ,chinese or ,japanese1 but which may have been made in ,japan4 ,so1 too1 with ,persian porcelain3 there is about it much vagueness and uncertainty4 ,there seems to be testimony to prove that porcelain was made in that country4 ,in ,india1 too1 it has been now and then asserted that porcelain was made4 ,but1 as the ,chinese and ,japanese had much trade with those nations1 and as they certainly did work from designs sent from other countries1 it is most reasonable to believe that what some persons have supposed was ,indian or ,persian was really ,chinese porcelain4 ,japanese porcelain is a more difficult subject for study than the ,chinese1 owing to this circumstance3 ,about the year #abaa or #abab1 a ,japanese artist crossed over to ,china1 to study the processes by means of which the ,chinese had reached such surprising excellence4 ,his name1 according to ,dr4 ,hoffman1 was ,katosiro-ouye-mon4 ,through him the art received in ,japan a new impulse1 new knowledge1 new methods4 ,it may be of service to us to know that the wonderful perfection achieved by the ,japanese in this art was due not only to the skill of her artists1 but also1 and more1 to the fact that the government gave direct1 persistent1 and liberal pecuniary aid to the industry4 ,genius will1 of course1 work its miracles2 but1 if we in the ,united ,states are to reach excellence in art-work1 it will be1 must be1 only fitful and short-lived1 if it is to depend upon individual effort or chance patronage3 only by means of the persistent and intelligent fostering of a state1 whose life is perennial1 can the greatest things be accomplished4 ,there are fanatics who hold to free trade in poetry1 invention1 art1 patent-right1 copyright4 ,no doubt they mean well1 but the nation may beware of them4 ,the art-museums now being established cannot fail to do good2 but they will fall lamentably short of their aims if they are not directly and powerfully aided by the state4 ,to illustrate this1 let me refer to the fine collections known as the ,kensington ,museum and the ,british ,museum1 in ,england4 ,both are the creations of the state1 and both have been generously treated4 ,it would have taken a hundred or a thousand years of individual contributions to accomplish what the ,kensington ,museum has done in twenty4 ,already1 it is a great and noble school--teaching by example--of art applied to the uses of life2 and already it has placed some of the manufacturers of ,england in the first place of the world4 ,i wish1 then1 to repeat that the work which ,katosiro did would not have been done--could not have been done--by his own individual effort4 ,he not only added vastly to the satisfaction and delight and riches of his own people1 but he has given us cause to bless the ,government of ,japan for the satisfaction and delight we1 too1 are enabled to draw from his work4 ,pennsylvania is taking the lead here4 ,with a keen perception and a profound wisdom1 that ,state1 ,i am told1 has united with the city of ,philadelphia to found and maintain a school of applied art1 which cannot fail to be an incalculable good to the industries and the happiness of her people4 ,depending upon individual contributions1 ,boston and ,new ,york must struggle far behind1 and finally dwindle away4 ,we need1 in every great industrial centre1 a ,council on ,instruction1 which shall provide models of art-work1 and teaching enough to make these models plain to industrial seekers4 ,we have tried free schools1 free trade1 free press1 and no one is happy4 ,i pray we may for a century fairly and fully try household art3 that is the art which shall make the home the most attractive place on this footstool of heaven4 ,in this work all sects and sexes may unite4 ,every man and woman can and will agree that his or her home shall be a page from the book of paradise2 one on which they can write1 and one from which all may read4 ,according to the best authorities we are able to get1 we conclude that the ,japanese have from the earliest days been great potters1 and that the ,chinese discovery of porcelain was carried to ,japan probably in the century before our era4 ,it appears from the researches of ,dr4 ,hoffman1 of ,holland1 that in #ffb a ,buddhist monk introduced the secrets of translucent porcelain into the province of ,idsoumi1 and a village then became famous as ,to-ki-moura1 village for making porcelain4 ,in the year #hei the two provinces of ,idsoumi and ,kavatsi went into a violent quarrel over a mountain which contained clay and firewood4 ,but the vast wants of such a tasteful and teeming people as the ,japanese advanced this most useful and beautiful industry until the time of ,katosiro 7in the #abjj's71 when it went forward to perfection1 and rivaled or excelled the best work of ,china4 ,in later years the great centre of porcelain-production has been the island of ,kiushiu4 ,upon the ,idsoumi-yoma 7or ,mountain of ,springs71 where was found the kaolinic clay1 ,dr4 ,hoffman numbers some five-and-twenty shops famous for porcelains4 ,from the recent work of ,messrs4 ,audesley and ,bowes1 it seems that the province of ,hizen has produced the finest examples of ,japanese porcelain4 ,the first number of this work has just reached us1 and gives great promise4 ,the authors are ,mr4 ,george ,ashdown ,audesley1 architect1 and ,james ,lord ,bowes1 ,president of the ,liverpool ,art ,club4 ,no work upon the ceramic art has appeared superior to this1 especially in its decorations4 ,illustration3 ,,fig4 #aae4--;,japanese ,vase4 ,while the fine1 delicate perception and touch of the ,japanese have given an added grace and finish to most of their work1 as a whole their porcelain may be said to be a following 7rather than a copying7 of the ,chinese3 in ,china porcelain was indigenous2 in ,japan it was an importation4 ,in ,china1 then1 we shall find more original invention and greater variety2 in ,japan1 more finish4 ,the best work of ,japan is often superior in the paste and in the glaze to the ,chinese4 ,as to classification1 it is found that the two styles of ,china porcelain called ,the ,chrysanthemo-,ponienne and ,the ,famille-,rose are the two which most prevail in ,japan2 and it is not easy to distinguish the fine work of the one country from that of the other4 ,in the rose family is to be found much of the best work of ,japan4 ,in ,figs4 #aae and #aaf are two good examples of this work4 ,the ,famille-,vert1 or green1 was not made there4 ,illustration3 ,,fig4 #aaf4--,tea-,caddy4 ,we cannot do better than to quote from ,jacquemart3 ,a radical difference separates the two countries as regards drawing4 ,at ,niphon the figures1 though affected1 and too much resembling each other not to be the produce of 'pouncing1' have a simple grace and softness1 the evident reflex of ,oriental manners4 ,certainly1 it is not an imitation of ,nature2 it is not art1 such as we understand it1 with its complex qualities2 but it is a dreamy act1 a first manifestation of thought under form4 ,a scene of frequent occurrence represents two women standing1 one upon a rose1 the other upon a leaf1 and thus floating upon the waves in an aureole of clouds3 the first1 elegantly attired1 holds a sceptre2 the second is her attendant1 and carries a basket of flowers passed through a kind of lance or instrument for ploughing4 ,according to the indications of the ,japanese ,pantheon1 it is the goddess of the seas or patroness of fishermen4 ,it matters little which it may be2 but1 by the modest grace of the attitude1 the easy elegance of the draperies1 this painting approaches the graceful vellums of our artists of the middle ages4 ,the birds and plants partake of these merits1 and are truthfully drawn1 the details most delicately rendered4 ,nothing is more beautiful than these venerated silver pheasants1 the proud-looking cocks perched upon the rocks or lost among the flowers2 nothing more charming than certain crested blackbirds with rose-colored breasts1 and other passerine birds of beautiful plumage4 ,while it is true that the ,japanese flower-painting approaches nearer to ,nature than the ,chinese1 it does not seem correct to say that it approaches to1 or is1 a copy of ,nature4 ,it is difficult to see anything which is not treated freely and strongly rather than naturally4 ,some of the decorations peculiar to ,japan may be mentioned as follows3 ,the kiri1 or flower of the paulownia4 ,the imperial three-clawed dragon4 ,the noble bird4 ,the sacred tortoise4 ,the pine1 the bamboo1 and ,the crane4 ,the crane and the tortoise are emblems of longevity4 ,two marks were the official signs of the ,mikado3 first1 the kiri-mon1 or flower of the paulownia2 and1 second1 the guik-mon1 or chrysanthemum2 while to the temporal prince1 or ,siogoun1 belonged the three-leaved mallow4 ,illustration3 ,kiri-mon4 ,illustration3 ,guik-mon4 ,illustration3 ,three-leaved ,mallow4 ,the vase here given 7,fig4 #aag71 from ,mr4 ,avery's collection in the ,new ,york ,museum of ,art1 is a good illustration of the way the ,japanese used natural forms artistically rather than naturally4 ,illustration3 ,,fig4 #aag4--;,from ,mr4 ,avery's ,collection4 ,the description is as follows3 ,,vase1 of elegant form1 a ground of white1 a branch of a tree in violet color running around the body1 from which depend the fruit and flowers of the peach of longevity in rich colors4 ,storks delicately outlined in black1 their bodies being filled in with dead-white enamel1 peck at the fruit or blossoms1 or disport through the air4 ,the neck is ornamented with a band of yellow1 scrolls1 fruit1 bats1 and honorific designs4 ,illustration3 ,,fig4 #aah4--;,from ,mr4 ,avery's ,collection4 ,we give in ,fig4 #aah a bottle of square form painted delicately on each side with groups of figures1 most likely representing incidents in ,japanese history4 ,it is a fine example from ,mr4 ,avery's collection4 ,the colors are green1 blue1 and yellow1 and are very rich and harmonious4 ,a style of decoration found among the ,japanese rather than the ,chinese might be described as a sort of medallion-painting3 the round spaces are distributed over the pot regardless of symmetry1 and the effect is charming4 ,fig4 #aai shows one of these1 belonging to ,mrs4 ,rockwell1 of ,boston4 ,it is modern work1 and1 while not expensive1 is very satisfactory4 ,an impression prevails that it is very creditable to pay dear for and to own antique work--not so modern work4 ,but1 if we are to do any good ourselves1 we must believe in our own modern work when we can1 and be glad to buy and pay for it4 ,also1 we must praise our artists4 ,let us do so1 and let us not forget that what is old and good now was once new and good2 none the less good because it was new4 ,illustration3 ,,fig4 #aai4--;,from ,mrs4 ,rockwell's ,collection4 ,the ,japanese blue is exquisite1 certainly1 but it lacks the deep vivid brilliancy of the ,nanking4 ,it is believed that the blue is applied over the glaze1 and it has a melting softness which is most pleasing4 ,many of these pieces bear the six marks1 as with the ,chinese4 ,another blue1 which is a deep or mazarin color incorrectly called celestial1 is quite a different thing1 but very choice and beautiful4 ,the color is applied as an enamel1 and in relief1 and with wonderful skill4 ,i have never seen any pieces of this which were supposed to date far back2 and it is certain that it is among the fine productions of to-day1 but none the less beautiful for that4 ,a porcelain with very marked decoration and coloring has been somewhat of a puzzle1 and has been called ,indian1 being so very distinct from anything produced in ,china4 ,jacquemart thus describes it3 ,a particular decoration which we call variegated-leaved is very brilliant1 and might have found grace even in the eyes of the ,puritan ,wagenaar4 ,the principal subject is a group of pointed leaves1 some in blue under the glaze2 others of a pale green1 or of a pink and yellow enameled2 at the base of the tuft expands a large ornamental flower1 with notched pink petals lined with yellow2 the heart1 forming a centre1 is yellow or greenish streaked with pink2 notwithstanding the indentations which overload it1 it is easy to recognize the flower as an anona or custard-apple4 ,the leaves would lead one to suppose them1 by their form and size1 to be those of a chestnut-tree1 while their color recalls the tricolor plane-tree so beloved by the ,orientals1 and which decks itself with tufts1 varying from light green to red1 passing through the intermediary tints4 ,behind these leaves1 and upon the edge of the pieces1 appear light and delicate small enameled flowers of iron-red1 yellow1 rose1 or blue4 7,fig4 #abj47 ,this porcelain was made in ,japan1 and was brought by the ,dutch into ,europe at a time when their trade was so great4 ,the ,dutch ,east ,india ,company was formed in #afjb4 ,in the year #affd1 forty-four thousand nine hundred and forty-three pieces of rare porcelain were carried into ,holland from ,japan1 and sixteen thousand five hundred and eighty pieces of the same work were sent from ,batavia4 ,in some way not known1 this peculiar work has been called ,indian4 ,i found two pieces of it in ,holland1 one of which is in ,mr4 ,wales's collection1 and one piece1 my own1 is figured here4 ,it is not easy to see anything more perfect4 ,the ,japanese have excelled also in the production of crackle1 also of the egg-shell porcelain1 neither of which differs enough from the ,chinese to need description4 ,illustration3 ,,fig4 #abj4--;,japanese ,variegated-leaved ,porcelain4 ,in the loan collection at ,new ,york is to be seen a crackled bottle1 which has broad bands running around it1 that are not crackled4 ,more remarkable than this is a crackle vase belonging to ,mr4 ,h4 ,dwight ,williams1 which contains reclining figures delicately painted1 that are not crackled4 ,technical skill can go no further1 it would seem4 ,the ,japanese lacquer far exceeds anything made in ,china1 and is among the most beautiful of human work4 ,we know but little of the processes of its manufacture1 and only introduce it here because the ,japanese have applied it to the decoration of porcelain4 ,very charming and surprising effects are produced4 ,the lacquer is laid on as a varnish made from some vegetable gum or gums1 but in what way or how applied we know not4 ,it is exceedingly hard and durable1 and takes a variety of colors exquisitely4 ,it is applied mostly to wood1 sometimes to porcelain4 ,mr4 ,george ,james1 of ,nahant1 has a very fine porcelain figure which is finished with lacquer4 ,cloisonn work applied to porcelain has been made in ,japan4 ,how the delicate metal lines can be fastened to the surface of the porcelain1 and how the vitrifiable colors can be melted into the spaces with such perfection1 can never fail to surprise4 ,to see such perfect and delicate workmanship is a satisfaction3 what pleasure must the artist himself not enjoy6 ,the mandarin china 7,fig4 #aba71 as it is termed1 was made in ,japan rather than in ,china4 ,this term is applied to such vases and pieces as bear the figures of mandarins wearing the toque or cap topped with the button which marks their grade4 ,it appears that the ,thsing conquerors1 when they overcame the ,ming dynasty in ,china1 attempted to efface the old customs and dress1 and among other things they ordered was the adoption of the toque or cap4 ,hence1 to protest against their conquerors1 no such designs appear on the old ,chinese porcelain2 but only on the ,japanese1 which was carried to ,china and sold4#ac ,this variety is not to be confounded with a gayly-colored kind of heavy porcelain made in ,china1 which often goes under the name of mandarin4 ,on this ,japanese mandarin-ware1 gilding is likely to be found1 and indeed the ,japanese were much more inclined to its use than the ,chinese4 ,european and ,christian subjects were sometimes painted upon the ,japanese porcelain to meet the wants of the ,dutch exporters4 ,in the ,metropolitan ,museum of ,art at ,new ,york are some of these pieces belonging to ,mr4 ,avery's collection3 one has a portrait of ,luther2 another has the baptism of ,christ1 another a ,dutch landscape with figures4 ,they are most curious1 and upon the ,scripture subjects hangs a tale3 ,illustration3 ,,fig4 #aba4--,mandarin ,china4 ,as early as #aecd we know that the ,portuguese had established a trade with ,japan1 and1 with the aggressive spirit of all ,occidentals1 had attempted to introduce their religion into ,japan1 against the usages and prejudices of the ,japanese1 which were potent then4 ,they pushed it to an irritating point1 and it is asserted that their meddling with the decorations in the porcelain factories at last led to their expulsion1 and to the massacre and destruction of some forty thousand of their ,christian converts in #afda4 ,the ,dutch then persuaded the ,japanese to allow them the privileges of trade1 which they held for some two hundred years2 and it is through them that most of our fine examples have been brought to ,europe and here4 ,illustration3 ,,fig4 #abb4--;,example of ,old ,satsuma ,ware4 ,besides the porcelain productions of ,japan are two varieties of pottery or faience1 which are remarkable for richness of color and decoration3 the one is called ,,kaga ,,ware1 the other ,,satsuma1 from the districts where they are produced4 ,most of the ,kaga ware brought to us is of a thick1 heavy body1 and colored with a dark sort of ,indian-red1 touched with lines of gilding4 ,some of the finer specimens1 however1 like the vases shown in the recent work of ,messrs4 ,audesley and ,bowes1 are in polychrome1 and very beautiful4 ,the ,satsuma faience is made of a rich1 creamy paste1 and is thicker than most porcelain2 but it is delicious in tone and delightful in decoration4 ,there are a few pieces in this country2 and more1 but not large quantities1 in ,europe4 ,some of the finest pieces ,i have seen are in the collection of the eminent ,english artist1 ,mr4 ,frederick ,leighton1 whose house1 as well as works1 can only give pleasure4 ,illustration3 ,,fig4 #abc4--;,example of ,modern ,satsuma ,ware4 ,the old ,satsuma has peculiarities which1 added to its rarity1 make it exceedingly valuable and desirable4 ,fig4 #abb is one of the pieces pictured in the ,audesley-,bowes book1 as an example of the old ,satsuma1 and is very curious in form4 ,the modern ,satsuma is much of it very beautiful1 but of course it commands no such prices as the older4 ,most of it shows the glaze broken throughout into a most delicate network of crackle1 which is peculiar and interesting4 ,the small teapot here shown is not only perfect in tone1 glaze1 and decoration1 but also in form4 ,it is modern work1 and was imported by ,mr4 ,briggs1 of ,boston4 7,fig4 #abc47 ,mr4 ,franks thus writes3 ,the princes of ,satsuma have founded a manufactory from which have issued some very remarkable products1 much esteemed by collectors2 the paste is of a pale yellowish tint1 not unlike ,wedgwood's queen's-ware in color1 and is slightly crackled2 over this are thrown sprays of plants1 with rich diapered borders1 the effect of which is enhanced by the delicacy of the colors and the richness of the gilding4 ,this ware is probably not very ancient4 ,mr4 ,a4 ,b4 ,mitford has informed me that he does not remember seeing any specimens more than fifty years old1 and that the oldest were undecorated4 ,another beautiful ware is that made near ,kioto1 in which the colors are much stronger1 and the paste of a darker tint4 ,some of the specimens seem to be of considerable antiquity4 ,at ,kutani 7the ,nine ,valleys71 in the province of ,kaga1 is made another fine ware1 some of which appears to be porcelain4 ,the most characteristic products of this factory are bowls and dishes decorated only in red with gilding4 ,another peculiar fabric has produced very thin teapots of a gray stone-ware1 showing the marks of the workman's hands4 ,mr4 ,mitford has furnished me with the following note respecting them3 ',for some thirty years past a man named ,banko ,insetzu1 of ,kuana1 in the province of ,is1 has been famous for producing a curious kind of pottery1 which1 being finished off with the finger and thumb before being subjected to the fire1 shows the lines of the skin of the hand upon its surface4 ,no teapots equal those of ,banko for producing a delicate infusion of tea1 and all lovers of tea patronize them2 they are fragile to a degree1 the paste being as thin as a wafer4' ,the peach1 or1 as the ,japanese term it1 the peach of longevity1 is a favorite decoration with the ,japanese2 we can appreciate its value1 as one of the finest fruits of our temperate zone4 ,we give here 7,fig4 #abd7 a teapot showing the fruit with some of the leaves4 ,this is copied from ,jacquemart2 but the curious may see a better example at the ,metropolitan ,museum of ,art1 from ,mr4 ,avery's ,oriental collection4 ,japanese art is still more marked than the ,chinese in that it is as free and yet more delicate4 ,the artist clearly was a close observer of ,nature1 and saw and felt its infinite variety2 saw1 too1 that ,nature was never square1 or round1 or double4 ,nothing in ,nature need duplicate any other thing4 ,we ,occidentals have delighted in the use of-- ,the square1 ,the circle1 and ,of pairs1 or a symmetrical arrangement of ornament1 or of columns1 or openings4 ,we have also found a crude satisfaction in the use of strong1 glaring colors4 ,we have delighted to copy and to tell a common story in a common way in our decorations4 ,i believe this is wholly wrong4 ,the ,japanese artist never uses the square1 or the circle1 or the pair4 ,nor does he use crude and glaring colors2 always the most subtile and fascinating shades and vanishing tints4 ,he suggests the story2 he never tells it as ,watteau did4 ,illustration3 ,,fig4 #abd4--,teapot with ,peach ,decoration4 ,a pair of vases belonging to ,mrs4 ,james1 of ,cambridge1 have a picture of a gentleman and lady1 above whose heads is seen a canopy or roof4 ,the meaning is thus explained by a ,japanese gentleman of this day1 who was in ,boston3 ,the figures represented are a nobleman and his wife1 one of the five hundred families of the flowery class2 they are dressed in the ancient costume of ,japan1 now no longer worn4 ,the part of a tent or pavilion indicates that they are out-of-doors1 at a picnic2 the white blossoms of the cherry which surround them show a favorite tree in ,japan2 the color of this vase and the kind of crackle prove its age4 ,all is suggested2 the imagination is spoken to1 not the intellect2 the artist feels1 and makes us feel4 ,we are forcing ourselves and our civilization upon the ,japanese who do not want us1 and we curse them4 ,we have attacked the simplicity of their lives1 we shall increase their immorality1 and we shall degrade their art4 ,twenty years hence1 artistic and patient work will have disappeared from among them4 ,good work has almost disappeared from among us1 as well as from ,europe3 we do all in a hurry1 all for cheapness1 all for money4 ,the artist1 the workman1 delight no more in perfect work1 which is ,godlike4 ,progress1 they tell us1 requires us to force the ,japanese to trade with us4 ,it is a much-abused word2 in the hands of plunderers and traders it means only--,you shall give us the opportunity to cheat you4 ,we have demanded that1 and have succeeded2 but we shall be none the better for it1 and the ,japanese will be the worse4 ,they will learn1 do learn fast1 to cheat back2 and already we see signs of it in their demoralized productions4 ,they are already making copies--counterfeits of some of the high-priced porcelains of ,china--and putting on these the marks intended to deceive4 ,fools say1 ,trade is a blessing2 wise men1 ,it is oftener a curse4 ,honest1 faithful production is a blessing2 juggling1 barter1 is always a curse4 ,in the ,centennial ,exhibition at ,philadelphia the ,japanese had the largest and the finest exhibit of porcelain4 ,we were told by the officials that there are at ,hizen some five factories of fictile wares2 at ,kioto1 ten2 at ,owari1 three2 at ,kaga1 five2 at ,satsuma1 one2 at ,banko1 one2 and at ,tokio 7,yedo71 forty-three4 ,this last statement was a surprise1 but it was reiterated4 ,the porcelains of ,hizen rank first1 and the exhibit from there was the largest4 ,the two great vases1 some eight feet high1 of lacquer or porcelain1 were the largest pieces of potter's work we had ever seen1 and they seemed cheap at twenty-five hundred dollars4 ,in the middle part of the two great cases were two small tea-sets of some five pieces each1 which were the finest of porcelain in all particulars1 and yet no one bought them at one hundred and thirty dollars each2 not even the ,philadelphia ,museum1 which showed a marvelous skill in selecting the best4 ,there were also quite a number of excellent pots and vases1 from which ,mr4 ,brown secured a very desirable pair1 sage-green with white bands containing grotesque designs4 ,it was to be expected that the ,chinese and the ,japanese1 if they made an exhibit at all1 would take the places of honor4 ,this they have done for quantity1 and the ,japanese do so for quality also4 ,the ,owari porcelain is mostly the blue4 ,the body or paste seemed clear1 but there was a want of good form and superiority of coloring and decoration4 ,some excellent and striking pieces could be found here4 ,but1 so far as one visit could reveal1 there was nothing equal to the old six-mark blue4 ,the ,kioto is a faience of a weaker body than the ,satsuma1 and running more to a lemon-yellow4 ,its decoration is marked by a certain delicacy which in small articles is good1 but which in large ones lacks strength4 ,shimzi1 of ,kioto1 had a case of good pieces4 ,meyagama1 of ,yokohama1 had some delightful porcelain vases1 decorated in relief with butterflies1 plants1 etc41 which1 it is satisfactory to know1 were bought by our ,new ,york friends4 ,the case of old wares shown by ,kiriu ,kosho ,kuwaisha1 from ,tokio1 contained a collection which had a kind of mysterious fascination even to us outside barbarians1 which we suppose might have become an intense desire to possess1 could we have known anything about them4 ,,chapter ,,xii4 ,,the ,,porcelains ,,of ,,central ,,europe--,,dresden1 ,,berlin1 ,h,,chst1 ,,etc4 ,dresden ,china4--,porcelain in ,europe4--,the ,alchemists4--,augustus ,,ii4--,bttger4--,tschirnhaus4--,experim ents4--,kaolin discovered4--,hroldt and ,kndler4--,fine ,art1 or ,decorative ,art4--,lindenir4--,angelica ,kauffmann4--,rococo-,work4--,collectors 4--,marcolini4--,prices4--,marks4 --,berlin4--,the ,seven ,years' ,war4--,frederick the ,great4--,prices4 --,marks4--,vienna4--,stenzel4--,maria ,theresa4--,lamprecht4--,prices4 --,marks4--,hungary4--,herend4--,fischer 4--,marks4--,hchst1 or ,mayence4 --,ringler4--,marks4--,frankenthal1 or ,bavarian4--,carl ,theodor4--,melchior4 --,prices4--,marks4--,frstenburg1 or ,brunswick4--,von ,lang4--,prices4--,marks4 --,nymphenburg4--,heintzmann and ,lindemann4--,prices4--,marks4--,ludwigs burg1 or ,kronenburg4--,fulda4--,hesse-,cassel4-- ,switzerland4--,marks4 ,in this chapter ,i wish to give some comprehensive account of the famous porcelain of ,dresden1 which in ,europe first came into prominence1 and kept its place for so long a time4 ,with this the other manufactories of ,central and ,eastern ,europe will be grouped1 for convenience rather than for the purposes of classification4 ,we will take a comprehensive survey of-- #a4 ,dresden1 ,meissen1 or ,saxony 7it has all these names74 #b4 ,berlin1 or ,prussian4 #c4 ,vienna and ,hungary4 #d4 ,hchst1 or ,mayence4 #e4 ,frstenburg1 or ,brunswick4 #f4 ,frankenthal1 or the ,palatinate4 #g4 ,nymphenburg4 #h4 ,kronenburg4 #i4 ,fulda4 #aj4 ,limbach4 #aa4 ,switzerland1 etc4 ,we are apt to think that the mental force of ,europe1 down to very recent days quite into the last century1 was directed almost wholly to the science and the practice of war4 ,a great force certainly was so exhausted2 but there was also1 after the ,renaissance 7,a4 ,d4 #abjj to #acjj71 a powerful stream turned upon literature1 science1 art1 and religion4 ,the alchemists1 in their searchings for the secret of happiness--for the changing of baser things to gold--in their hunt for the fountain of perennial youth1 were all chemists2 and out of their 7what we are pleased to term7 visionary notions came many discoveries most curious and valuable to man4 ,when1 in #aeah1 the ,portuguese introduced fine ,oriental porcelains into ,europe1 and1 after them1 the ,dutch brought by ship-loads the beautiful productions of ,china and ,japan1 they were spread over ,europe like water passing its dikes4 ,every king1 every noble1 every man of taste1 was touched as by a fairy wand1 and became inspired with a desire of possession1 and also with a wish to create such articles of use and beauty4 ,but the secrets of porcelain were locked in the souls of those keen ,orientals1 who would not part with their knowledge4 ,still the chemists1 the alchemists1 of ,europe were at work1 peering with curious eyes into the composition of the most exquisite of fictile ware4 ,the paste1 the glaze1 the ornament--all were of profound interest4 ,pottery of various kinds had been made in ,europe from the earliest times1 but no porcelain4 ,how could the superior ,european compete with or equal the inferior ,mongol8 ,a hard question4 ,for a long time it has been believed that the earliest ,european production of porcelain was in ,saxony1 about the years #agaj to #agae4 ,but within a late period it has been found that porcelain--soft paste--was discovered and made in ,florence as far back as #aege to #aehg1 under the direction and patronage of ,francesco ,i4 7de' ,medici71 the ,grand-duke of ,tuscany4 ,no great quantities were made1 and but few pieces of it exist now1 of which we may treat hereafter4 ,the porcelain of ,dresden is also called ,saxon and ,meissen2 ,dresden being the capital of ,saxony1 and ,meissen the village1 some twelve miles from ,dresden1 where the factories are established4 ,how were they established1 and why8 ,augustus ,,ii41 ,elector of ,saxony1 and afterward by election ,king of ,poland1 born in #afgj1 was a man of expensive habits and luxurious tastes4 ,while a young man he visited ,italy and other countries1 always indulging these tastes by the purchase of pictures and other works of art4 ,the beautiful porcelains of ,china and ,japan1 then rare in ,europe1 interested him1 and he became of course a collector2 and so he continued through his luxurious and troublesome life4 ,that ,i cannot write2 it may only be said that he combined with ,peter the ,great and with ,denmark to drive out and keep out of his part of ,europe that enterprising and indefatigable fighter1 ,charles ,,xii4 of ,sweden1 and was himself utterly routed and driven from ,poland in #agjd4 ,he still retained the throne of ,saxony1 to which his son succeeded4 ,this elector inherited the tastes and habits of his father1 and continued to encourage and support the manufactory of porcelain at ,meissen1 until1 entangling himself with ,maria ,theresa of ,austria in an alliance against ,frederick the ,great1 that restless and irresistible king overran his country1 and for a time destroyed the production of porcelain in ,saxony 7,a4 ,d4 #agef74 ,in #agjf it appears that a ,prussian named ,bttger1 an apothecary's clerk1 in danger of persecution as an alchemist1 fled to ,dresden for safety4 ,the elector1 believing or hoping that he knew the secret of making gold1 sent for him1 anxious to learn the secret1 which ,bttger denied that he possessed4 ,the elector thought it best1 nevertheless1 to put him in charge1 for safe-keeping1 of his alchemist ,tschirnhaus2 and with him he worked on1 seeking to discover the philosopher's stone4 ,that he did not discover--few have done so--but1 in mixing clays and preparing crucibles1 it so chanced that a hard and semi-vitreous pottery was produced1 which at once excited attention and sharpened invention4 ,was it porcelain1 or could it be worked into porcelain8 ,from that day ,bttger's whole thought and ingenuity were at work to produce porcelain2 the philosopher's stone was forgotten1 and he and ,tschirnhaus worked at their new problem4 ,while the character of ,bttger does not bear careful inspection1 there is no question that he was a keen1 dexterous1 and daring man4 ,the picture we have of him indicates a man of executive force 7,fig4 #abe74 ,illustration3 ,,fig4 #abe4--;,johann ,friedrich ,bttger4 ,in #agjh some ware was produced by him and ,tschirnhaus which approached the characters of ,oriental porcelain1 but it was not white or translucent4 ,a teapot of this ware in red unglazed1 and one in black glazed1 are in the valuable collection of ,w4 ,c4 ,prime1 ,esq41 of ,new ,york 7,fig4 #abf1 the two tall teapots on the right and left74 ,this was not white1 nor was it true1 porcelain4 ,in #agaj1 however1 they succeeded in making white porcelain of an inferior quality2 it was thick and muddy4 ,nothing as yet was perfect4 ,what they lacked was the two fine materials known to the ,chinese as kaolin and pe-tun-tse4 ,kaolin is a native clay1 the result of decayed feldspar4 ,it is found in ,europe at ,aue in ,saxony1 near ,st4-,yrieix-la-,perche in ,france1 in ,cornwall in ,england1 and in ,delaware in ,america4 ,pe-tun-tse is a siliceous stone found in ,china1 and in ,cornwall1 ,england1 is known as a granite4 ,this last melts at a lower heat1 and a mixture of kaolin is essential to give strength and hardness to the work4 ,oriental china 7and all true porcelain7 has the quality of hardness1 and1 when held up to the light1 of translucency4 ,european porcelains are known as hard and soft1 the pte dure and pte tendre of the ,french4 ,the ,dresden china is hard4 ,illustration3 ,,fig4 #abf4--;,dresden4 ,in #agaj ,bttger had not succeeded in making perfect porcelain4 ,he had not yet the perfect clay4 ,but the clay was found2 and this1 too1 was accidental--so we now term it3 once1 a happy discovery was called providential4 ,the discovery came at the right moment4 ,it seems that a rich iron-master of ,saxony1 when riding one day 7#agaa71 saw that his horse's feet were held with tenacity in a soft white clay4 ,it struck him that this white clay might be dried and made into hair-powder1 then greatly in use4 ,he tried it2 it succeeded1 and large quantities were sold4 ,the hair-dresser of ,bttger used it1 and1 when ,bttger found it was heavy and a mineral1 he at once applied it to the production of porcelain4 ,eureka6 the secret was found6 ,it was kaolin1 the great clay--the body or bones of porcelain4 ,doubt fled4 ,courage was assured4 ,augustus at once built the great factory at ,meissen1 and in #agae enough porcelain was produced to be offered for sale at the fair of ,leipsic4 ,the first ware made was white1 and this was ornamented with vine-leaves and grapes in low-relief1 or was pierced through the sides or borders4 ,it is doubtful whether any of this white was sold1 most of it being disposed of as presents4 ,the first color used was blue1 probably in imitation of the ,nanking ware4 ,bttger1 who appears to have been a sort of artistic scamp1 died in #agai1 at the age of thirty-seven1 a victim of his own vices2 but his work was carried onward by others4 ,the news of this successful discovery spread1 like fire on a prairie1 throughout ,europe1 and every device was resorted to to get at the secrets1 which were closely guarded at ,meissen4 ,every director and officer was monthly sworn to secrecy2 every workman had before his eyes1 ,be secret to death6 and it was well known that any traitor would be punished with imprisonment1 or worse4 ,the works were continued1 after the death of ,bttger1 under ,hroldt's direction2 and it was during this time that the decorations swung clear of ,oriental imitation4 ,painting in colors1 and gilding1 were employed2 vases1 dishes1 services1 were made2 delicate copies of paintings were produced2 also birds1 insects1 animals1 flowers1 etc4 ,a sculptor named ,kndler was employed from #agca to #agfc1 and under him figures of many sorts were produced1 some of them still quite famous--,the ,tailor and his ,wife riding on goats1 figures of the ,carnival of ,venice1 figurines of ,cupids1 of lawyers1 doctors1 and many professions and trades4 ,he also modeled animals and birds1 the twelve ,apostles1 of life-size1 etc4 ,chaffers quotes from the ,london ,magazine of #agec3 ,this fabric1 which brings annually great sums of money into the country1 is daily increasing in reputation1 and is carried to all the courts of ,europe4 ,even the ,turks come from ,constantinople to purchase it1 and the rarest pieces that are made are carried thither to embellish the grand-seignior's and his great officers' houses and seraglios4 ,let us quote further from the same3 ,the sets of porcelain for tea1 coffee1 or chocolate1 may be had for fifteen to sixty guineas4 ,there is one particular kind from which they will abate nothing of one hundred guineas the set2 this is a double porcelain1 not made at once1 but a second layer added to the first form1 resembling a honey-comb on the outside1 which is of a pale-brown color1 the letts or cavities being all painted1 as well as the bottoms of the insides of the cups and dishes4 ,this1 as all other sorts1 may be had painted with landscapes and figures1 birds1 insects1 fruits1 flowers3 the first being the dearer2 the latter1 the best executed1 being almost equal to ,nature in beauty and liveliness of the colors4 ,the grounds of all these different sorts of porcelain are various1 some being painted on white1 others on pink2 some in compartments1 others without4 ,the spaces between are sometimes of a white1 yellow1 or pea-green color2 or the whole ground is white1 with running flowers4 ,this sort and the pea-green in compartments are the newest made and in the most elegant taste4 ,table-services at this time cost from one hundred to one thousand guineas each1 according to the number of pieces and the elaborateness of the decoration4 ,the figure-pieces1 some fifteen inches high1 were sold at from sixteen to twenty guineas2 and the smaller figurines1 five or six inches high1 for as many pounds4 ,these ,dresden figures of this early period now sell for very high prices1 and are much sought for1 as are also the figure-pieces of the ,hchst and ,chelsea factories4 ,but let us ask ourselves1 ,why should we pay such great prices for work which1 as art1 has but a reflected value8 ,i am sure that no great sculptor will apply his best work to china1 or to any material which is so liable to be spoiled in the baking1 and to one which1 after all1 is not suited to what we term high or fine art4 ,these figures are of value1 of course1 as illustrations of the possibilities1 and also as historical illustrations1 of the growth and development of the fictile art4 ,no man will wish to have an ,ariadne in china made by an excellent artist1 if he can have the same work of the same artist in marble4 ,we have the same feeling in regard to a fine painting3 would any one wish to exchange the ,dresden ,madonna of ,raphael on the canvas for a perfect copy in mosaic1 or in the most exquisite ,gobelin tapestry8 ,none4 ,and yet the mosaic or the tapestry has cost ten times more of human labor4 ,the artificialities of life come to be supreme at times1 and the human mind1 in some stages of development1 loses all sense of what is good or bad1 in an exaggerated appreciation of what is difficult or uncommon2 and1 in many cases1 a fashion or whim of the hour rides down a sound judgment4 ,among the more intellectual peoples this prevails4 ,assuming that the ,orientals are races who perceive or feel1 rather than reason--while the reverse of this is true of ,europeans and ,americans--we find our art often losing its way1 which that of the ,orientals seldom does4 ,the natural or instinctive soul1 by its native sense1 is guided in matters of color and decoration more truly than we who attempt to reason out these things4 ,now1 applying this to the facts of fictile art1 we find that the ,chinese and ,japanese never attempted figure-work in porcelain1 except in some few cases of burlesques1 or of animals and birds4 ,their work was applied to that which comes into the uses of life--for the table first and mostly2 after that for vases1 which became works of pure ornament1 but yet behind which lay the motive of use4 ,in all this1 it seems to me1 the ,orientals were right1 and the ,saxons wrong4 ,i believe1 then1 that the best and purest art will be found in porcelain when applied to the decoration of dinner and tea services1 of vases1 and of articles which do not attempt to rival sculpture or high art2 and those may reach perfection1 while the porcelain sculptures will not4 ,i believe1 too1 that the best style of decoration for porcelain is not imitative1 but suggestive--that is1 an elaborate and careful copy of a flower or a figure upon the clay is not so appropriate or so satisfactory as a free translation of the sentiment of the flower or the figure1 which suggests it to the soul rather than tickles the eye4 ,it is not appropriate1 so it seems to me1 that a delicate painting of a beautiful girl should be made on the dinner-plate upon which you are to put your squash or your pudding2 such delicate penciling should be devoted to art pure and simple--to fine art1 as it is called4 ,such paintings on china cannot be put to use2 they are too costly1 and therefore they fail to be either useful art or fine art4 ,now1 the tendency of ,european porcelain-decoration is always in this fine-art direction1 and is always false2 that of ,oriental porcelain is always in the useful-art direction1 and therefore true4 ,the pure white porcelain of ,meissen was not at first sold1 but was reserved for the king's use1 or for presents to distinguished personages4 ,in later times it was sold1 and is still2 and the pieces so disposed of have a scratch cut across the mark1 to indicate that they were not painted in the factory4 ,the works at ,meissen grew in importance and in public favor up to the time of the ,seven ,years' ,war 7#agef to #agfc71 when ,frederick the ,great overran ,saxony1 broke up the ,meissen factory1 and removed the workmen to ,berlin1 where he established the ,prussian potteries1 which afterward came to be of great consequence4 ,an ,english merchant visited the works at ,meissen in #agej1 and found about seven hundred men employed1 most of whom have not above ten ,german crowns a month1 and the highest wages are forty1 so that the annual expense is not estimated above eighty thousand crowns4 ,this manufactory being entirely for the king's account1 he sells yearly to the value of one hundred and fifty thousand crowns1 and sometimes two hundred thousand crowns 7thirty-five thousand pounds sterling#ad71 besides the magnificent presents he occasionally makes1 and the great quantity he preserves for his own use4 ,the best period of ,dresden production is estimated as being from about #agcj to #agef4 ,during this period the works of ,kndler were made1 and also the paintings of ,lindenir1 which are much valued4 ,in ,fig4 #abf is to be seen a fine plate with a pierced border1 in the centre of which are painted birds1 in the style introduced by ,lindenir4 ,the other pieces shown in ,fig4 #abf are excellent examples of good ,meissen porcelain2 the cup and saucer1 showing ,cupids1 is most delicately and elaborately painted4 ,among those who painted somewhat upon the ,dresden china was ,angelica ,kauffmann1 whose figures are pervaded with a certain grace and refinement always charming4 ,illustration3 ,,fig4 #abg4--;,dresden4 ,fig4 #abg shows some choice small pieces from ,mr4 ,wales's collection ,the centre flower-dish is very finely painted with birds1 and the meandering lip1 intended to confine the flowers1 is peculiar4 ,the two cups and saucers on the right are very richly gilded1 the compartments containing delicate flower-painting4 ,the cup and saucer on the left is one of the best examples of the ,marcolini period2 the gilded edges are exquisitely done1 and the flowers1 painted in tender browns and greens--not in high colors or in the colors of ,nature--are charming4 ,many pieces of the old ,dresden porcelain 7and of modern work ,illustration3 ,,fig4 #abh4--;,dresden ,vase4 also7 are elaborately decorated with rococo scrolls and flower-work in relief1 applied upon candelabra1 chandeliers1 vases1 cups1 etc4 ,unsympathetic buyers will be apt to seize upon these pieces1 and they are most common in ordinary collections2 but they are very far from being the best or the most interesting4 ,this style of work was introduced and practised by ,kndler 7#agca to #agfc7 at the period when the best works were produced2 but this style of work is not itself the best1 though it may be the most costly4 ,in ,fig4 #abh we present one of the most elaborate and magnificent examples of this excessive decoration4 ,nothing is spared2 the painting is most delicate1 the flowers most intricate1 the figures all most perfectly modeled2 and yet upon one it produces satiety4 ,it is overdone4 ,like an overdressed woman1 we have lost the divine creation in her clothes4 ,illustration3 ,,fig4 #abi4--;,dresden4 ,in ,fig4 #abi may be seen a style of ,dresden work which has had much popularity2 it is costly1 for it shows great difficulties well surmounted4 ,but do you care for it as you would for a fine plate or an ample punch-bowl8 ,it is a candelabrum sold at the ,bernal collection1 and is thus described3 ,a pair of superb candelabra1 each formed of a female draped figure bearing scroll-branches for five lights1 seated on pedestals1 round which ,cupids are supporting shields-of-arms4 ,these magnificent objects of decoration are twenty-four inches high4 ,the price was two hundred and thirty-one pounds sterling 7eleven hundred and fifty-five dollars74 ,it may not be amiss to hint to incipient collectors that not all ,dresden porcelain is equally beautiful or desirable--which is true of the paintings of ,raphael or ,murillo--and that every collector should consider the intrinsic excellence of each piece1 rather than the mark or name of the factory4 ,the productions of the ,dresden factory have continued down to the present time1 but the periods of greatest excellence have been from #agca to #agef1 and from #agfc to #ahad4 ,in #agif ,count ,marcolini was made director1 and under him was produced some of the finest flower-painting2 he also introduced the classic shapes and decorations into the vases2 which style of decoration came into wide fashion during the days of ,napoleon ,i41 who was an imitator of ,csar1 and of the work of ,csar's day4 ,some idea of the values of pieces of ,dresden china may be of use1 and ,i take a few from the great ,bernal sale made in ,london in #ahee3 ,a scalloped cup and saucer1 with minute landscapes #a #ads4 #h #ej ,a pair of cups and saucers1 with buildings on gold ground #g #gs4 #cf #ge ,a coffee-pot1 crimson ground1 with landscape #i #es4 #df #jj ,a small oval pierced tray1 with two figures in green2 and a small coffee-pot1 with figures after ,watteau1 #ai #hs4 #f;d4 #ajj #jj ,marks for ,dresden porcelain3 ,illustration3 ,augustus ,rex1 #agji to #agab4 ,illustration3 ,the ,caduceus1 about #agab to #agbj4 ,illustration3 ,bttger1 about #agah4 ,illustration3 ,bttger1 about #agah4 ,illustration3 ,imitation of ,oriental1 about #agah4 ,illustration3 ,hroldt1 manager1 about #agbj4 ,illustration3 ,about #agbf4 ,illustration3 ,about #agcj4 ,illustration3 ,about #agci4 ,illustration3 ,bruhl1 manager1 about #agej4 ,illustration3 ,bruhl1 manager1 about #agej4 ,illustration3 ,meissen ,porzellan-,manufactur4 ,illustration3 ,early ,mark4 ,illustration3 ,about #agej4 ,illustration3 ,kniglichen ,porzellan-,manufactur4 ,illustration3 ,about #aggj4 ,illustration3 ,marcolini1 manager1 about #agif4 ,illustration3 ,a small engraved cut across the swords was placed on white pieces for sale4 ,when there are ,,two engraved cuts1 it means the pieces are not wholly perfect4 ,the crossed swords are still used4 ,we often meet with pieces of ,dresden china which have an engraved cut or scratch across the swords1 which indicates1 as before said1 that the pieces have been painted outside the factory4 ,the beds of fine clay in ,saxony are much deteriorated2 and the productions at ,meissen no longer hold so high a place as they once did4 ,,berlin ,,porcelain--,,hard ,,paste4--,it was not until #agea that attempts were made to produce porcelain in ,prussia4 ,this was a private enterprise undertaken by a ,mr4 ,wegeley4 ,the ,gentleman's ,magazine of #agec spoke of him in this way3 ,there has been discovered here at ,berlin the whole art of making china-ware1 without any particular kind of earth1 from a kind of stone which is common enough everywhere1 etc4 ,wegeley worked on for eight years1 but could not make the production pay1 and abandoned it2 when it was taken up by a banker named ,gottskowski 7#agfb71 who1 having capital1 pushed it toward success4 ,in #agfc the establishment was bought by ,frederick the ,great1 who made it a royal manufactory1 and forced a success4 ,illustration3 ,,fig4 #acj4--;,berlin ,porcelain4 ,when ,frederick took ,dresden1 the porcelain-works at ,meissen were temporarily suspended4 ,he had an eye to understand the value of the porcelain industries1 and he took measures to grace his capital and increase the wealth of ,prussia by establishing a great manufactory at ,berlin4 ,he carried off from ,meissen some of the best examples of the porcelain collection1 transported to ,berlin tons of the fine clay1 and borrowed the best workmen and the most distinguished artists for his new factory2 among these the names of ,meyer1 ,klipsel1 and ,bhme1 are mentioned4 ,the ,berlin productions soon rose into fame and obtained a wide circulation4 ,not only did the king spread the work abroad by means of exquisite presents2 he also took measures at home to secure a market4 ,he ordered that no ,jew should marry until he had provided himself a sufficient outfit of porcelain from the royal manufactory4 ,now1 the ,jew does not like to waste his money1 and he at once sought a market for the wares he had been forced to buy4 ,all this advertised and spread abroad the excellent work4 ,during the collapse of ,meissen1 ,russia became a large customer for ,berlin2 and its finished and elegant dinner-services went into her palaces and mansions4 ,the best work of ,berlin equals the best work of ,dresden2 its paste is more creamy1 and some of its painters were not excelled4 ,a favorite decoration at ,berlin was the small ,watteau figure-pieces1 painted in medallions or reserves4 ,its examples of pierced or open-worked border plates are excellent4 ,in ,fig4 #acj are two examples of these1 from ,mr4 ,prime's collection1 which are perfectly painted in the naturalistic way4 ,so1 too1 is the tureen1 which has finely-modeled heads for handles1 which yet are unsatisfactory4 ,this is one piece of a large dinner-service4 ,berlin porcelain ranks high1 and good specimens bring good prices4 ,two factories continue to produce fine porcelain--one at ,berlin1 and one at ,charlottenberg1 which was founded in #agij--;and both are under the direction of the state4 ,the ,berlin factory grew to such importance in the last century that it employed seven hundred workmen4 ,the prices paid for some pieces of ,berlin porcelain at the ,bernal sale were as follows3 ,a ,berlin coffee-pot1 with river-scene and landscape #e #be #jj ,a plate1 with ,salmacis and ,hermaphroditus1 gold border1 #ac #ajs4 #fg #jj ,a cup and saucer1 deep blue1 with female busts in red1 on gold ground #d #ajs4 #bb #jj ,a cup and saucer1 with pink festoon border and exotic birds #a #ajs4 #g #ej ,a cup1 cover1 and stand1 pink1 with black medallions of the ,princess de ,lamballe and her cipher #e #aes4 #bi #jj ,marks of ,berlin porcelain3 ,illustration3 ,this indicates ,wegeley1 and was in use about #agea to #agfa4 ,illustration3 ,the globe and cross-mark are found on a few pieces1 about #ahcj4 ,illustration3 ,the mark of the sceptre was afterward used in various forms4 ,illustration3 #ahcc4 ,illustration3 ,another form of sceptre4 ,illustration3 ,sometimes these are painted over the sceptre4 ,since #ahcc the mark has been a double eagle1 surrounded by the words ,porzellan-,manufactur1 ,knigl4 ,the mark of ,charlottenburg has been the double eagle crowned1 holding a sceptre in one hand1 a globe in the other4 ,,vienna ,,porcelain--,,hard ,,paste4--,the ,vienna manufactory was started about #agag to #agbj1 and was a private enterprise4 ,the principal man was ,stenzel1 who had escaped from ,meissen1 and was warmly welcomed at ,vienna4 ,he possessed the ,meissen secrets1 and was able to give character and value to the ,vienna ware4 ,the early examples were thicker and coarser than that of ,dresden1 and the paste was grayer and less pure4 ,it was not till #agdd1 when ,maria ,theresa purchased the works1 that ,vienna porcelain rose to its best estate4 ,this beautiful and capable woman for a long time was a prominent figure in the politics of ,europe4 ,her father1 the ,emperor ,charles ,,vi4 of ,hapsburg1 during his life secured to her the succession of the ,austrian throne1 by an agreement with the other powers called the ,pragmatic ,sanction1 which1 however1 proved a treacherous security1 so that wars and rumors of wars followed her4 ,the porcelain-works were1 however1 not neglected1 and the patronage of the court1 and the fashion the courtiers made1 secured a good success2 so that1 in #aghe1 more than five hundred workmen were employed4 ,not only were the products largely used in ,austria1 but there came a great demand from ,turkey4 ,the first work was1 of course1 a following of ,dresden4 ,the best painters possible were engaged1 and animals1 landscapes1 and figures1 were applied4 ,illustration3 ,,fig4 #aca4--,vienna and ,herend ,porcelain4 ,about #agif a painter named ,lamprecht painted excellent animals1 and his pieces bear his name2 they are rare4 ,some of the other painters were ,perger1 ,furstler1 ,wech1 and ,varsanni4 ,nigg was a painter of rare flower-pieces4 ,the ,turkish demand caused the production at ,vienna1 and also in ,hungary1 of what may be called ,oriental or ,asiatic styles of decorations4 ,figures1 of course1 gave way to arabesques--for no true ,moslem copies the human figure--and more and richer colors were used4 ,the best work was made during the latter part of the last century1 when a style of decoration of burnished gold in relief upon dead gold was used1 which is now much prized4 ,the work went on1 with varying success and at great cost1 till #ahef1 when it was given up4 ,some of the pieces at the ,bernal sale were as follows3 ,a plate with green border and white stars1 with flowers #b #bs4 #aj #ej ,one with brown and gold border1 with flowers #a #as4 #e #jj ,a plate with lilac border1 and friezes1 from gems in ,indian-ink #cg #afs4 #ahi #jj ,a cup and saucer1 beautifully painted1 with ,venus and ,cupid1 after ,sir ,joshua ,reynolds #h #aes4 #dd #jj ,the teapot and cup and saucer in ,fig4 #aca are ,vienna work1 and are excellent examples both of paste and coloring4 ,the three lower pieces in ,fig4 #aca are ,hungarian2 the bowl and sugar-bowl are highly colored1 and are very ,oriental in both color and decoration4 ,the plate with fish is a direct imitation of the ,chinese4 ,marks for ,vienna porcelain3 ,illustration3 ,this shield varies in shape and size4 ,it has been in use since #agdd4 ,,hungary4--,toward the end of the last century a porcelain-factory was at work in ,herend1 at which porcelain of an ,oriental character and much richness was made4 ,this was doubtless intended for the ,turkish and ,asiatic markets4 ,a piece bought in ,ispahan1 as ,oriental1 is now pronounced to be ,herend1 and was purchased by the ,south ,kensington ,museum in #ahfc4 ,some pieces figured on the lower line of the engraving 7,fig4 #aca7 show the ,oriental character of the decorations1 but not the bright and rich colors4 ,the word ,herend is found impressed on the ware2 sometimes in incised letters4 ,in #ahci ,fischer established a porcelain-manufactory1 which1 ,i believe1 is still at work4 ,sometimes he used the shield of the arms of ,austria for a mark1 and at others his own initials1 ,,mf 7,morris ,fischer71 combined4 ,h,,chst 7,,or ,,mayence7 ,,porcelain--,,hard ,,paste4--,mayence1 or ,mainz1 was once a small state or duchy1 presided over by the elector1 who was archbishop of the state4 ,pottery had been made there for many years2 and at last1 in #agdj1 an escaped workman from ,vienna1 named ,ringler1 taught them the secrets of porcelain4 ,he seems to have been a man of force--one who worked for excellence--and under his direction some of the best porcelain was made4 ,when the manufactory became a state establishment1 the services of an artist named ,melchior were secured as modeler and decorator4 ,he was one of those rare men who have an innate sense of the beauties of form and proportion1 which study had made more keen and true4 ,his figures and small groups rank highest of any for their spirit1 grace1 and delicacy1 and command to-day extreme prices4 ,the letter ,m is engraved on the bottom of many of ,melchior's productions1 in addition to the wheel1 or wheel and crown1 which was the common mark for the factory4 ,the vases and table-ware partake of the general character of the ,dresden1 which led all the rest2 it had a good sale1 and1 being never produced in great quantities1 the pieces are not now very common4 ,they are desired in all good collections1 and the prices are high4 ,one day1 when ,ringler had taken too much wine1 his workmen stole from his pocket the secret for mixing the paste1 and from this many of the smaller manufactories of ,germany took their start4 ,the factory was destroyed by the ,french in #agid4 ,the mark of the ,hchst ware was a wheel1 with or without the crown4 ,illustration3 ,the wheel was sometimes in gold1 then in red1 then in blue4 ,demmin thinks these indicate their respective periods since #agbj4 ,,frankenthal1 7,,or ,,bavarian7 ,,porcelain--,,hard ,,paste4--,hannong1 a ,strasburg potter1 having discovered the secret of porcelain1 and being forbidden to use it in ,france1 sought work in the palatinate at a town called ,frankenthal in the year #aged4 ,soon after this1 ,ringler1 who had had the care of the works at ,hchst1 having had his secrets stolen1 left that place in disgust1 and offered his services to ,hannong at ,frankenthal1 and was gladly received4 ,together they at once brought their productions to a point of great excellence2 and when1 in #agfa1 the ,elector ,palatine1 ,carl ,theodor1 purchased the works1 and made them a state establishment1 they grew into great fame4 ,melchior1 whose figures had made the work of ,hchst so famous1 was induced to come to ,frankenthal1 where his skill and taste were made most useful4 ,examples of this porcelain are much sought for4 ,the excellence of the work declined afterward2 and about the year #ahjj1 the country being overrun by ,french armies1 the works were ruined and the tools were sold4 ,the prices at the ,bernal sale were about the same as the best ,dresden4 ,we give some form-marks supposed to belong to ,frankenthal3 ,illustration3 ,crest of the ,palatinate4 ,illustration3 ,mark of ,joseph ,adam ,hannong4 ,illustration3 ,the ,crown4 ,the first1 the crest of the palatinate1 was used from #agee to #agfa4 ,,ph combined1 sometimes found on this porcelain1 marks the work of ,hannong4 ,the crown1 with the letters ,c4 ,t4 7,carl ,theodor71 indicates the late period from #agfb to #agih4 ,f,,rstenburg 7,,or ,,brunswick7 ,,porcelain4--,the interest excited by the production of porcelain at ,dresden1 ,vienna1 and ,hchst1 inspired many of the rulers of states with a desire to establish manufactories of the beautiful wares in their own dominions2 among whom was ,charles1 ,duke of ,brunswick 7#agej74 ,one of the ,hchst workmen was secured to superintend the works at ,frstenburg2 but he soon died1 when ,baron von ,lang was placed in charge4 ,he was an accomplished chemist1 and his skill1 with the funds put at his disposal by the duke1 enabled him to produce work equal in decoration to that at ,dresden1 though the paste is not considered so fine4 ,fine vases1 groups1 and dinner and tea services1 were the result1 which are now much prized4 ,at the ,bernal sale a ,frstenburg cup1 cover1 and stand1 painted with flowers and surmounted by a flame1 sold for six pounds ten shillings sterling 7thirty-two dollars74 ,the mark is a cursive letter ,f more or less rudely done in blue4 ,illustration3 ,,fig4 #acb4--;,frstenberg4 ,in ,fig4 #acb is seen a basket from ,mr4 ,wales's collection1 made at ,frstenburg1 which is carefully modeled1 though it bears very little decoration4 ,,nymphenburg1 in ,bavaria1 had a small porcelain-manufactory as early as #agdf or #agdg1 but it seems to have had only a fitful and uncertain existence until after the death of ,carl ,theodor1 when the ,frankenthal workmen were taken to ,nymphenburg1 carrying with them skill1 taste1 and knowledge4 ,the manufactory received many favors1 and much good work was done4 ,among the known artists employed were ,heintzmann1 who painted landscapes2 ,adler1 who did the figures2 and ,lindemann4 ,some of the white pieces made at ,nymphenburg bear the impressed stamp of the factory1 and painters' marks also1 when decorated outside the walls of the manufactory4 ,the establishment is said to be still in existence4 ,nymphenburg was once a royal palace1 a few miles from ,munich4 ,at the ,bernal sale some pieces sold as follows3 ,a ,nymphenburg basin with an elaborate painting of a battle1 in ,indian-ink #aj #ej #jj ,a cup and saucer with figures1 in ,indian-ink and gold #b #aj #jj ,a basin with figures and scrolls1 in ,indian-ink and gold #b #abs4 #f;d4 #ac #jj ,a basin with medallions in ,indian-ink1 figures in colors1 and gold scrolls #ad #gj #jj ,a basin with three landscapes #d #bj #jj ,the marks of the ,nymphenburg are-- ,illustration3 ,the shield of the arms of ,bavaria4 ,a section of this was sometimes used4 ,illustration3 ,the double triangle1 with numerals and letters4 ,besides these more important manufactories of porcelain were a number of less note1 which sprang up during this period of active interest2 such as those of ,ludwigsburg1 or ,kronenburg1 ,fulda1 ,hesse-,cassel1 etc4 ,in ,,thuringia1 also1 were a number of small establishments1 many of which produced fine work4 ,marks of ,ludwigsburg1 or ,kronenburg3 ,illustration3 ,from #ageh4 ,illustration3 ,sometimes without the crown4 ,mark of ,fulda1 in ,hesse 7#agfc to #aghj73 ,illustration3 ,signifying the ,prince of ,fulda4 ,marks of ,limbach1 in ,saxe-,meiningen 7about #agfj73 ,illustration3 ,sometimes this was a script ,l4 ,illustration3 ,another mark4 ,in ,,switzerland1 at ,nyon and at ,zurich1 small factories went to work1 whose productions are sought for by collectors2 but they do not reach the importance of the leading ,german establishments4 ,the manufactory at ,nyon 7#agab7 had sometimes a fish1 and sometimes a painter's name in script-letters1 as ,guide1 or ,g4 ,illustration3 ,nyon-mark4 ,illustration3 ,the mark of ,zurich 7#agee74 ,,chapter ,,xiii4 ,,the ,,porcelain ,,of ,,france--,,st4-,,cloud1 ,,chantilly1 ,s,,vres1 ,,etc4 ,hard and ,soft ,porcelain4--,discovery of ,kaolin4--,st4-,cloud4--,pte ,tendre4--,marks4--,rouen4--,small ,manufactories4--,marks of same4--,chantilly4--,sceaux-,penthivre4- -,niderviller4--,marks4 --,limoges4--,svres4--,flower-,work4--,h ard ,porcelain1 ,pte ,dure4 --,the ,grand ,monarque4--,florid ,taste4--,boucher4--,vieux ,svres4--,three ,vases4--,greek ,vases4--,prices at ,bernal ,sale4--,chemists4--,colors used4--,collections4--,art ,museums4 --,alexandre ,brongniart4--,marks and ,dates4 ,the porcelain of ,svres is probably better known than any other by name1 if not by sight4 ,the production has been steadily under the protection of the state since #agfj1 when the crown became sole owner of the works4 ,time1 thought1 skill1 talent1 ingenuity1 and money1 have been spent upon this work unceasingly for more than a century2 and some of the most elaborate1 most finished1 and most costly pieces of porcelain which the world has anywhere seen1 have come out of the small town of ,svres4 ,kings1 nobles1 poets1 painters1 have recognized the beauty and value of this work1 and have given of their strength to help it onward toward perfection4 ,the history of the manufactory at ,svres might fill a book3 here we are limited to a brief space1 which may suffice for most readers4 ,some experts hold that true porcelain is only what is known as hard porcelain1 called pte dure by the ,french4 ,such is always the porcelain of ,china and ,japan2 such is that of ,dresden and the centre of ,europe4 ,this hard porcelain has always the two qualities of hardness and translucency4 ,we have elsewhere explained to what these qualities are due1 and how and when they were brought to perfection in ,europe1 first at ,dresden or ,meissen 7see ,dresden porcelain74 ,france lacked the peculiar clay necessary for making hard porcelain till the year #agfe1 when chance discovered the magic earth at ,st4-,yrieix2 after which time its manufacture was brought to a high pitch of excellence at ,svres4 ,the soft porcelain1 or pte tendre1 can be made without the admixture of the clay called by the ,chinese kaolin4 ,it has the quality of translucency1 but lacks hardness and strength4 ,it melts at a lower heat1 and1 while very delicate and beautiful1 it is not so enduring as the pte dure4 ,experts can distinguish the two at sight2 but there are some signs which will help the uninitiated4 ,the soft porcelain is likely to be more creamy1 and softer to the eye and touch1 than the hard2 the painting blends more into the glaze2 the bottoms of the pieces or the rims are covered with the glaze2 while1 in the hard porcelain1 these rims1 from standing on the sanded floor of the furnaces1 show no glaze4 ,the painting on the hard porcelain is likely to be sharper1 and more on the surface1 than that on the soft1 into which it seems to melt4 ,,st4-,,cloud4--,before the discovery of kaolin in ,europe1 as early as #afie1 soft porcelain1 or pte tendre1 was made at ,st4-,cloud in great variety and of considerable excellence2 and the story of ,french porcelain1 begun there1 may be divided into two parts3 #a4 ,soft porcelain1 begun at ,st4-,cloud in #afie1 continued there1 and afterward at ,chantilly2 then at ,vincennes1 in #agde2 still later at ,svres1 in #agef4 ,the production of soft porcelain1 or pte tendre1 continued at ,svres1 in company with that of the pte dure1 until #ahjd4 #b4 ,the hard porcelain1 or pte dure of the ,french2 which was made after the discovery of the kaolin of ,st4-,yrieix1 at ,svres4 ,marks used at ,st4-,cloud3 ,illustration3 ,the mark of the ,sun4 ,illustration3 ,another one4 ,illustration3 ,the fleur-de-lis1 sometimes impressed4 ,illustration3 ,this mark indicated the factory and the name of the director 7,trou7 from #agcj to #agfb4 ,the early porcelain made at ,st4-,cloud is said to have been quite coarse and unsatisfactory4 ,examples of it are very scarce4 ,that made later was better1 but a long way behind what was made afterward at ,svres4 ,at ,,rouen1 in ,france1 porcelain appears to have been made1 but it never proceeded so far as to be a business4 ,at ,,menecy-,,villeroy1 about #agce1 soft paste was made2 and later there were various limited efforts at ,brancas-,lauraguais1 at ,arras1 at ,vincennes1 at ,boulogne1 at toilles1 at ,bourg-la-,reine1 at ,clignancourt1 at ,orleans1 at ,luneville1 at ,bordeaux1 at ,valenciennes1 at ,limoges1 at ,sarreguemines1 at ,strasbourg2 at ,paris1 a great number1 some of the products of which are still in existence4 ,we give the marks of some of the most important4 ,marks of ,clignancourt3 ,illustration3 ,a windmill in blue4 ,illustration3 ,another form4 ,illustration3 ,this varies a good deal 7#agge74 ,illustration3 ,monograms of ,louis ,stanislas ,xavier1 ,count de ,provence4 ,illustration3 ,porcelaine de ,monsieur 7#aghj74 ,marks of ,orleans3 ,illustration3 ,a label 7lambel d',orlans74 ,illustration3 ,a label 7lambel d',orlans74 ,illustration3 ,a label 7lambel d',orlans74 ,illustration3 ,monogram of ,benoist le ,brun1 the director4 ,illustration3 ,monogram of ,benoist le ,brun1 the director4 ,marks of ,valenciennes3 ,illustration3 ,the letter ,v1 for ,valenciennes1 combined with ,l1 the name of the wife of the director4 ,illustration3 ,the letter ,v1 for ,valenciennes1 combined with ,l1 the name of the wife of the director4 ,illustration3 ,the letter ,v1 for ,valenciennes1 combined with ,l1 the name of the wife of the director4 ,marks of ,strasbourg3 ,illustration3 ,either of these marks indicates the name of ,hannong1 the founder4 ,mark of ,marseilles3 ,illustration3 ,this letter indicates ,m4 ,robert1 the founder 7#agff74 ,the ,,paris marks are so manifold that the student must refer to some manual of marks1 such as are mentioned in the list of books at the end of the volume4 ,besides the smaller factories first mentioned1 a few words may be well upon some factories whose productions are now and then offered for sale4 ,,chantilly4--,as early as #agbe this factory produced a great variety of articles of soft paste1 which were and are highly esteemed4 ,a design used there--a small blue flower upon the white--called ,barbeau1 was much in fashion4 ,the workmen at ,chantilly were afterward engaged at ,vincennes4 ,the mark is a hunting-horn1 sometimes impressed1 sometimes painted on4 ,illustration3 ,hunting-horn4 ,,sceaux 7sometimes ,sceaux-,penthivre7 was a small factory near ,paris1 begun in #agej1 where1 for some twenty or thirty years1 very delicate soft-paste porcelain was made4 ,the marks were sometimes the letters ,s ,x or ,s ,p1 and the anchor4 ,illustration3 ,sceaux-,penthivre 7about #agej to #agfj74 ,illustration3 ,the anchor in blue 7#agea to #agib74 ,at ,,niderviller1 near ,strasbourg1 in #agfj1 a factory was established by ,baron de ,beyerl1 which afterward 7about #aghj7 went into the possession of ,general de ,custine1 whose head was cut off during the ,french ,revolution4 ,both soft and hard porcelain were made here1 and some of the biscuit figures are of great excellence4 ,the marks most known are these2 but the letter ,n in script is sometimes found on pieces of this work4 ,marks of ,niderviller3 ,illustration3 ,baron de ,beyerl1 the founder 7#agfj74 ,illustration3 ,general de ,custine 7#aghf74 ,illustration3 ,another variety4 ,illustration3 ,monogram of ,f4 ,c4 ,lanfray1 director4 ,illustration3 ,lanfray1 director4 ,at ,,limoges1 in #aggc1 soft porcelain was made2 later1 hard paste was made4 ,the old mark was ,c4 ,d4 ,at the present time a number of factories are busily at work there1 among which is that of ,haviland and ,company1 whose faience will be mentioned elsewhere4 ,s,,vres4--,we cannot to-day appreciate the enthusiasm which existed at this period 7#agej7 in ,france1 as well as in many other states of ,europe1 upon the subject of porcelain manufacture4 ,among royal and noble people it was peculiarly strong4 ,the kings of ,france were always open to the projects of experts1 who promised to produce wonderful results2 and1 in #agde1 when the company was formed to produce porcelain at ,vincennes1 the king1 ,louis ,,xv41 contributed to the capital the sum of one hundred thousand livres4 ,madame de ,pompadour1 at this period the most beautiful woman and the most influential personage in ,france1 was an eager patron of the ceramic arts1 and gave all her influence to promote their development2 the queen1 too1 was greatly interested2 we may be sure that all good courtiers followed their lead4 ,about this time 7#agdj to #agej7 a wonderful production of porcelain flowers was in vogue at ,vincennes1 and the most elaborate work was done there1 so that two bouquets made for the king and dauphine cost them the great sum of three thousand livres 7francs7 each2 which was a great deal more than three thousand francs is now4 ,a single order given by the king amounted to the sum of eight hundred thousand livres4 ,this attempt to imitate flowers in colored porcelain we now consider foolish1 as well as false art2 and very properly it has passed away as one of the whimsies of the time4 ,some of these flowers1 such as double ranunculuses1 orange-flowers1 anemones1 etc41 still remain1 wonders of fictile work1 in the ,muse ,cramique1 at ,svres4 ,but the porcelain-works at ,st4-,cloud and ,vincennes1 the avant couriers of ,svres1 produced many other and more legitimate objects of use as well as art4 ,the dinner and tea services made here were most elaborate and costly2 one made for the ,empress of ,russia was decorated with paintings of antique cameos1 and the cost was some three hundred and sixty thousand livres1 a vast sum surely4 ,at certain seasons the courtiers were expected to purchase the work of the royal factory1 and presents were sent hither and thither2 so that for a time the manufactory not only enjoyed the favor of the king1 but also the sunshine of the court4 ,in #agdh a superb vase was made and presented to the queen4 ,it stood on a bronze pedestal1 and was about three feet high4 ,the marvelous part of it was the great bouquet it contained1 which consisted of four hundred and eighty porcelain flowers exquisitely modeled and colored after ,nature4 ,the mark used at ,vincennes will be given with those of ,svres4 ,in #agef the porcelain-works of ,vincennes were removed to ,svres1 and from that period everything possible was concentrated there2 and in #agei or #agfj the whole came under the control and direction of the king4 ,we see1 therefore1 how out of the efforts at ,st4-,cloud and ,chantilly and ,vincennes the works at ,svres at last grew up4 ,all was now combined at ,svres4 ,the production of hard porcelain at this period had become a matter of importance2 for it was well known that at ,dresden most finished work of this kind had for a long time been made4 ,soft porcelain1 though equally or more beautiful1 was difficult to make1 was then expensive1 and lacked the strength and durability of the hard4 ,hard porcelain or pte dure1 was the one thing desired4 ,but this could not be made without the peculiar clay called kaolin1 which the ,saxons had1 but which they would not allow the ,french to get4 ,this was not obtained1 as has been said1 till #agfe1 and from that time ,svres entered upon a period of production which has had no equal in ,europe4 ,the buildings were ample1 the gardens were pleasant1 and the interest in the production of the royal works may be appreciated from the fact that the king1 accompanied by ,madame de ,pompadour1 made weekly visits1 to see that all went well4 ,and all did go will4 ,no money was wanting2 artists of the highest rank were enlisted2 skilled men of every kind contributed their knowledge and keenness to bring the delicate work to perfection4 ,madame de ,pompadour1 herself an artist in her way1 not only came weekly to enjoy the work of others1 but she often applied her own hands to making designs1 or to touching or perfecting what fine thing might be going forward4 ,under such stimulus as this it was inevitable that every modeler1 every artist1 every colorist1 should be inspired to do his best4 ,they were patronized by royal hands which disposed of all the glory and wealth of ,france4 ,painters having a wonderful technical skill were eagerly engaged1 and much of the work done has the merit--not the highest one1 certainly--of being most delicately and elaborately penciled4 ,no work of this kind ever has surpassed what was done on the vases1 teacups1 cuelles1 etc41 made at ,svres4 ,the variety of decoration upon these elaborate pieces was great1 comprising among others1 birds1 flowers in wreaths and garlands1 and bouquets1 landscapes1 figures1 arabesques1 ,cupids1 emblems1 cameos1 masks1 miniatures1 ,watteau pictures1 children1 pastoral subjects1 ,chinese and ,japanese imitations1 butterflies1 medallions1 sea-pieces1 insects1 etc43 the whole of ,nature and art was ransacked for interesting and attractive material4 ,almost or quite all of this may be characterized as most clever imitation1 exquisitely painted4 ,even the artists who were inspired by love of ,oriental work seem to have imitated or copied that2 they did not learn by it how to express ,occidental life and growth1 in their own individual way1 and with that piquant fresh touch which marks so much of the best ,oriental work4 ,nevertheless1 it is exquisite1 and conveys a sense of satisfaction and completeness because of that1 even to those who do not approve of it as the best decorative art4 ,it is safe to say that the ,grand ,monarque1 ,louis ,,xiv41 was the greatest affliction which the kingdom of ,france was ever called upon to endure4 ,his reign was unfortunately long--#afdc to #agae4 ,it was marked by a false splendor of success1 by luxury such as the world had not seen since the days of the decline and fall of ,rome1 by the most venal public service except that which his successor permitted1 by the most unblushing corruption in private life1 among men and women both2 and by a general degradation of all the standards of frugality1 sincerity1 honor1 and nobleness1 in public and in private life4 ,was it possible for art to escape this contamination8 ,impossible6 ,the florid and foolish taste of the perruquier prevails everywhere1 in architecture1 in painting1 in sculpture1 in dress2 all is tainted with the showy and the shallow4 ,the flowing scroll appears in all its splendor1 decoration is piled in meaningless profusion1 and talent and taste1 heart1 mind1 hand1 and gold1 are lavished in folly and vice1 which finally culminated in the social and political ,revolution of ,louis ,,xvi41 when king and noble1 lord and lady1 went under in a sanguinary flood of anarchy and ruin4 ,could the taste and the art which prevailed at ,svres escape this8 ,it could not1 and it did not4 ,while1 therefore1 we cannot but admire the care1 the pains1 the skill1 of the workmen and the artists1 let us not be misled by the false glamour of that time1 so as to learn to love or to imitate their florid and extravagant tastes in architecture1 in furniture1 in dress1 or in porcelain4 ,chaffers1 in his work upon ,pottery and ,porcelain1 gives the private marks of some one hundred and twenty-six painters1 who were employed at ,svres before #ahjj1 and quite a number who have painted there since4 ,among these are some who reached a ,european reputation3 of these ,boucher is perhaps most famous2 his medallions are sought for1 and highly valued4 ,illustration3 ,,fig4 #acc4--;,enameled ,svres ,vase1 called ,vase ,genicault4 ,a distinction is sometimes made between old ,svres and modern ,svres4 ,the old--vieux ,svres--comes down to the year #ahjj2 after that it is designated as modern1 for convenience4 ,it does not intend to exalt one and condemn the other1 as too many now are apt to think1 the truth being that equally good work has been done since that time as before it4 ,indeed1 within this year ,i have seen some pieces of ,svres painting1 such as ,i fancy have never been done there before1 and which can hardly be excelled2 in which the artist ceases to be a copyist1 abandons himself to the imagination1 and produces work which gratifies the highest faculty4 ,somebody1 then1 has broken away from traditions and academic rules4 ,not only were the early painters ranked as artists1 but designers and modelers of vases and other pieces had high rank and high pay1 so much so that their names were and are attached to their productions2 as1 for example1 vase ,clodion1 vase ,duplessis1 vase ,falconnet1 etc4 ,i may say here that elaborate and beautiful as many of them certainly are1 the ,svres vases1 inspired as they too often are by that expression of art so acceptable to ,louis ,,xiv4 and ,,xv41 are so decorated1 scrolled1 and worked1 that they create a sense of surfeit in many minds4 ,in ,figs4 #acc1 #acd1 and #ace1 we have three excellent examples of this work which may really be called magnificent4 ,they have all the qualities which characterize the elaborate work of ,svres4 ,the size and elaborateness of these force them into the collections of emperors and kings1 and here and there into the fine museums of the world1 where they are to be seen of all men4 ,fig4 #acc is a superb covered vase1 enameled most elaborately and exquisitely1 in the best of what may be termed a ,renaissance decoration1 which had its birth in ,italy4 ,the masks and floating figures suggest a delicate reminiscence of ,pompeii and the luxury and decadence of those ,greek ,romans1 which there reached a full development1 and which remain to us when all of ,rome is in ruin1 preserved by the ashes of ,vesuvius through these nineteen centuries4 ,the vase1 ,fig4 #acd1 is the largest of all1 reaching some forty inches in height4 ,fig4 #ace shows us a superb vase1 called ,cuve ovale ,ducereau4 ,in this vase the artist has closely approximated to the form of some of the old ,greek vases1 but the decoration is more striking and elaborate4 ,illustration3 ,,fig4 #acd4--,svres ,vase1 called ,vase ,etrusque ,carafe4 ,a perception of this excessive ornamentation came to somebody about the year #aghe1 for in that year ,louis ,,xvi4 bought from ,m4 ,denon a collection of ,greek vases1 to serve as models of pure and simple forms1 and thus change the exaggerated1 exuberant contours given to porcelain in the preceding reign4 ,illustration3 ,,fig4 #ace4--,svres ,vase1 called ,cuve ,ovale ,ducereau4 ,the wonderful virtue of simplicity which the ,greeks at their best fully valued1 seems to have fled from ,france during the times of ,louis ,,xiv4 and ,,xv4 ,this1 in a degree1 was restored by the purer and better tastes of the time of ,louis ,,xvi41 when there was a reaction toward the classic in both literature and art4 ,in ,fig4 #acf we have engraved a vase of the time of ,louis ,,xvi41 which indicates the improvements made at that time1 both in form and decoration4 ,it approaches the classic forms of ,greece1 and is a step away from that excessive and meretricious decoration which marked the times of ,louis ,,xiv4 and ,,xv4 ,it was sold at the ,bernal sale1 and is thus described3 ,a magnificent centre vase and cover1 gros bleu1 with upright handles of foliage1 a festoon of leaves1 raised gilt1 encircling the vase and falling over the handles1 the lower part fluted with pendant lines of leaves2 in the centre is a most exquisite painting of a peasant and two girls gathering cherries1 a donkey with panniers filled with cherries at their side1 a group of flowers on the reverse--on square plinth1 eighteen inches high4 ,sold to the ,marquis of ,hertford for eight hundred and seventy-one pounds ten shillings sterling 7four thousand three hundred and fifty-five dollars74 ,illustration3 ,,fig4 #acf4--,svres ,vase4 ,i have spoken of the many styles of painting applied at ,svres1 and also of the great carefulness and elaborateness of the modeling4 ,another skilled body of men was called upon to contribute toward the perfection at which they all aimed2 these were the chemists4 ,to devise1 to combine1 and to adapt many and more and more beautiful colors than any in use1 which could be applied to porcelain and would stand supreme heat1 required the aid of science4 ,this the chemists gave2 and the result has been such rich1 such subtile1 such brilliant colors as no other manufactory has reached4 ,some of these colors have become well and widely known under the following names3 ,bleu de roi1 made from cobalt2 a deep lapis lazuli1 sometimes veined and sown with gold4 ,gros bleu1 a deeper color of the same4 ,bleu cleste1 a turquoise blue1 from copper4 ,rose ,pompadour1 improperly called ,rose du ,barri in ,england4 ,violet pense1 a rare and beautiful violet4 ,jonquille1 a rich canary4 ,vert pomme1 a delicious apple-green4 ,vert pr1 a bright grass-green4 ,rouge de fer1 a brilliant red4 ,these are among the most famous colors used to cover the ground or body of the finest vases1 the reserved spaces being filled with the rarest paintings4 ,in addition to these perfect colors1 gilding of the heaviest kind was used--often too freely4 ,to glorify the work still more1 what are termed jewels were applied in rows1 or singly1 of many colors2 but pearls and rubies were most in use4 ,the rose ,pompadour1 or rose du ,barri1 has1 within the last twenty years1 become most in vogue1 so that at the ,bernal sale1 in #ahef1 a pair of vases of this color1 painted with groups of ,cupids in medallions1 was purchased by the ,marquis of ,bath at eighteen hundred and fifty guineas4 ,an ,english collector1 of moderate views1 told me he proposed to purchase a pair of vases of this color1 some twelve inches high1 at a sale at ,christie's1 some five years since1 if he could do so for1 say1 one hundred pounds sterling4 ,the first bid was one thousand pounds1 and they were knocked down at sixteen hundred and fifty guineas4 ,the variety and splendor of these vases de luxe are great4 ,they are to be seen in most of the collections of ,europe1 and1 to some extent1 in ,america2 but their great cost1 and the fact that they are so rarely offered for sale here1 make them quite uncommon in the ,united ,states4 ,visitors to ,europe should see those in the ,kensington ,museum1 and in private galleries2 such as that of ,m4 ,rothschild1 whose collection is worth millions4 ,illustration3 ,,fig4 #acg4--,svres4 ,it is a singular thing that during that fearful tempest known as the ,french ,revolution1 when almost everything which had a suspicion of royalty or luxury was swept away1 the works at ,svres were not destroyed1 but were carefully guarded and supported by the republican ,directory4 ,besides these articles of luxury1 the ,svres works have always made a large number of services for household use1 which1 however1 must always be costly4 ,some of these are in this country2 also a good many single pieces1 particularly from the collections of ,louis ,philippe1 which were large1 and which were scattered at the time of the ,revolution of #ahdh4 ,quite a goodly number were in the sale of ,mr4 ,lyons's collection1 in #ahgf4 ,some of these dinner-services were of course very elaborate and some intended for royal houses were finished in the rich and heavy colors1 such as the bleu de roi1 which for myself ,i would never desire2 but most of them were decorated with edges of very rich gold1 and bands or bouquets of flowers painted on the white4 ,illustration3 ,,fig4 #ach4--,svres1 ,white and ,gold4 ,in ,fig4 #acg we present some pieces from a handsome service belonging to ,w4 ,c4 ,prime1 ,esq41 of ,new ,york4 ,the forms as well as the decoration are perfect2 the dark bands are a rich yellow1 and the edges are finished with heavy gold leafage and lines4 ,this is a large and complete set4 ,the single plate shown in the picture1 containing the portrait of ,montaigne1 of course does not belong to the service4 ,it is an admirable piece of the miniature work done at ,svres1 and must find its place as a picture does on the walls of the house4 ,plates1 however1 as valuable as this should have the protection of a frame4 ,fig4 #ach is from a part of a tea or breakfast service belonging to the collection of ,george ,w4 ,wales1 ,esq41 of ,boston4 ,it is clear and brilliant1 being wholly of white and gold1 and is really surprisingly attractive1 partly from its simplicity1 and more from its perfectness4 ,some of the finest pieces of ,svres porcelain in our country are to be found in the collections ,i have already mentioned4 ,there are also fine examples in possession of ,mr4 ,barlow1 ,mr4 ,belmont1 and ,mr4 ,matthews1 of ,new ,york2 of ,dr4 ,mitchell1 and other connoisseurs1 at ,philadelphia4 ,mr4 ,j4 ,v4 ,l4 ,pruyn1 of ,albany1 has one large and beautiful dinner-service of the white and gold ,svres1 and one made for ,louis ,philippe1 having bands in colors4 ,in his collection are two plates jeweled--one bearing the portrait of the ,princess ,lamballe1 painted by ,le ,guay2 and the other1 that of ,gabrielle d',estres--which are of the highest class4 ,the knowledge of and love for good examples of fine porcelain are on the increase1 and no doubt in a few years we shall be able to see and enjoy fine work1 without the disagreeable experience of crossing the implacable ocean4 ,our art-museums will also give to thousands the opportunity of seeing and studying these things which no private collections can so well do4 ,the name of ,,alexandre ,,brongniart 7,fig4 #aci7 is now identified with the best period of ,svres porcelain1 and its high reputation and great success are due more to him than to any one man4 ,not only did he aim for excellence himself1 he also insisted that others should do likewise4 ,he gave tone and character to what was done there4 ,nothing having any flaw or blemish was allowed to go from the works2 and in that way the standard was kept high in the minds of artists and workmen as well as in those of amateurs4 ,prices1 too1 were kept at such a point that more and more could be attempted and accomplished4 ,to ,brongniart is due the ,muse ,cramique at ,svres4 ,in this museum are examples of all or nearly all the famous work ever done there1 as well as a great number of examples of both porcelain and faience made elsewhere4 ,this museum is still receiving constant additions4 ,before his appointment ,brongniart was ranked as a savant in other branches4 ,he was known among the most eminent of geologists1 and in conjunction with ,cuvier he made a careful examination of the geology of the neighborhood of ,paris1 and wrote upon it a learned essay4 ,he was also a student of chemistry1 and this knowledge was most valuable after he became director at ,svres4 ,for some fifty years after #ahjj he held that post1 and during the time he gave his soul to the work he had in hand2 he encouraged the mature and he brought forward the young4 ,his work ,trait des ,arts ,cramiques is most valuable1 and is looked upon as an authority to-day4 ,illustration3 ,,fig4 #aci4--,portrait of ,alexandre ,brongniart4 ,since his day the works have been in careful and competent hands1 and admirable porcelain is still produced in many styles4 ,,marks4--,the ,vincennes mark used from #agde to #agec was the interlaced ,l's without any inclosed letter1 like the first mark of ,svres4 ,beginning at #agec the ,svres mark was the interlaced ,l's inclosing the letter ,a4 ,the marks at ,svres changed many times1 so that it is necessary to give quite a list of them as well as a table showing how the letters of the alphabet indicate the year when the piece was made4 ,the following table will help to explain the use of the letters of the alphabet when placed in the interlaced ,l's3 ,a #agec ,b #aged ,c #agee ,d #agef ,e #ageg ,f #ageh ,g #agei ,h #agfj ,i #agfa ,j #agfb ,k #agfc ,l #agfd ,m #agfe ,n #agff ,o #agfg ,p #agfh ,q #agfi ,r #aggj ,s #agga ,t #aggb ,u #aggc ,v #aggd ,x #agge ,y #aggf ,z #aggg ,,aa #aggh ,,bb #aggi ,,cc #aghj ,,dd #agha ,,ee #aghb ,,ff #aghc ,,gg #aghd ,,hh #aghe ,,ii #aghf ,,jj #aghg ,,kk #aghh ,,ll #aghi ,,mm #agij ,,nn #agia ,,oo #agib ,,pp #agic ,,qq #agid ,,rr #agie ,t#i99 #ahja ,x99 #ahjb #aa99 #ahjc ---- #ahjd _/ #ahje 3 #ahjf #g #ahjg #h #ahjh #i #ahji #aj #ahaj o4z4 7onze7 #ahaa d4z4 7douze7 #ahab t4z4 7treize7 #ahac q4z4 7quatorze7 #ahad q4n4 7quinze7 #ahae s4z4 7seize7 #ahaf d4-s4 7dix-sept7 #ahag #ah #ahah #ai #ahai ,etc41 etc4 ,illustration3 ,a comet was sometimes used as a mark in the year #agfi4 ,marks used at ,svres3 ,illustration3 ,the royal period1 sometimes with a crown 7#agec74 ,illustration3 ,hard paste first made 7#agfh74 ,republic 7#agib to #agih74 ,illustration3 ,republic 7#agib74 ,illustration3 ,consular period 7#ahjc74 ,illustration3 ,imperial manufactory 7#ahjd to #ahji74 ,illustration3 ,imperial manufactory 7#ahaj to #ahad74 ,illustration3 ,louis ,,xviii41 and the year 7#ahad to #ahbd74 ,illustration3 ,charles ,x4 7#ahbd to #ahbi74 ,illustration3 ,on plain ware 7#ahbi and #ahcj74 ,illustration3 ,on decorated ware 7#ahbi and #ahcj74 ,illustration3 ,louis ,philippe 7,august to ,december1 #ahcj74 ,illustration3 ,louis ,philippe 7#ahca to ,november1 #ahcd74 ,illustration3 ,louis ,philippe 7,november1 #ahcd1 to ,july1 #ahde74 ,illustration3 ,louis ,philippe 7#ahcg74 ,illustration3 ,louis ,philippe 7#ahde to #ahdh74 ,illustration3 ,on white porcelain 7#ahcc to present time74 ,illustration3 ,republic 7#ahdh to #ahea74 ,illustration3 ,napoleon ,,iii41 emperor 7#aheb74 ,illustration3 ,napoleon ,,iii41 emperor 7#ahed and after74 ,illustration3 ,present mark--the cut shows pieces sold in the white 7#ahfa74 ,,chapter ,,xiv4 ,,the ,,porcelains ,,of ,,southern ,,europe--,,italy1 ,,spain1 ,,etc4 ,florentine1 or ,medicean4--,is it a ,true ,porcelain8--,the ,house of ,medici4--,marks4--,doccia ,porcelain4--,the ,marquis ,ginori4--,beccheroni4--,present ,work4--,marks4--,venice4--,vezzi4--,coz zi4--,marks4--,turin4 --,gioanetti4--,marks4--,nove4--,terragl ia4--,marks4--,capo di ,monte4--,naples4--,in ,relief4--,marks4--,spanish ,porcelain4--,buen ,retiro4--,marks4--,portugal4 ,florentine 7or ,medicean7 ,porcelain4--,in the time of the #agjj's1 after the discovery of kaolin in ,saxony1 kings and princes were eager to signalize themselves by establishing porcelain-works in their states1 and upon these they spent much money4 ,it has come to light within a few years that the merchant-princes of the house of ,medici enlisted in the same cause1 and were the first to establish a porcelain-factory in ,europe2 this discovery1 made by ,dr4 ,foresi1 of ,florence1 has been confirmed by various others4 ,the question only is1 ,is it porcelain8 ,mr4 ,j4 ,c4 ,robinson1 a distinguished ,english writer1 says3 ,a discovery of some curiosity and interest in connection with the history of the manufacture of porcelain in ,southern ,europe has recently been made by the acumen of ,dr4 ,foresi1 of ,florence1 and which has the effect of antedating the manufacture by at least a century4 ,before this discovery the fabrique at ,st4-,cloud1 in ,france1 was the earliest that could be authenticated4 ,this was about the year #afie2 but the facts now brought forward prove the existence of a factory for the manufacture of a true porcelain at ,florence1 under the patronage of the ,grand-duke ,francis ,i41 about the years #aehj to #aeij4 ,for some time the doctor had observed a peculiar ancient porcelain of a fine body and glaze1 and covered with an arabesque ornament in blue1 which1 while it generally resembled ,oriental porcelain1 showed unmistakable features of ,european design4 ,it was also marked in a peculiar manner1 and1 as one mark consisted of the well-known pellets of the ,medici family arms1 he was induced to search the records of the house1 and1 to his surprise1 found--what had been overlooked by all historians of the potter's art--that the duke above named had attached to his well-known laboratory in the ,boboli ,gardens a small manufactory of porcelain4 ,by continuing his researches he at last exhumed a manuscript from the ,magliabecchian ,library1 which had been compiled by some person employed by the duke1 and which also detailed the facts connected with the composition of the ware4 ,this manufacture continued from #aege to #aehg4 ,,the ,,medici4--,the history of this remarkable family of the ,medici can never fail to interest4 ,roscoe has presented it well in his ,life of ,lorenzo the ,magnificent1 etc4 ,the origin of the family is very vague2 but the fact is well known that the founder of its greatness was ,giovanni de' ,medici 7he died #adbi71 who1 instead of grasping states and principalities with one hand1 while the other held the glittering sword1 as had for so long a time been the fashion1 seized upon the great trade which then had sprung up between the ,occident and the ,orient1 and which became vast and profitable in the hands of the merchants of ,florence1 ,genoa1 and ,venice4 ,this trade poured ducats into his coffers like the flow of a river1 and when he died he left vast stores of gold to his sons ,cosmo and ,lorenzo4 ,cosmo1 instead of degenerating into a rich man's son1 went on with the work which his father had begun2 but he conducted it as a great man should1 not as a great miser would4 ,this was true of his successors1 who continued to be merchants and bankers1 even after they had come to be grand-dukes and rulers of the ,florentine state4 ,this wealth was used1 of course1 to push their own fortunes and ambitions1 but it was used in a ducal way1 not only in the building of palaces and galleries1 but in the encouragement of the arts and of letters1 all of which increased his own glory1 while it ministered to the magnificence of the state4 ,the ,medici had ceased to be merchants long before the time of ,francis1 but it is easy to believe that the traditions of his family ran in his veins1 and that he should have been ready to attempt the production of porcelain in his city1 when the love for it and the desire for it had grown to be an influence in ,europe1 as it had in the seventeenth century4 ,nineteen specimens only are known of this earliest porcelain1 and these are in the hands of museums and of private collectors4 ,examples may be seen in the ,svres and ,kensington ,museums4 ,it seems that the best quality was made for the family of the founder1 and this bears the mark of six pellets1 each with a letter and one with a fleur-de-lis4 ,these letters1 ,f4 ,m4 ,m4 ,e4 ,d4 ,,ii41 mean ,franciscus ,medici ,magnus ,etruri ,dux ,secundus4 ,illustration3 ,,fig4 #adj4--,medicean ,porcelain4 ,we engrave here 7,fig4 #adj7 a beautiful bocca1 or pitcher1 fifteen inches high1 of this porcelain1 which is in the collection of the ,baron de ,rothschild4 ,the decoration resembles the style of maiolica known as ,raffaelesque2 the body is white and the painting of a light blue4 ,the handle is a crown1 formed by uniting those of the ,medici and of ,austria4 ,the less beautiful pieces are described as coarse1 opaque1 and of a bluish gray1 the glaze thick and vitreous4 ,this china was something between hard and soft4 ,whether this production of ,italy is really porcelain1 is open to doubt4 ,m4 ,demmin1 who is certainly entitled to great consideration1 denies it very plainly4 ,he states that the vase exhibited by ,m4 ,rothschild1 in #ahfe1 showed a break at the neck1 and that the body was not porcelain1 but a white clay--terre de pipe4 ,he states1 also1 that the five pieces in the museum of ,svres are not translucid1 and have no signs such as mark the pte tendre of ,france or ,italy4 ,english writers choose to class this under the head of porcelain1 which seems1 at least1 to be very questionable4 ,the two marks are3 ,illustration3 ,the ,duomo of ,florence and the six pellets of the ,medici4 ,,doccia 7near ,florence7--,,hard ,,and ,,soft ,,paste4--,in the beginning of the last century there existed in the north of ,italy families who had inherited wealth and honor1 and who still retained their vigor4 ,they may not have been many1 but among them the ,ginori were numbered4 ,italy has been living in the luminous glories of the art of the ,renaissance these five centuries1 and the light1 as it seems to us1 grows dim rather than glowing4 ,neither painting1 sculpture1 nor architecture1 seems to-day to have more than a thin flavor of that past1 when ,church and state1 noble and simple1 combined to welcome the advent of a new artist4 ,the production of porcelain belongs to the later time2 but it certainly1 in a limited way1 shows signs of life and of originality more than any art of the later time1 except1 perhaps1 music4 ,to-day it is not so4 ,the productions of the south--,capo di ,monte--,i have elsewhere spoken of as not being servile imitations of anything1 and as possessing much merit and originality4 ,of the productions at ,doccia ,i have seen none1 and the descriptions in books do not enable me to form any judgment4 ,of the maiolicas of ,italy1 now being reproduced largely at ,doccia1 ,i shall write hereafter4 ,the ,marquis ,ginori founded a manufactory near ,florence in #agce1 which is in a flourishing condition to-day4 ,inspired with the desire to produce work of a high character1 he spared neither trouble nor cost1 and sent a ship to ,china to procure there the clays which had secured the ,chinese porcelain its peculiar character and its great excellence4 ,not only were services for the table and other articles for social use produced by the workmen and artists under the direction of the marquis1 but almost immediately they were engaged in the production of statues and groups1 in great variety1 and some of which were half the size of life2 many were modeled from fine work of the ,greek sculptors4 ,the paste is said to have been of a high grade1 but the glaze was then lacking in the finest effects of the ,chinese potters4 ,having seen none of it1 ,i am unable to say more than that4 ,a pair of vases from this factory1 in ,walpole's collection at ,strawberry ,hill1 are described as vases with blue and white oblique flutes2 they are of coarse workmanship1 although the form is good4 ,forsyth1 an ,english traveler who visited the factory in #ahjb1 speaks of the works and the work very disparagingly1 and says the latter was then much inferior to that of ,england1 as it doubtless was4 ,in #ahba1 when the ,capo di ,monte factory1 at ,naples1 was discontinued1 the moulds were bought and taken to the ,doccia works1 and are still owned there4 ,the peculiar work in relief1 which will be spoken of under the head of ,capo di ,monte1 is now made there1 and is sold in considerable quantities1 and often for the genuine ,capo di ,monte1 from which1 of course1 it is not easy to distinguish it4 ,marryat states that this was made at ,doccia1 in the last century1 probably from moulds procured then at ,naples4 ,svres shapes and designs were imitated at ,doccia1 and a large production is now going on of the maiolica vases and dishes of the sixteenth and seventeenth centuries1 which are sold all over ,europe and in ,america4 ,in ,paris are produced copies of these1 not only in design1 but also with marks to indicate age1 intended to deceive the unwary4 ,we do not believe this of the works at ,doccia4 ,still1 one can but regret that the public demand for these copies should be so great as to forbid original work there4 ,the artist most praised is ,beccheroni1 and his painting of miniatures is spoken of as exquisite4 ,baldassini and ,tuppi are also mentioned in terms of high praise4 ,a note in ,marryat's volume says3 ,the manufactory now employs two thousand persons4 ,attached to the establishment are a fine park and farm1 schools for the children1 an academy of music for the workmen1 a savings-bank1 and everything that can be devised to promote the moral improvement of its occupants4 ,in the chapel annexed are monuments in porcelain of the deceased marquises2 and in the adjacent parochial church the high altar1 torchres1 candlesticks1 ciborium1 etc41 are all in porcelain--an offering of the ,ginori family4 ,some of the ware made here is stamped ,ginori2 others bear some one of the following three marks4 ,illustration3 ,doccia marks4 ,,venice--,,hard ,,and ,,soft ,,paste4--,pottery had been made at ,venice from an early day1 at least as far back as #aeae4 ,but1 after the production of true porcelain at ,dresden1 it seems that a rich merchant of ,venice1 named ,vezzi1 in company with some others1 engaged in the production of porcelain there1 getting his clay from ,saxony4 ,various articles were made1 and their production probably continued till about #agdj4 ,but it was not a success1 owing1 besides other causes1 to the fact that the clay had to be transported so far4 ,it could not1 of course1 compete with the works at ,dresden4 ,some few examples of this exist1 but very few4 ,the mark of ,vezzi's factory was the letters1 painted or stamped1 ,ven,a1 a contraction for ,venezia4 ,later1 about #agec1 a ,german named ,hewelcke made some attempts at ,venice1 with no practical result4 ,cozzi's productions were of more importance4 ,chaffers quotes from an official report as follows3 ,concerning the manufactory of ,japanese porcelain1 it was commenced only in #agfe1 your excellencies were eye-witnesses of its rapid progress and therefore deservedly protected and assisted him4 ,he now works with three furnaces1 and has erected a fourth1 a very large one1 for the manufacture of dishes4 ,he has constantly in his employ forty-five workmen1 including the six apprentices whom he has undertaken to educate1 and from the date of his privilege1 in ,august1 #agfe1 down to the middle of ,december1 #agff1 has disposed of sixteen thousand ducats' worth of manufactured goods1 etc41 so that it may be fairly inferred that he will yet continue to make greater progress both in quantity and quality4 ,at these works1 for about fifty years1 a great variety was made1 such as vases1 statuettes1 both white and colored1 plates1 dishes1 services1 etc4 ,the imitations of ,chinese work were so good as to deceive many4 ,the designs of ,dresden1 ,svres1 and the ,english workmen1 were also produced here with great skill4 ,some excellent vases made at ,venice are to be found in the collections in ,europe4 ,in ,new ,york1 ,mr4 ,barlow and ,mr4 ,prime have some pieces which may be of ,venice1 or they may be of ,chelsea1 as the paste and the mark are almost identical4 ,the marks of the ,vezzi and the ,cozzi wares are as follows3 ,illustration3 ,marks of the ,vezzi and the ,cozzi wares4 ,the anchor-mark was used at ,chelsea4 ,at ,,turin and ,treviso porcelain was made in the last century2 as to the latter but little is to be said4 ,some pieces are known1 upon which is the mark ,g4 ,a4 ,f4 ,f4 and the name ,treviso in script4 ,near ,turin1 at ,vineuf1 a manufactory was established about #aggj by a physician named ,gioanetti4 ,it was noted for its fine grain and the whiteness of its glaze1 says ,chaffers2 while ,marryat says1 ,the glaze1 however1 is wavy and yellowish4 ,it was sometimes marked with a simple 1 at others with a ,v under the cross1 and again as shown here3 ,illustration3 ,meaning ,vineuf1 ,dr4 ,gioanetti4 ,,nove--,,hard ,,paste4--,porcelain seems to have been attempted at ,nove1 near ,bassano1 in ,italy1 about #ageb1 by a man named ,antonibon1 who with his son afterward continued it till #agha or later4 ,some elaborate pieces were made here1 one of which we have taken from ,marryat's book1 because it seems to possess1 what so few do1 excellence and originality4 ,it is in the ,reynolds collection in ,england1 and is some twenty-seven and a half inches high--a superb piece of work 7,fig4 #ada74 ,the business passed into other hands1 and after #ahjj it gradually went to decay4 ,in #ahbe it was revived by some descendants of the first ,antonibon1 who struggled on for ten years1 but they could not sustain themselves against the capital1 the clay1 the brains1 and skill of ,saxony and ,svres4 ,they still make there1 as they always did1 maiolica1 fine and common1 and terraglia faience1 in considerable quantities and of much excellence1 called in ,france terre de pipe4 ,this terraglia1 it may be said1 is a sort of demi-porcelain1 being made of a mixture of the true porcelain clay and the native potter's clay4 ,it is susceptible of great precision of modeling and of a high finish1 and some beautiful work has been done in it in ,italy4 ,illustration3 ,,fig4 #ada4--,nove ,porcelain ,vase4 ,the marks of ,nove were usually a star or asterisk1 with six rays2 sometimes the letter ,n1 or the word ,,nove1 was added4 ,illustration3 ,marks of ,nove4 ,,capo ,,di ,,monte--,,soft ,,paste4--,this beautiful porcelain was made first at ,naples in #agcf1 under the direct patronage of the king1 ,charles ,,iv41 afterward ,charles ,,iii4 of ,spain4 ,the king was an enthusiast1 and sometimes worked in the factory himself1 and under this inspiration it is not surprising that excellent work was done4 ,but1 besides this1 very common services and figures were made later1 many of which bear the mark of the fleur-de-lis1 so that all ,capo di ,monte is not equally good or equally valuable4 ,and the same may be said of the productions of any man or any manufactory4 ,a letter written to ,lord ,chatham in #agfj says of this ,king ,charles3 ,he is particularly fond of the china-manufacture at ,capo di ,monte4 ,during a fair held annually in the square before his palace at ,naples1 there is a shop solely for the sale of a part of this china1 and a note was daily brought to the king of what was sold1 together with the names of those who bought2 and it is said he looked often favorably upon the persons who made any purchases4 ,illustration3 ,,fig4 #adb4--;,capo di ,monte4 ,the king1 being of a ,spanish family1 succeeded to the crown of ,spain in #agei1 when he carried with him many of the workmen and his own tastes1 and established there the manufactory of ,buen ,retiro1 of which is a brief account hereafter4 ,after his departure the factory languished1 lacking his interested inspiration4 ,the marked originality of the ,capo di ,monte porcelain is the designs in relief which were impressed upon the plaques1 and also upon teacups1 vases1 etc4 ,these were very delicately and carefully stippled in colors1 and this distinguishes them from imitations and reproductions which have been made in great numbers at ,florence1 and which are sold at very much smaller prices4 ,illustration3 ,,fig4 #adc4--;,capo di ,monte4 ,not only were these articles in relief and of great beauty made here1 but also very excellent1 creamy1 soft porcelain painted on the flat1 and exquisitely painted1 too4 ,the specimens ,i have seen have a character of their own1 which has the great merit of being indigenous and not an imitation4 ,the tea-services1 of which we now and then see single pieces1 are lovely4 ,illustration3 ,,fig4 #add4--;,capo di ,monte4 ,mr4 ,prime has some excellent pieces1 of both styles2 as has ,mr4 ,wales1 from whose collection we have engraved our illustrations4 ,the three pieces marked ,fig4 #adb1 #adc1 and #add1 are painted on the glaze1 and are exquisite both for design and color4 ,the single vase 7,fig4 #ade7 has two bands1 most delicately modeled and painted in relief4 ,illustration3 ,,fig4 #ade4--;,capo di ,monte4 ,work was continued with more or less success until #ahba1 when the moulds were sold to the ,doccia manufactory1 at ,florence2 but after #aghj hard paste was made at this factory1 under the patronage of ,king ,ferdinand4 ,the marks used are here given2 the earliest was a ruder form of fleur-de-lis4 ,this fleur-de-lis mark was also used at ,madrid1 and1 as the work was almost identical1 it is not easy to distinguish them4 ,demmin says the marks on the hard porcelain were a crown1 under which were sometimes the locked letters ,,re or ,,fk4 ,marks of ,capo di ,monte3 ,illustration3 ,about #aghf4 ,illustration3 ,about #agei4 ,illustration3 ,about #agei4 ,illustration3 ,ferdinandus ,rex 7#aghj74 ,illustration3 ,,fig4 #adf4--;,buen ,retiro4 ,,spanish ,,porcelain--,,buen ,,retiro4--,when ,charles ,,iii4 came to the throne of ,spain in #agei1 from ,naples he brought with him many of the workmen and much of the skill which had produced the beautiful china at ,naples4 ,these he established near his palace of ,el ,buen ,retiro1 at ,madrid1 and here his experiments and the manufacture were carried on with great secrecy and much care4 ,a letter from ,spain1 written in #aggg1 quoted by ,marryat1 says3 ,in the gardens of ,buen ,retiro the monarch has established a china manufactory1 which strangers have not hitherto been permitted to examine4 ,it is undoubtedly intended that experiments shall be secretly made1 and the manufacture brought to some perfection before it be exposed to the eyes of the curious4 ,its productions are to be seen nowhere except in the palace of the sovereign1 or in some ,italian courts1 to which they have been sent as presents1 etc4 ,during the ,napoleonic wars1 when ,spain was overrun with troops1 the factory was destroyed 7#ahab71 and it has not been restored4 ,the single illustration 7,fig4 #adf7 is a very beautiful small vase1 from ,mr4 ,wales's collection4 ,it is exquisitely painted1 and closely resembles the porcelain of ,capo di ,monte4 ,marks supposed to have been used at ,buen ,retiro3 ,illustration3 ,the same as ,ludwigsburg4 ,illustration3 ,the same as ,capo di ,monte4 ,illustration ,some porcelain has been1 and ,i believe still is1 made at ,alcora4 ,in ,,portugal1 at ,oporto1 porcelain has been made since #agij1 of no supreme qualities4 ,it is rather singular that the people who first introduced the fine porcelains of ,china and ,japan into ,europe1 who1 for some two centuries1 had almost uninterrupted control of the commerce1 who brought it by ship-loads to all the countries of ,europe1 should apparently have had less interest in the subject than any other1 should have less of it to show to-day than most others1 should have made less effort to produce it in the past1 and should be doing almost nothing to-day4 ,but countries1 like men1 have their manhood and their dotage1 and then they pass out of the active life of the world3 such seems to be the condition of ,portugal to-day4 ,,chapter ,,xv4 ,,the ,,porcelains ,,of ,,england4 ,bow4--,chelsea4--,derby4--,chelsea-,der by4--,lowestoft4--,worcester4 --,chamberlains4--,plymouth4--,bristol4- -,pinxton4--,nantgaraw4--,swansea4 --,turners4--,coalport4--,coalbrookdale4 --,herculaneum4--,shelton1 ,new ,hall4--,rockingham4--,spode1 ,copeland4--,place4--,daniell4--,minton4 --,prices and ,marks4 ,in ,england1 following the discovery and production of porcelain in ,saxony1 there sprang up a very wide interest in the art4 ,it was not an interest which enlisted all classes there--as1 indeed1 it did not anywhere in ,europe2 but among persons of taste and wealth it became of such importance as to be a fashion4 ,the discovery of kaolin-clay in ,saxony stimulated enterprising men to seek for it elsewhere4 ,there is much doubt yet1 and there has been a vast amount of time spent upon the question in ,england1 as to when and where the production of china first took place in that country4 ,it is not for me1 here in ,america1 to make any attempts to solve it4 ,what ,i may do is to try to present to our own people1 in some compact and readable form1 what ,marryat1 ,chaffers1 and others in ,england1 have arrived at after much patient research and comparison4 ,some of the most useful and most important works on pottery and porcelain--of which enough have been written to form a library of themselves--will be mentioned at the end of this book2 for in all of them much is to be found of value to those who care to go into this curious and interesting branch of art-production more fully than any one volume will enable them to do4 ,from these facts--that many of the manufactories in ,england had but a short career2 and that the work produced1 in many cases1 had no marks1 or had a great variety of marks2 that in some cases but little work was made1 and that of that little much has disappeared--a surprising interest has come to be attached to that which remains2 and in some cases surprising prices have been paid for it1 and are now paid4 ,it is for these reasons1 rather than for its intrinsic beauty1 that most ,english porcelain is so eagerly desired4 ,it is not generally remarkable for perfection of form or of paste1 or for originality or beauty of color and ornament2 but in some cases all of these are to be found4 ,the early paste of the older factories1 such as ,bow and ,chelsea1 is considered inferior to the best ,chinese and ,japanese1 and to the early ,dresden and ,svres4 ,afterward the paste was greatly improved1 until now that made at the porcelain-works at ,worcester1 and at some other of the ,english factories1 is not surpassed anywhere4 ,it seems to me that the ,english modelers have not cultivated that sense of perfection of form and grace of line which was so wonderful in ,greece1 and in which the ,french modelers excel the ,english4 ,it may be that the desire for strength1 which seems to inspire most ,english porcelain1 has demanded the sacrifice of that delicacy1 thinness1 and niceness1 which have for a long time prevailed in ,france4 ,but the ,english porcelain is noted for its strength and wearing quality2 it is certainly superior in this respect to most of the ,french work4 ,whoever has interest enough in the subject should visit1 when in ,england1 the porcelain-works at ,worcester1 now conducted by ,mr4 ,binns4 ,here he can see all the processes going on1 by means of which the teacup and the dinner-plate are brought to perfection4 ,it is not a simple matter4 ,several kinds of clays are to be got together--some from ,england2 some1 perhaps1 from elsewhere4 ,these are ground to such an impalpable fineness that they are floated away in water1 and are allowed to settle into tanks1 from which1 when in the right condition1 they are taken to the moulder for use4 ,the collecting1 the mixing1 the grinding of these clays is the result of much brain and hand work--a great deal more than most men are obliged to use in getting into ,congress or ,parliament1 or in writing a book4 ,as the dexterous potter moulds upon his wheel the forms of the ,greek amphora or the ,chinese teacup1 they seem to spring under his hand as if touched by the fairy's wand4 ,i think no one can see this work grow without a feeling of surprised pleasure2 and1 after witnessing it1 no one can fail to have a greater satisfaction at seeing and using the various objects of use and beauty1 to be found now in every house--a satisfaction increased by knowledge4 ,even in the ordinary mug or jug which costs a sixpence1 are often to be detected great knowledge1 much art4 ,we do not give the workman half his due when we fail to feel how much we owe to him4 ,an eye to see the beautiful1 the good1 the true1 is to be prayed for4 ,when the turner and modeler has perfected his pot1 it has to go through its firings1 glazings1 paintings1 until it comes to us a perfected work1 which we too often hardly look at4 ,it is only a jug6 ,there is more than the money's worth in every good piece of cabinet-work1 iron-work1 woven fabric1 etc42 for with every honest workman's hand goes a part of his soul3 he gives it willingly1 gladly4 ,,bow--,,soft ,,paste4--,the small village of ,stratford-le-,bow1 in ,middlesex1 now1 ,i think1 a part of ,london1 is believed to be the place where a china-factory was first established in ,england1 and some suppose it may have been as early as #agcj1 though #agdd is the earliest authentic date mentioned4 ,mr4 ,chaffers#ae says--and it has some interest to us ,americans1 as perhaps showing whence the old and great ,england drew its first porcelain life--,william ,cookeworthy1 of ,plymouth1 writing to a friend in #agde1 says3 ',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 quest of mines2 and having read ,du ,halde1 he discovered both the petunze and 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 rises4 ,they can import it for thirteen pounds sterling the ton1' etc4 ,it seems probable or possible that this earth was used to some extent in the earlier productions at ,bow1 as it is mentioned in the application of the company for patents1 and as it appears that some hard porcelain is found among the earlier examples existing1 in which this kaolin was perhaps used--called by the natives unaker4 ,the enterprise at ,bow was purely a private one1 originating with ,edward ,heylin1 a merchant1 and ,thomas ,frye1 a painter4 ,unlike the works at ,meissen1 ,svres1 and indeed many others on the ,continent1 none of the factories in ,england had the assistance of the ,government4 ,the ,bow works were afterward carried on by ,crowther and ,weatherby4 ,in the ,british ,museum is a large punch-bowl1 made at ,bow and painted by ,thomas ,craft1 which is accompanied with his certificate4 ,this statement shows that the works at ,bow at that time 7#agfj7 had become extensive1 if not profitable1 for he mentions1 ,they employed there three hundred persons2 about ninety painters 7of whom ,i was one71 and about two hundred turners1 throwers1 etc4 ,the examples existing1 and recently-discovered documents1 go to show that the paste or body at ,bow was not of supreme excellence1 and not at all equal to that made on the ,continent at that time4 ,the painting was in a variety of designs1 as appears by some memorandum-books1 still existing3 ,blue ,newark pattern1 sets of blue teas1 a dinner-service1 blue and pale as you please4 ,tea-sets were evidently much made1 and white bud-sprigs1 sprigged tea-sets1 and ,dresden sprigs1 are mentioned4 ,while all the first work at ,bow was hand-painted1 it appears that later1 about #agef1 printed or transfer work was used there2 this1 of course1 secured cheaper sets4 ,a great variety and number of figures1 such as shepherdesses1 birds1 animals1 hunters1 ,chinese figures1 etc41 were made at ,bow as well as at ,chelsea1 which1 of course1 have been much sought for1 and have sold at high prices4 ,though these figures are not desirable as pieces of sculpture1 many of them are interesting as showing the dresses of the day1 especially such figures as ,woodward the actor1 and ,mistress ,kitty ,clive1 who were modeled at ,bow4 ,much confusion exists as to what is ,bow and what is ,chelsea1 as the styles of work run much together4 ,many pieces of each factory bore no mark4 ,some of the best-known marks will be given at the end of this account2 but it may be well to say that the incised triangle1 which for a long time was supposed to be a sure indication of ,bow1 is now placed with ,chelsea4 ,some pieces marked ,new ,canton are known to be ,bow4 ,it is curious to note that he who would be a good salesman in those good old times1 must do what salesmen in these later and baser times are sometimes tempted to do4 ,let me explain4 ,mr4 ,bowcocke was a manager or salesman at ,bow1 and he kept a note-book1 in which are written down his doings with ,mrs4 ,mc,nally1 a good customer of the wares3 ,oct4 #af4--;,bought a china figure for ,mrs4 ,mc,nally #ds4 ,painting #as4 #c;d4 ,treating ,mrs4 ,mc,nally1 wine #as4 ,went to see her home from the play #as4 ,paid #b;d4 ,if that were the only transaction1 think of it6 ,sales #es4 #c;d4 ,expenses of same #bs4 #d;d4 ,not lucrative to the ,bow salesman6 ,the ,bow works continued with varied success until about #agge to #aggf1 when the moulds1 implements1 etc41 were sold to ,mr4 ,duesbury1 who transferred and merged all into the greater works at ,derby4 7,see ,,derby47 ,marks on ,bow porcelain3 ,illustration3 ,these are found on some pieces4 ,illustration3 ,positions vary4 ,illustration3 ,the triangle now is given to ,chelsea1 possibly to ,derby1 not to ,bow4 ,illustration ,illustration ,,chelsea--,,soft ,,paste4--,the porcelain-works at ,chelsea1 near ,london1 were begun before the year #agdg1 by some workmen brought from ,burslem and elsewhere2 a little later1 in #agdh to #agdi1 they were more firmly established1 under the direction of a foreigner named ,sprimont1 or ,spremont4 ,the works were carried on by him until about the year #agfi1 when they were advertised for sale1 and he retired from the business4 ,some very expensive1 elaborate1 and beautiful vases were made by him1 of which two in the possession of ,earl ,dudley are said to be hardly surpassed by anything made at ,dresden or ,svres4 ,the price paid for one of them1 in #ahfh1 was two thousand pounds sterling4 ,the first work made seems to have been in imitation of ,chinese porcelain1 and it is doubtful if much original designing was done at ,chelsea4 ,chaffers says3 ,the fine vases in the ,french style1 in imitation of ,svres1 with gros bleu1 crimson1 turquoise1 and apple-green1 were made from about #agfj to #agfe4 ,the illustration given 7,fig4 #adg7 is one of their most highly-decorated vases1 and is unquestionably brilliant4 ,but it has the vice1 as it seems to me1 of over-decoration2 there is no restraint1 none of the delicacy of true art4 ,the form1 too1 lacks perfectness in many ways4 ,the want of invention or original design in ,england would seem to indicate that porcelain was not a natural or spontaneous art there4 ,in ,france and in ,saxony1 on the contrary1 while much of the taste is questionable1 and some of it bad1 many original and peculiar works were designed and executed4 ,this was not the case in ,england2 and1 indeed1 excepting ,wedgwood1 we can hardly point to any conspicuous examples of creative power4 ,here the god of ,trade comes in1 for it pays better to copy than to create4 ,illustration3 ,,fig4 #adg4--;,fine ,chelsea ,vase4 ,about #agfi the ,chelsea works went into the hands of ,duesbury1 of ,derby1 who carried them on in connection with his ,derby works until about #aghd1 when all were transferred to ,derby4 ,the paste or body used at ,chelsea was so soft and tender that it was nearly valueless for works of use4 ,it was therefore confined to articles of beauty and luxury1 such as vases1 bowls1 dishes1 cups1 and tea-services2 also to figures in great variety1 like those made at ,bow4 ,these are much1 sought for1 and command high prices4 ,they have been counterfeited to some extent4 ,one very curious incident is quoted by ,marryat1 from ,faulkner's ,history of ,chelsea3 ,mr4 ,h4 ,stephens was told by the foreman of the china-factory 7then in the workhouse of ,st4 ,luke's1 ,middlesex71 that ,dr4 ,johnson had conceived a notion that he was capable of improving on the manufacture of china4 ,he visited the factory with his house-keeper1 had access to the various mixing-rooms1 made his own composition1 had them baked1 etc41 but always completely failed4 ,the doctor retired in disgust4 ,that the brain of the purblind1 the prejudiced1 the arrogant ,british philosopher should have thought of many things1 and should have believed himself capable of any and all things1 is not surprising2 but the sight of him in a porcelain-factory might well enough have originated the stories in history of the bull in a china-shop4 ,one might be pardoned for paying a good penny for a teacup modeled by the dexterous hands of ,dr4 ,johnson4 ,another curious fact which may interest and encourage us in these trading-times is1 that the proprietors of the ,chelsea works were then obliged to protest and petition against the smuggling of ,french and ,dresden porcelain into ,england for sale in quantities1 under the cover of the ministers' privilege to import for their own use4 ,so1 if all the men in the days of our fathers were brave1 they certainly were not all honest4 ,at the sale of the ,bernal#af collection1 in #ahee1 some ,chelsea china sold as follows3 ,a pair of beautiful globular scalloped vases and covers1 deep blue1 painted with exotic buds1 with pierced borders and covers of the highest quality #aaj #es4 ,a cup and saucer1 with festoons in raised white 7chipped7 #a #as4 ,another1 with flowers and crimson drapery edges #c ,a beautiful two-handled cup and saucer1 with medallions of ,cupids in pink1 and striped gold sides #ba ,mr4 ,marryat mentions the sale of some ,chelsea in #ahfe3 ,at ,lord ,cardogan's sale1 a pair of vases1 painted with exotic buds on gold ground #fj guineas4 ,a two-handled vase1 open-work back and cover painted with flowers1 on a gold ground1 seventeen inches high #bej guineas4 ,a fine figure of a female holding a branch1 a lion at her feet1 penciled in gold #ajj guineas4 ,fifteen plates of old ,chelsea1 blue and gold1 fetched #aej ,there are but few examples of ,bow and ,chelsea in this country4 ,mr4 ,prime1 and ,mr4 ,barlow1 of ,new ,york1 ,i am told1 have some pieces4 ,mr4 ,wales has a bowl1 and cup and saucer1 in very rich1 warm colors1 being designs from china1 which are no doubt ,chelsea1 and excellent work4 ,they are shown in ,fig4 #adh1 on the right-hand corner1 but this cannot1 of course1 give any idea of the fine coloring4 ,illustration3 ,,fig4 #adh4--;,english ,porcelain4 ,marks of ,chelsea porcelain3 ,illustration ,,derby--,,soft ,,paste4--,the ,derby china--and the ,crown ,derby1 now most known--was famous in its day--from about #agej to the end of the century--and from ,derby1 in ,england1 it was sold to a very wide extent over ,europe4 ,specimens are met with in ,holland1 ,italy1 ,spain1 etc4 ,the factory was established by ,william ,duesbury1 and was1 after his death1 carried on by his son2 by a ,mr4 ,reeve1 who married the widow2 and1 in #ahae1 it went into the possession of ,robert ,bloor4 ,the works were not finally closed till #ahdh4 ,duesbury1 who purchased the moulds and property of both the ,bow and the ,chelsea factories1 carried on the works at ,derby and at ,chelsea for some time2 and much of the porcelain made at that time is called ,chelsea-,derby4 ,the early mark of the ,derby was a capital ,d1 and the ,chelsea-,derby mark is the same ,d1 with the ,chelsea anchor in its middle4 ,the crown with the anchor1 or with crossed lines and dots1 and sometimes with the ,d under it1 was used after the patronage of ,george ,,iii4 had been extended to the works 7about #aggg71 and is now most commonly found upon the best work of this factory4 ,after #ahae ,bloor's name is found upon the work4 ,during the best portion of ,duesbury's time1 dinner1 dessert1 breakfast1 and tea services1 of great richness and splendor1 were made2 and at that time the patronage of nobility and gentry was more generous than it had been to any other ,english factory4 ,duesbury carried to great perfection the combination of a rich blue with gold1 not only in his vases1 urns1 etc41 but also as edges to his dinner and tea services4 ,he has brought the gold and blue to a degree of beauty never before obtained in ,england1 and the drawing and coloring of the flowers are truly elegant1 writes a tourist in #aggg4 ,in the examples ,i have had an opportunity of seeing1 this is true2 but one is obliged to feel in this1 as in almost all the fine china of ,england1 a lack of perfection and delicacy in form and modeling4 ,groups and figures were made in great variety and number at ,derby1 upon which no splendor or expense of gold and color was spared4 ,these are found in nearly all the good collections of ,england and the ,continent4 ,at this time--the end of the last century--it was much the fashion for ladies to paint1 for their own use and for gifts1 single pieces1 and indeed whole sets2 and the white china of ,derby was often sold for that purpose4 ,these amateur productions occasionally find their way into the shops1 and naturally perplex the collector4 ,duesbury's prices were not high4 ,in an invoice extant we find3 ,pair of knotting figures1 finely enameled and gilt #b #bs4 ,twenty-four dessert-plates1 in medallions and grapes1 each #acs4 ,three large punch-bowls1 painted1 ye allusion of stag-hunting1 hare-hunting1 and fishing2 each #dbs4 ,great care was taken that nothing but perfect work went from1 the factory2 this kept the character of the ,derby works high4 ,but it filled their shops with many seconds4 ,when ,mr4 ,bloor came into possession1 of the factory1 these seconds were sold by auction in various parts of ,england2 and this greatly injured the name and fame of ,derby1 from which it did not recover4 ,the ,bernal sale records of ,chelsea-,derby and ,derby3 ,five old ,derby plates1 with ,cupids in pink and flower borders #i ,three of ,derby-,chelsea1 with bases and deep-blue borders #b #abs4 #f;d4 ,a two-handled cup1 cover1 and saucer1 with landscapes and roses on a yellow ground #ag #fs4 #f;d4 ,none of these were the best work1 and brought but corresponding prices4 ,marks used on ,derby porcelain3 ,illustration3 ,duesbury 7#agef74 ,illustration3 ,derby-,chelsea 7#aggj74 ,illustration3 ,first in lilac1 then in red4 ,illustration3 ,crown ,derby 7#aghj74 ,illustration3 ,sometimes ,d is in old ,english--,d 7#aghj74 ,illustration3 ,imitation of ,svres 7#agih74 ,illustration3 ,imitation of ,chinese4 ,illustration3 ,probably workman's mark4 ,illustration3 ,sometimes in oval 7about #ahcj74 ,,lowestoft--,,soft ,,and ,,mostly ,,hard ,,paste4--,much uncertainty1 discussion1 and perplexity1 have prevailed concerning the porcelain made at ,lowestoft1 on the eastern coast of ,england1 near ,yarmouth4 ,about #agef1 as is agreed to by both ,marryat and ,chaffers1 a gentleman named ,luson attempted a manufactory of pottery and porcelain there1 which was not successful4 ,shortly after another was attempted1 which for a time succeeded well2 in this ,mr4 ,robert ,browne was the principal man4 ,pottery and porcelain were made here in great variety and in considerable quantities--much of it for exportation1 and especially for the ,turkish markets2 and some of it appears to have been marked with a crescent1 like that made at ,worcester4 ,but1 as a rule1 no marks1 either of the factory or the painter1 were used at ,lowestoft4 ,not only was pottery1 or earthenware1 made here1 but the early porcelain was soft ware4 ,mr4 ,chaffers states that1 about #agge1 hard paste was made there in close imitation of ,chinese4 ,he states1 also1 that some of the heavier pieces1 like tureens and punch-bowls1 had a sort of uneven surface1 as if it had been patted into shape by the hand or a tool4 ,this patted or uneven surface is a defect2 but as this is found also in heavy pieces of porcelain1 which are ,chinese beyond question1 it ceases to be a distinguishing mark of ,lowestoft work--if1 indeed1 it is a mark of it at all1 which one may be permitted still to doubt4 ,some of the work reached great perfection1 and the egg-shell cups1 etc41 made there are said to be equal to any others made in ,europe4 ,among the peculiar decorations were hares' heads for handles1 fruits for knobs of covers1 doubled handles to mugs1 braided or crossed1 which are asserted to be quite distinct from ,oriental designs4 ,another striking variety is the fan and feather pattern1 in imitation of ,capo di ,monte1 painted in purple1 blue1 and red1 in the form of basins and ewers4 ,many of these vases are elaborately painted1 with diaper-work in gold1 and colors1 and escutcheons of flowers1 and small landscapes4 ,among all the flowers and exquisite floral patterns the rose predominates1 and it is remarkable how easily the peculiar touch of the artist--whose name was ,rose--can be detected4 ,another style of decoration peculiar to ,lowestoft is a rococo scroll or running border of flowers1 slightly raised upon the plain surface in opaque white enamel4 ,in the collection of ,mr4 ,j4 ,v4 ,l4 ,pruyn1 at ,albany1 is quite a large dinner-service with the rose-decoration1 which we can easily believe to be true ,lowestoft4 ,the colors are not brilliant1 nor is the glaze perfect4 ,the paste lacks the whiteness of the best ,chinese1 and is lighter than any true ,chinese porcelain ,i have seen4 ,some persons in this country think that many or most of the dinner and tea services ordered in the ,united ,states during the last century1 and which it was supposed were made in ,china1 really came from ,lowestoft through ,liverpool or ,bristol2 among them those sets which bore initials in a sort of shield1 and were finished on the edges with a deep-blue band studded with gold stars4 ,it seems certain that this kind of decoration was done at ,lowestoft2 it is equally certain that it was also done in ,china1 from designs sent out there4 ,i have myself some pieces so decorated1 which were imported direct from ,china to ,new ,haven about the end of the last century4 ,illustration3 ,,fig4 #adi4--,lowestoft ,porcelain4 ,the perplexity and discussion existing as to the hard-paste porcelain made at ,lowestoft have been increased by the statements made by ,mr4 ,marryat and ,mr4 ,jewett1 in ,england1 that much white undecorated porcelain was imported into ,lowestoft from ,china1 and was painted in ,england4 ,some of the forms and decorations made at ,lowestoft are so like those made in ,china that it has been almost impossible to distinguish them4 ,to a person not interested1 this will seem a matter of the very slightest consequence2 to a china-fancier quite the contrary4 ,sydney ,smith1 you will remember1 said it was strange1 but quite true1 that there were persons living who spoke disrespectfully of the equator1 but we should bear with them and pity them4 ,this advice we must apply to those who care nothing about porcelain4 ,mr4 ,chaffers1 in his work1 ,marks and ,monograms on ,pottery and ,porcelain1 presents very strong and varied testimony to show that no white porcelain was imported from ,china and painted at ,lowestoft2 that the hard paste made at ,lowestoft is quite different1 and not so hard as that made in ,china1 and need not be confounded with it4 ,my own belief is that much of what is called ,lowestoft1 both in ,england and in the ,united ,states1 was made in ,china4 ,we engrave 7,fig4 #adi7 a pretty tea-service from ,mr4 ,wales's collection1 which will recall to many of our readers what they have seen on their grandmothers' tables any time in this century4 ,it is a style of decoration which was done at ,lowestoft1 and also in ,china4 ,no marks were used on the ,lowestoft4 ,illustration3 ,,fig4 #aej4--,lowestoft ,plate4 ,the next illustration 7,fig4 #aej71 from the collection of ,john ,v4 ,l4 ,pruyn1 ,esq41 of ,albany1 is characteristic as showing the use of the rose at ,lowestoft4 ,no better example of it probably exists in this country4 ,the paste is peculiar1 and not like much which is called ,lowestoft4 ,the plate is sixteen and a half inches in diameter1 the colors are good1 and the painting is carefully done4 ,,worcester--,,soft ,,paste4--,at ,worcester1 in the year #agea1 the ,worcester ,porcelain ,company was formed1 which has continued from that day to this4 ,dr4 ,wall1 a physician and chemist1 has the credit of being the originator of this the largest and most enduring of ,english porcelain-works4 ,the clergy of the cathedral were greatly interested1 and had much to do with the success of the company4 ,in the beginning1 it seems1 there was a large production of tea and breakfast services for domestic use2 and much of this was like the ,chinese blue and white1 copied from ,oriental designs4 ,afterward a trade sprung up with ,turkey1 and much china was made for that market4 ,many of the early marks1 and particularly upon the ,oriental designs1 were copies of those found upon pieces of ,chinese porcelain2 among which the square seal-mark 7given further on7 is most often met with4 ,the crescent1 which is a well-known ,worcester mark1 most likely came into use when the production of porcelain for the ,saracen markets became an important business4 ,it is curious to note how very large a demand for fine china came from ,turkey at that day1 and it exists still4 ,it is now some four years ago that ,i found1 in ,holland1 a large selection of high-priced china had just been made for ,constantinople1 and ,i was told then that there was always a good demand there1 and at good prices4 ,the ,turk is not altogether abominable1 though he is a most disturbing quantity in the politics of ,europe 7#ahgf to #ahgh74 ,the blue1 so much in use in the early decoration1 was not a good color1 being inclined toward black2 but afterward this was greatly improved--approaching the fine cobalt color1 though it never reached the exquisite celestial blue of ,nanking4 ,a very large production at ,worcester was in making copies of vases and other work done at ,dresden1 upon which birds1 insects1 and flowers1 were painted with great care2 so much so that1 if the paste were not different1 it might not be easy to distinguish them from the ,dresden4 ,the crossed swords and caduceus 7see ,dresden marks7 were also used as marks on these4 ,it is quite clear that those things which imitated what other nations did1 sold best at that time in ,england2 and this1 more than poverty of invention1 we may suppose induced those excellent ,english artists to copy rather than create4 ,chaffers mentions the following as the most noted painters at ,worcester3 ,pennington1 figures2 ,astle1 flowers2 ,davis1 exotic birds2 ,webster1 landscapes and flowers2 ,barber1 shells2 ,brewer1 landscapes2 ,baxter1 ,lowe1 and ,cole1 figure-subjects2 ,billingsly1 flowers4 ,illustration3 ,,fig4 #aea4--,royal ,worcester ,porcelain4 ,printing in black upon the porcelain was practised at ,worcester to a considerable extent2 and mugs with pictures of ,frederick the ,great seem to have been popular at that day1 and are much sought for now4 ,the portraits of ,george ,,ii4 and ,,iii4 were also in demand1 as well as many others4 ,the flower-painting upon this1 as upon all other ,european porcelain1 was naturalistic--copied1 as nearly as possible1 from ,nature4 ,good as much of it is beyond question1 it fails to give to most persons the gratification which comes from the ,oriental treatment4 ,the last is decoration1 the first is imitation4 ,illustration3 ,,fig4 #aeb4--,worcester and ,spode ,porcelain4 ,the rich dark blues1 lighted up with much gilding1 is a characteristic of some of the best ,worcester work1 as well as that made at ,derby4 ,without reaching the fine translucency of the ,dresden and ,svres paste or body1 that at ,worcester was a great advance upon the other ,english factories1 inasmuch as it was strong and durable2 and the glaze was also better2 it did not craze--shoot into cracks--like much of that made at ,derby4 ,in #aghc the works went into the possession of the ,messrs4 ,flight4 ,in #agic they were carried on by ,flight and ,barr4 ,in #ahdj they were controlled by ,chamberlain2 and at the present time 7#ahgf7 they are in charge of ,mr4 ,k4 ,w4 ,binns1 who employs a great force1 and produces much excellent work1 and some which may be called exquisite4 ,his imitations of ,limoges enamels and ,chinese ivory-work are perfect2 as it seems to me1 quite too good4 ,i should like to see such perfection applied to genuine work and to original design4 ,he has also made a specialty of reproducing curious examples of ,japanese1 ,chinese1 and ,corean porcelain1 sometimes identically and sometimes in modified forms4 ,we engrave 7,fig4 #aea7 a fine example of the latter from the collection of ,messrs4 ,tiffany and ,company1 of ,new ,york4 ,among our illustrations 7see ,fig4 #adh7 are two plates containing portraits of ,sir ,isaac ,newton and ,albert ,drer4 ,the colors are red1 brown1 and gold2 also a teacup and saucer1 most delightfully and richly painted4 ,these are in the possession of ,g4 ,w4 ,wales1 ,esq41 of ,boston4 ,in ,fig4 #aeb is a teapot in rich blue and gold1 part of a set belonging to ,mr4 ,w4 ,c4 ,prime4 ,this has the mark of ,bristol1 but1 as it is soft paste1 it is probably ,worcester4 ,marks of ,worcester porcelain3 ,illustration3 ,worcester crescent 7#agee74 ,illustration3 ,used down to #agic4 ,illustration3 ,used by ,dr4 ,wall4 ,illustration3 ,imitation ,chinese4 ,illustration3 ,imitation ,oriental4 ,illustration3 ,imitation ,oriental4 ,illustration3 ,imitation ,dresden4 ,illustration3 ,imitation ,dresden4 ,illustration3 ,imitation ,dresden4 ,illustration3 ,messrs4 ,flight 7#aghc to #aghh74 ,illustration3 ,flight and ,barr 7#agic to #ahjg74 ,illustration3 ,barr 7#agic to #ahjc74 ,illustration3 ,barr1 ,flight and ,barr 7#ahjg to #ahah74 ,the marks used at the present time at ,worcester 7#ahgf7 are as follows3 ,illustration3 ,in use since #aheb4 ,illustration3 ,in use since #aheg4 ,,chamberlain',s--,,worcester4--,in #aghf ,robert and ,humphrey ,chamberlain began a porcelain-factory at ,worcester4 ,robert had learned the business in the old ,worcester works1 and was an accomplished man4 ,some splendidly-decorated porcelain was made by them2 and a breakfast-set1 made for ,lord ,nelson1 is quite famous4 ,pieces of it are found in collections4 ,the ,chamberlains employed the best painters1 and paid high wages4 ,their expensive work was made rich with much gold4 ,a dessert-service in the possession of ,mr4 ,w4 ,c4 ,prime1 of ,new ,york1 shows this1 and is brilliant and effective4 ,we engrave one of the plates 7,fig4 #aeb74 ,the birds are tropical1 and fine in color1 and the plants are bordered with gold4 ,the ,chamberlains' factories are now incorporated with the ,worcester ,company1 under the charge of ,mr4 ,binns4 ,the ,chamberlains' first mark was the name ,chamberlain1 written with a brush in a running hand4 ,afterward a stamp was used1 containing a crown and the names ,chamberlain and ,company1 and ,worcester4 ,then the names simply of ,,chamberlain1 ,,worcester4 ,marks of ,chamberlain porcelain3 ,illustration ,illustration ,illustration ,,plymouth--,,hard ,,porcelain4--,the first true or hard-paste porcelain made in ,england was made by ,william ,cookworthy1 who1 being greatly interested in porcelain-making1 established a factory at ,plymouth about #agfj4 ,he seems to have discovered the true kaolin clays in ,cornwall1 the beds from which so much of the ,english clays are now taken4 ,he took out patents for a kind of porcelain newly invented1 composed of ,moorstone or growan1 and growan clay1 found in ,devon and ,cornwall4 ,he advertised for painters1 and a ,frenchman named ,soqui seems to have been very skillful4 ,bone1 also1 was one of his best painters4 ,the ware made was perfect hard porcelain1 but it was much more costly than the ordinary soft porcelain of ,england1 and could not compete with it for price4 ,many of the pieces were warped or crazed in the strong heat necessarily used1 and the loss in this way was great4 ,besides this1 the good public did not care to pay high for what then had no prestige1 and was really no more beautiful than the soft-paste porcelain of ,england4 ,as the first hard-paste porcelain made in ,england1 and as but little of it was made1 it is now valued by china-collectors1 and it sells for high prices4 ,some highly-finished dinner and tea services made there1 like the ,nanking blue1 are excellent1 and are much valued4 ,vases and other pieces painted in colors1 with birds and other highly-colored designs1 were also produced in the same styles as those made on the ,continent4 ,figures1 also1 then much in fashion1 were modeled here1 like those made at ,chelsea and elsewhere4 ,cookworthy spent much money1 and made none1 and he came to his end4 ,at last1 in #aggd1 he sold his interests and patents to ,champion1 of ,bristol1 and the work ceased4 ,the mark used was the sign of the planet ,jupiter--very nearly the figure #d4 ,it was somewhat varied4 ,marks used on ,plymouth porcelain3 ,illustration3 ,marks used on ,plymouth porcelain ,,bristol--,,hard ,,paste4--,the production at ,bristol grew out of that at ,plymouth1 of which we have given a brief account4 ,richard ,champion1 merchant1 of ,bristol1 was a man of much activity and ability4 ,he took up the making of porcelain with eagerness1 and is said to have produced both soft and hard china at his factory4 ,the hard paste was used after his purchase of the patents1 etc41 of the ,plymouth factory in #aggd4 ,besides some very indifferent porcelain1 some very beautiful work was made at ,bristol2 and for two or three years there was much activity there4 ,but ,champion1 having no technical knowledge or skill1 and but insufficient capital1 soon failed1 and the work ceased in #aggg4 ,he emigrated to ,south ,carolina1 where he died in #agia4 ,so little of this ,bristol hard porcelain was made that it now brings great prices4 ,blue and white tea and dessert services1 in the style of the ,chinese1 were made there1 as were many articles decorated with flowers4 ,walpole mentions1 in his list of prices1 a cup and saucer1 white1 with green festoons of flowers1 of ,bristol porcelain4 ,marryat refers to a fine tea and coffee service made for ,edmund ,burke in #aggd1 who presented it to a ,mrs4 ,smith1 who had entertained him during his election4 ,he says3 ,the china is rich in gilding1 the design elegant1 and the execution good4 ,mrs4 ,james1 of ,cambridge1 has one or two cups and saucers of blue hard paste marked with the in gold--not in blue1 which was the usual mark of ,bristol2 but there is little doubt that these are true ,bristol4 ,marks found on ,bristol porcelain3 ,illustration3 ,about #aggc4 ,illustration3 ,imitation of ,oriental4 ,illustration ,illustration ,illustration3 ,the cross is impressed4 ,illustration3 ,crossed swords of ,dresden4 ,illustration3 ,supposed to be the name of ,tebo1 a modeler4 ,,pinxton1 ,,derbyshire--,,soft ,,paste4--,about #agic to #agid a small manufactory of porcelain was started at ,pinxton by ,john ,coke and ,william ,billingsly4 ,this last had been a practical potter and an excellent painter of flowers at ,derby4 ,he had some secrets for mixing his paste1 which secured great translucency1 but it was very tender1 and easily damaged or destroyed in the kiln4 ,this peculiar paste made by him at ,pinxton1 afterward at ,nantgarw or ,nantgarow1 and at ,swansea1 breaks with a granulated fracture1 and is quite different in this respect from any other4 ,a favorite decoration was what was termed the ,french sprig1 composed of forget-me-nots and gold sprigs scattered over the plate4 ,flowers and landscapes also were painted1 and the dishes were usually finished with a blue or a gold edge4 ,no marks were used1 though a letter ,p is sometimes attributed to this factory4 ,,nantgarw--,,hard ,,porcelain4--,this porcelain-factory in ,glamorganshire was started in #ahac by the same ,billingsly4 ,he made a clear and beautiful paste1 and his productions1 whether made at ,pinxton1 ,nantgarw1 or ,swansea1 are highly valued4 ,the mark was nearly always ,,nantgarw1 impressed4 ,,swansea4--,earthen-ware was made at ,swansea as early as #agej in considerable quantities4 ,but it was not till near the end of the century that porcelain was produced there by ,messrs4 ,haines and ,company4 ,the porcelain subsequently made 7about #ahad1 and later7 is now much prized4 ,about #ahbj the ,swansea works were purchased by ,mr4 ,rose1 and all was concentrated at ,coalport4 ,both at ,nantgarw and ,swansea very free and finely-colored roses appear on the work1 probably done by ,billingsly4 ,but little of either of these factories exists4 ,marks used on ,swansea porcelain3 ,illustration ,illustration ,illustration ,illustration ,,turner 7,,thomas7 erected a porcelain-factory at ,caughley1 near ,bridgnorth1 in #agge4 ,the ,caughley works were commenced in #agea by ,mr4 ,browne1 of ,caughley ,hall1 in a small way1 for earthen-ware1 and reached little distinction until they came into the hands of ,turner4 ,turner made excellent porcelain1 and has the credit of introducing the famous ,willow-pattern--copied from the ,nanking blue2 also the blue ,dragon--into ,england4 ,the principal marks are as follows4 ,marks of ,caughley and of ,turner3 ,illustration3 ,used in #agej4 ,illustration3 ,used in #aggb4 ,illustration3 ,used by ,rose in #agii4 ,illustration3 ,various ,marks4 ,,coalport1 ,,in ,,colebrook ,,dale1 ,,shropshire4--,works were established here by ,mr4 ,john ,rose1 about #aghj to #agij4 ,the ,caughley works were subsequently incorporated with these1 as were the ,swansea and ,nantgarw works4 ,the factory is still in operation at ,coalport1 where fine porcelain is produced4 ,marks used at ,coalport3 ,illustration3 ,about #aghg4 ,,herculaneum4--,this pottery was established near ,liverpool in #agij1 by ,richard ,abbey2 about #agif it went into the hands of ,messrs4 ,worthington1 ,humble1 and ,holland4 ,porcelain was made here1 though earthen-ware was the principal production4 ,on nearly all the porcelain the name ,herculaneum is either printed or stamped4 ,the works ceased wholly about the year #ahda1 having passed through a number of hands4 ,the site is now occupied by the ,herculaneum ,dock1 at ,liverpool4 ,,shelton1 ,,or ,,new ,,hall--,,hard ,,paste4--,a small factory of porcelain grew up at ,shelton1 out of the wreck of ,champion's works at ,bristol4 ,champion appears to have sold his patents and good-will to a partnership of potters about #aggg1 and ,champion himself became their superintendent for a time at ,tunstall4 ,afterward the works were removed to the ,new ,hall1 at ,shelton4 ,the work done was hard paste1 and much like that made at ,bristol1 the same workmen and processes being employed4 ,at first hard porcelain was made1 which was stamped with an ,n4 ,after #ahaj soft paste was used1 and the mark then was ,new ,hall1 in a circle4 ,the factory went out of existence in #ahbe4 ,,rockingham4--,some admirable porcelain was made at the ,swinton pottery1 under the patronage of the ,marquis of ,rockingham1 upon whose estate the factory stood4 ,about #ahjg the works went into the hands of the two ,bramelds1 who made porcelain of the best description1 sparing no pains or cost to bring it to perfection4 ,of course1 they could make no money--it is not easy when one gives more than one gets4 ,some of the pieces of ,rockingham rank as high as any made in ,england4 ,specimens are rare in ,england1 and ,i know of none in this country4 ,the works ceased in #ahdb4 ,the mark was a griffin1 the ,rockingham crest3 ,illustration ,,spode4--,some of the richest and most beautiful ,english porcelain ,i have ever seen is marked ,spode4 ,a tea-set1 in ,fig4 #aeb 7cup and saucer1 and sugar-bowl71 is perfect in form1 paste1 and decoration2 the bands are in high colors1 and the flowers1 which appear black in the engraving1 are of a subtile blue4 ,the sugar-bowl on the right1 in the same plate 7,fig4 #aeb71 is highly and richly colored4 ,no black-and-white print can give anything of the splendor of color of some pieces of ,spode ,i saw in ,england1 or of the piece here figured1 which is from ,mr4 ,prime's collection4 ,there seems to have been no fashion or rage for this delightful work in ,england--just why1 it is not easy to explain2 consequently1 prices have not risen beyond the means of ordinary mortals4 ,the first ',siah ,spode worked as an apprentice with ,mr4 ,whieldon1 of ,fenton1 in #agdi1 at #bs4 #c;d4 or #bs4 #f;d4 per week1 if he deserved it4 ,when he became his own man1 in #aged1 he got #gs4 #f;d4 per week--quite a different wages-tale from what is now told at ,worcester4 ,his son1 ,josiah ,spode1 began the porcelain fabric about the year #ahjj1 at ,stoke1 under the firm-name of ,spode1 ,son1 and ,copeland4 ,he is said to have introduced bones into the paste--now in general use in soft porcelain4 ,in #ahcc the works were purchased by ,alderman ,w4 ,t4 ,copeland4 ,in #ahdc the firm-name was ,copeland and ,garrett4 ,afterward1 ,alderman ,copeland alone was again the proprietor4 ,his mark was two crossed ,c's1 with the name ,copeland beneath3 ,illustration ,the works are now conducted under the name of ,w4 ,t4 ,copeland and ,sons1 and the mark is nearly the same1 the only difference being that the crossed ,c's are ornamented4 ,the ,copelands are noted for the excellence of the style and finish of their higher grades of porcelain1 in which they are surpassed by no other ,english house4 ,one of their specialties is jeweled porcelain1 in which jewels are represented by colored enamels with fine effect4 ,we give an example of this in ,fig4 #aec1 from the collection of ,messrs4 ,tiffany and ,company4 ,mr4 ,,francis ,,place1 a gentleman of ,yorkshire1 made porcelain late in the #afjj's or early in the #agjj's4 ,a few examples of it only are known to exist1 and it probably was made rather as an experiment1 and did not reach a commercial circulation4 ,h4 and ,r4 ,,daniell1 of ,stoke and ,shelton1 made fine porcelain and stoneware as early as #ahbf4 ,some of this porcelain is highly praised by ,chaffers4 ,it is doubtful if we have any of it in the ,united ,states4 ,,wedgwoods4--,the old house of ,wedgwood1 founded by ,josiah--of whom ,i speak in another place--is still in active service1 and has in these later years produced porcelain of great excellence4 ,,minton',s works1 at ,stoke-upon-,trent1 are now very extensive4 ,not only is porcelain made there in great variety1 but earthen-ware and tiles largely4 ,the factory was established in #agia1 by ,thomas ,minton4 ,some of the most elaborate pieces of porcelain-work are now made there4 ,the mark is ,minton1 stamped on the pieces4 ,illustration3 ,,fig4 #aec4--;,copeland's ,jeweled ,porcelain4 ,among the principal artists in the ,messrs4 ,mintons' employ is ,m4 ,solon1 formerly of ,svres1 who has produced some exquisite vases in pte-sur-pte--a method which consists in working1 upon a dark body or paste1 designs in a white or lighter paste4 ,this1 being semi-transparent1 admits of delicate shading and modeling4 ,this fascinating and finished style of work originated1 so far as we know1 in ,france1 where some admirable pieces have been made1 more perfect even than those by ,m4 ,solon4 ,the vases by him1 which were exhibited in ,philadelphia in #ahgf1 and which were sold to ,sir ,richard ,wallace for six hundred guineas1 have a deep olive-green body1 upon which the figures seem floating1 as if they had just appeared from the dark1 or might at any moment sink into it4 ,the mystery and strength of color no one can fathom or explain1 nor can one at all put into words the ineffable satisfaction which one receives from such work as this4 ,it is gratifying to know that two pairs of these vases were bought in this country--one by the ,philadelphia ,industrial ,museum1 and one by ,henry ,gibson1 ,esq41 of that city4 ,the example which we engrave 7,fig4 #aed7 is from the collection of ,messrs4 ,tiffany and ,company1 of ,new ,york4 ,the ground is a luminous blue1 the figures in a delicate white4 ,although ,m4 ,solon has transferred his labors to ,england1 he must be regarded as the outcome rather of the ,french than of the ,english soil4 ,illustration3 ,,fig4 #aed4--,vase in ,pte-sur-,pte1 by ,solon4 ,another feature of the ,minton productions is the imitation of cloisonn work1 using porcelain instead of metal1 and painting on it with colors mixed with opaque enamels1 as is practised also in ,china4 ,we give a fine representation in ,fig4 #aee4 ,the technical excellence of the modern ,english porcelain is very great1 but it is not remarkable for originality of design4 ,the tea and dinner services shown at the ,philadelphia ,exhibition were great in number1 variety1 and excellence4 ,we give illustrations of some pieces made by ,messrs4 ,brown-,westhead1 ,moore and ,company 7,figs4 #aef and #aeg71 which were satisfactory4 ,illustration3 ,,fig4 #aee4--;,bottle1 in ,cloisonn4 ,messrs4 ,bromfield and ,son also had some excellent examples of dinner-porcelain4 ,the excellence of the paste and the finish were notable in all of the displays by the many ,english exhibitors4 ,in such an exhibition one looks1 of course1 for pieces made specially to catch the eye and excite surprise1 which might be called the gymnastics of art2 and one is usually gratified4 ,the exhibition was rich with them1 and1 of course1 they demanded attention1 and achieved their purpose4 ,illustration3 ,,fig4 #aef4--,porcelain of ,brown-,westhead1 ,moore and ,company4 ,illustration3 ,,fig4 #aeg4--,porcelain of ,brown-,westhead1 ,moore and ,company4 ,the largest and most varied exhibition was made by ,messrs4 ,daniells and ,son1 of ,london2 and they had collected their work from many potters1 some of them among the most distinguished of ,england at the present time4 ,,chapter ,,xvi4 ,,the ,,porcelains ,,of ,,northern ,,europe4 ,holland and ,belgium4--,oriental ,trade4--,weesp4--,marks4--,loosdrecht4- -,amstel1 ,old and ,new4--,marks4--,the ,hague4--,marks4--,lille4--,mark4--,tour nay4 --,marks4--,sweden4--,gustavus ,adolphus and ,charles ,,xii4--,marieberg4--,rrstrand4--,marks4 --,denmark4--,copenhagen4 --,marks4--,russia4--,peter the ,great4--,catherine ,,ii4--,marks4--,tver4--,gardner4--,mosc ow4--,popoff4--,gulena4 --,mark4--,poland4--,korzec4 ,holland ,,and ,,belgium4--,it may be said that long before ,holland attempted the production of porcelain she had been making faience or earthen-ware1 which is now well known under the name of delft1 of which ,i have given a condensed account elsewhere4 ,when one remembers that ,holland has long winters and cool summers2 that her people have not only had to fight their fellow-men1 but have had to snatch from the cruel sea a considerable portion of what is now dry land2 that she has had to build two hundred miles of broad and strong dikes1 and to see that they are always strong and safe2 and1 added to this1 has had to draw forth from the soil and the sea the food to feed her millions--when one remembers these things1 one well may wonder that there has grown up there such a love for art as has produced the most interesting school of painters in all the world2 that all over this hollow land are well-built cities and most comfortable houses1 and that in these houses are probably more fine porcelains and curious clocks1 pictures1 and tapestries1 than in any other land1 one wonders still more4 ,the two secrets which help to explain this singular success are these3 ,this necessary warfare with ,nature has made a hardy1 a patient1 and a frugal people4 ,not only has this people conquered and subdued the land--it has also conquered and subdued the sea1 and has drawn stores of wealth from both4 ,so it has come to pass that one hundred thousand men were engaged1 in the last century1 in the fisheries1 and a common saw was that the foundations of ,amsterdam were laid on herring-bones4 ,but these fisheries created a class of men who were ready to rove the ocean in search of good or gold4 ,her daring navigators soon followed ,vasco da ,gama around the ,cape of ,good ,hope1 and in due time succeeded to the trade of the ,east1 which she held for over two centuries1 and out of which she gained untold wealth2 with which she built cities and castles and churches2 with which she paid artists2 with which she stocked her houses with the finest porcelains of the ,east4 ,thus1 from that early day1 a great love for fine porcelain has existed in the ,low ,countries--what we now know as ,holland and ,belgium4 ,at the present time no field bears a better yield for the gleaner who seeks fine examples of old porcelain1 and especially of the ,oriental1 than these countries4 ,thousands upon thousands of porcelains were imported into ,holland after the year #afdj1 whence they were distributed over ,europe4 ,but ,holland could not hold her monopoly of trade2 ,france and ,england sought to grasp it1 too1 and ,england succeeded4 ,during the last century ,england has steadily drawn the trade of the ,east to herself1 and ,holland has lost what ,england has gained4 ,in the many changes consequent upon this1 many stores of good porcelain gathered in ,holland have gradually come to be sold to persons who wanted them more than the ,dutch did4 ,out of this great trade with the ,orientals it is easy to see that the ,dutch should come to be connoisseurs and lovers of porcelain4 ,it is also easy to see that a sufficient interest should spring up there1 after the discovery of true porcelain at ,dresden1 to induce persons to attempt the manufacture in ,holland4 ,this was stimulated during the ,seven ,years' ,war1 when the works at ,meissen 7,dresden7 were closed1 and for a time broken up4 ,then in ,holland1 as well as in other countries of ,europe1 there was an opportunity4 ,the love for porcelain had grown great after the discoveries at ,dresden1 and the demand for it was vastly increased4 ,the disturbances in ,saxony1 amounting to prohibition of the manufacture1 gave other countries a possible chance to compete with the advantages of ,saxony1 which otherwise were overwhelming4 ,still1 in ,holland no great commercial success was reached4 ,in none of these northern countries has the making of fine porcelain been an assured success4 ,this is owing to many causes1 among which we may point to-- #a4 ,the genius of the people does not impel them4 #b4 ,the clay and the wood and the coal are not at their doors4 #c4 ,other nations have taken the lead and driven them from the markets of the world1 sometimes from their own4 ,in the ,low ,countries we may mention as places where the manufacture was attempted--with1 however1 only a fictile life3 ,weesp1 ,loosdrecht1 ,arnheim1 ,amsterdam1 ,amstel--old and new--,the ,hague1 ,tournay1 ,brussels1 ,luxemburg1 ,lille 7now in ,france74 ,,weesp--,,hard ,,paste4--,the first effort was made at ,weesp1 not far from ,amsterdam1 about #agfd1 during the ,seven ,years' ,war4 ,for a short time1 until #agga1 fine and white porcelain was made here1 but not in great quantities1 and the attempt was not a commercial success4 ,the marks were3 ,illustration ,at ,,loosdrecht 7,,hard ,,paste71 not far from ,utrecht1 ,de ,moll began a small factory in #aggb4 ,he made a fine quality of china1 closely following the ,dresden4 ,it had but a short existence4 ,his mark was ,m o ,l41 meaning ,manufactur oude ,loosdrecht4 ,,amstel 7,oude71 near ,amsterdam1 made the next essay 7#aghb71 and produced good porcelain2 but it could not hold its own against that which the ,english were now sending forth into the markets of the world--patriotism was not equal to cope with cheapness4 ,the mark was the letters ,a and ,d combined1 in script4 ,at ,,new ,,amstel1 nearer to ,amsterdam1 the attempt was also made1 which continued through #ahjh to #ahaj1 when it too died4 ,the mark here was also in script4 ,marks used at ,amsterdam3 ,illustration ,illustration3 ,,fig4 #aeh4--,porcelain of ,the ,hague4 ,at ,,the ,,hague1 about #agge1 both hard and soft porcelain was made1 and of great excellence4 ,more was done here than at ,amsterdam1 and the work was of superior quality4 ,some of the painting was excellent--equal to that done at ,dresden4 ,tea and dinner services of great beauty were made1 which are now and then to be bought in ,europe4 ,the examples shown in ,fig4 #aeh are a plate1 and cup and saucer1 from ,mr4 ,wales's collection4 ,the mark was a stork holding a fish1 the symbol of the town4 ,illustration ,at ,,lille 7,,soft ,,porcelain71 ,sieurs ,dorez and ,pelissier1 uncle and nephew1 were granted privileges for making porcelain as early as #agaa1 and this with that at ,st4-,cloud were the only factories at that time in ,europe4 ,but little is known of this ware1 except that it resembled that made at ,st4-,cloud1 and that it had no distinctive mark4 ,hard porcelain was afterward made there 7#aghd7 by one ,durot1 which showed great excellence1 the decoration being mostly flowers and gold4 ,these pieces are quite rare4 ,the mark was a crowned dolphin4 ,illustration ,at ,,tournay 7,,doornick7 soft-paste porcelain was made in #agej1 and a very large business was done at one time1 as many as two hundred workmen being employed in #agfb4 ,chaffers says this factory is still at work1 and that pte tendre is still made there1 which is in close imitation of that once made at ,svres4 ,the mark of the tower is sometimes referred to ,tournay1 and sometimes to the porcelain made at ,vincennes4 ,it is in doubt4 ,the other mark in gold indicates best2 in blue or red1 second-best4 ,the marks ,to and ,ty are supposed to be old marks of ,tournay4 ,the marks used3 ,illustration ,,sweden4--,that the coldest and most savage country of ,europe should be rich in anything except men and women is strange4 ,and is it8 ,according to the standards of ,england or ,america1 we may say1 ,no4 ,and yet travelers tell us that in the towns and on the country estates are houses rich with works of art1 and filled with books4 ,so far as these go they indicate wealth and leisure4 ,but the best sign of a prosperous people is not pictures2 neither is it books4 ,is it not that more than one-half her people own their lands and raise the food they eat8 ,is it not that the greedy cormorant called ,trade has not shut up most of her people in those ,bastiles called factories1 and thus degraded body and soul to the verge of1 if not into1 the gulf of pauperism and vice8 ,this helps to explain the general well-being which is still to be found in those northern countries of ,sweden1 ,norway1 and ,denmark2 but it does not fully explain whence came the first flow of wealth and the first gatherings of art into ,sweden4 ,i believe they came from the great and successful wars of ,gustavus ,adolphus and ,charles ,,xii4 ,by no possibility can war be careful of the rights of man4 ,war is intended to hurt1 to exhaust1 to consume other nations4 ,war not only takes food and munitions in the conquered country2 it takes whatever it wants and can take1 whether of necessaries1 luxuries1 gold1 or art4 ,war1 we know1 enabled the first and great ,napoleon to enrich his palaces and the museums of ,paris with the finest works of art found in the countries he overran4 ,war1 ,i do not doubt1 brought into ,sweden the beginnings of those collections which now count many of the fine pictures of ,guido and ,raphael1 of ,teniers and ,douw4 ,frugality and general well-doing have done the rest2 so that all through the south of ,sweden1 and less in ,norway1 are to be found delightful houses and cultivated people4 ,but neither ,sweden nor ,norway has made ,art the first business or first glory of life2 and well for her that they have not4 ,this is the ornament and finish of the structure1 not its body or soul4 ,we do not look1 therefore1 to find here any such institutions as those of ,meissen or ,svres4 ,illustration3 ,,fig4 #aei4--,marieberg ,porcelain and ,faience4 ,at ,,marieberg1 near ,stockholm1 in #agei1 porcelain of a good quality was made1 and continued to be made in a small way for some twenty years4 ,before this1 faience or pottery was made there1 and at ,rrstrand1 as early as #agbg4 ,some good examples were at the ,exhibition at ,philadelphia in #ahgf4 ,of the work of ,marieberg ,i know of none in this country1 except that in ,mr4 ,wales's collection1 at ,boston1 consisting of some small porcelain custard-cups and a very beautiful faience vase1 both of which we have had engraved 7,fig4 #aei74 ,the mark used3 ,illustration3 ,the three crowns and the letters ,,mb are sometimes followed by the private marks of the painters1 as in the above4 ,illustration3 ,,fig4 #afj4--,porcelain of ,denmark4 ,,denmark4--,porcelain1 it is believed1 was made at ,copenhagen as early as #agfj2 but it did not continue for a long time4 ,few specimens of this early work are believed to exist4 ,a hard-paste factory was begun in #aggb1 by ,mller1 who1 with the aid of the ,baron von ,lang1 made a company1 by which the capital was raised4 ,it did not pay1 and in #agge it became a royal factory1 and the ,government paid its annual deficit4 ,excellent work was made here1 the great aim being to equal the production at ,dresden4 ,it was up-hill work and a costly whim4 ,within a short time 7#ahgf7 the works are said to have gone into private hands1 who are prosecuting the business with vigor and skill4 ,certainly a very creditable display was made by some three or four firms of ,copenhagen at the ,philadelphia ,exhibition in #ahgf4 ,in faience and terra-cotta they have arrived at great excellence4 ,the ,greek vase has been there revived1 and copied with much precision4 ,seipsius and ,ruch are mentioned by ,marryat as the leading painters at the royal works at ,copenhagen in the last century4 ,our illustration1 from ,mr4 ,wales's collection1 is good work1 and follows the lead of the ,dresden painters 7,fig4 #afj74 ,in the ,manual of ,marks1 by ,hooper and ,phillips1 are two marks--given here--but the three wavy lines is the mark almost universally known4 ,they indicate the waters of the ,sound and ,great and ,little ,belts4 ,illustration ,,russian ,,porcelain--,,hard ,,paste4--,when ,peter ,alexeyevitch1 called ,peter the ,great--that shrewd savage--undertook to make his kingdom a power in ,europe1 he soon saw that he must create among his people wants which then did not exist4 ,in #afig he made his first pilgrimage to the dock-yards of ,saardam and the quays of ,london1 to see for himself what those nations did to make themselves rich and strong1 feared if not loved4 ,he found ships1 trade1 factories4 ,he went back to his barbarians1 and forced them to build a new port--,st4 ,petersburg 7#agjc72 set them to work to make dock-yards1 to build ships1 to organize factories2 he forced upon them new wants and new industries4 ,if he did not make them happier1 he certainly made them stronger4 ,he organized them1 combined them1 so that they moved at his own powerful will4 ,his successors1 following his example1 have made ,russia the second power of ,europe4 ,when1 in #agaf1 ,peter visited ,paris1 he carried back to his capital great store of works of art--not that he cared for works of art1 but his savage shrewdness told him these were the things which the growing and grasping nations of ,western ,europe valued2 and so he would have them1 too4 ,but ,art has had but an imitative life in ,russia1 even to this present time4 ,now1 her silversmiths1 and at least one artist1 a worker of bronze named ,lanceray1 have made such exquisite work1 and shown it at the ,philadelphia ,exhibition in #ahgf1 that one begins to believe that ,art in this savage ,russia may not forever be content to copy what some one else has done4 ,as to porcelain1 ,russia has not done much1 but yet something4 ,the ,government of ,russia1 inspired1 like the rest1 after the success at ,dresden1 with the desire to produce fine works1 at once made efforts to secure the services of accomplished men to establish a porcelain-manufactory4 ,this appears to have been done in the year #agdd1 by the ,empress ,elizabeth ,petrovna1 when good porcelain was produced1 probably in small amount4 ,in #agfe1 however1 the ,empress ,catherine ,,ii41 with her accustomed restless energy1 threw herself into the competition4 ,she enlarged the works and secured whatever was possible of artists and workmen1 and produced some of the finest porcelains of ,europe4 ,the clays used appear to have been wholly ,russian1 and her market was mostly with the rich nobility of her own kingdom4 ,still the china-fanciers of all ,europe1 then even more eager than now1 purchased the ,russian work2 and it is found in good collections1 though but little of it is offered for sale4 ,m4 ,demmin quotes from a ,russian work of #aggc3 ,il existe une fabrique de porcelaine1 situe sur la ,nva1 route de ,schlsselburg1 quatorze versts de ,ptersbourg4 ,elle fabrique des porcelaines tellement belles et fines1 qu'elles ne le cdent en rien la porcelaine de ,saxe1 soit pour la blancheur et la finesse de l'mail1 soit pour la beaut du dcor4 ,sa blancheur est mme suprieure celle de ,meissen4 ,le directeur1 l'inspecteur1 tous les matres et ouvriers sont la solde de la cour1 etc4 ,the porcelain has a fine glaze1 the paste being hard and slightly bluish2 the decorations usually highly finished in the styles prevailing at ,dresden4 ,illustration3 ,,fig4 #afa4--,russian ,porcelain4 ,the piece shown in ,fig4 #afa is a teapot1 of superior glaze and finish1 from ,mr4 ,wales's collection2 the handle and spout are peculiar1 finishing1 as they do1 with the neck and head of a bird1 ending at the base of the spout in a small wing-decoration4 ,the paste1 the glaze1 and the painting of the teapot and the cup and saucer are excellent4 ,the ,russian marks most used are3 ,illustration3 ,a mark in blue1 supposed to be an early one4 ,illustration3 ,the ,empress ,catherine ,,ii4's mark 7#agfb to #agif74 ,illustration3 ,the ,emperor ,paul's mark 7#agif to #ahja74 ,illustration3 ,the ,emperor ,alexander ,i4's mark 7#ahja to #ahbe74 ,illustration3 ,the ,emperor ,nicholas's mark 7#ahbe to #ahee74 ,illustration3 ,the mark now is a crown1 with the letter ,a in script1 ,alexander ,,ii4 ,,tver4--,about #aghg an ,englishman named ,gardner made some porcelain at ,tver1 of which so little is to be obtained that it is hardly known in collections4 ,his mark seems to have been illustration3 symbol1 the monogram in ,russian letters of ,a4 ,gardner1 and sometimes the full name in ,russian characters4 ,,moscow4--,in #ahcj some porcelain was made at ,moscow by ,a4 ,popoff1 a piece of which is in the ,south ,kensington ,museum1 marked with his name in ,russian characters4 ,there seems also to have been porcelain made at ,moscow by ,m4 ,gulena1 of which little is known4 ,his mark was the initial letters of ,fabrica ,gospodina1 and his own name1 in ,russian characters4 ,illustration ,,poland4--,at ,korzec1 in ,poland1 in #ahjc1 a ,frenchman named ,mrault1 from ,svres1 made porcelain for a few years1 probably in small quantity2 and a mark upon some pieces of his is a triangle containing an eye4 ,,chapter ,,xvii4 ,,pottery ,,and ,,porcelain ,,in ,,the ,,united ,,states4 ,the ,first ,porcelain made here4--,bonnin and ,morris4--,franklin ,institute4--,william ,ellis ,tucker4--,tucker and ,hemphill4--,thomas ,tucker4--,general ,tyndale4--,porcelain of ,t4 ,c4 ,smith and ,sons4--,early ,advertisements4--,josiah ,wedgwood4--,lord ,sheffield's ,report4--,alexander ,hamilton's ,report4--,history of ,norwich4--,samuel ,dennis1 ,new ,haven4--,isaac ,hanford1 ,hartford4--,gallatin's ,report4--,the ,washington ,pitchers4--,lyman and ,fenton1 ,vermont4--,rouse and ,turner1 ,new ,jersey4--,potteries at ,trenton4--,in ,ohio4--,the ,centennial ,exhibition4 ,doubts have been expressed whether ,,porcelain was made in the ,united ,states as early as #aggj2 though there was no question as to the existence of the true china-clays1 and that ,wedgwood and other potters in ,england knew of them and had used them4 ,more1 they were fearful that they would be put to use in this country1 to the injury of their trade4 ,the investigations of ,charles ,henry ,hart1 ,esq41 of ,philadelphia1 seem to remove the doubt as to the making of porcelain in that city as early as #agfi or #aggj4 ,looking over the newspapers1 he finds1 under date of ,december #bi1 #agfi1 an advertisement as follows3 ,,new ,,china-,,ware4--,notwithstanding the various difficulties and disadvantages which usually attend the introduction of any important manufacture into a new country1 the proprietors of the china-works now erecting in ,southwark have the pleasure to acquaint the public that they have proved to a certainty that the clays of ,america are productive of as good ,,porcelain as any heretofore manufactured at the famous factory in ,bow1 near ,london1 etc4 ,subsequently other advertisements appeared for apprentices1 etc41 signed by ,g4 ,bonnin and ,g4 ,a4 ,morris4 ,this would seem conclusive4 ,mr4 ,hart also states that some specimens of the work then made are deposited in the ,franklin ,institute of his city4 ,it is not likely that the work reached a commercial success1 or that it was long continued4 ,subsequently porcelain was made and decorated in that city by ,messrs4 ,tucker and ,hemphill1 as will clearly appear from the following communications4 ,mr4 ,thomas ,tucker prepared for the ,historical ,society of ,pennsylvania1 in #ahfh1 this brief statement3 ,william ,ellis ,tucker1 my brother1 was the first to make porcelain in the ,united ,states4 ,my father1 ,benjamin ,tucker1 had a china-store in ,market ,street1 in the city of ,philadelphia1 in the year #ahaf4 ,he built a kiln for ,william in the yard back of the store1 where he painted in the white china1 and burnt it on in the kiln1 which gave him a taste for that kind of work4 ,after that he commenced experimenting with the different kinds of clays1 to see if he could not make the ware4 ,he succeeded in making a very good opaque ware1 called 'queen's-ware4' ,he then commenced experimenting with feldspar and kaolin to make porcelain1 and1 after much labor1 he succeeded in making a few small articles of very good porcelain4 ,he then obtained the old water-works at the northwest corner of ,schuylkill ,front and ,chestnut ,streets1 where he erected a large glazing-kiln1 enameling-kiln1 mills1 etc4 ,he burnt kiln after kiln1 with very poor success4 ,the glazing would crack and the body would blister2 and1 besides1 we discovered that we had a man who placed the ware in the kiln1 who was employed by some interested parties in ,england to impede our success4 ,most of the handles were found in the bottom of the seggars#ag after the kiln was burnt4 ,we could not account for it until a deaf-and-dumb man in our employment detected him running his knife around each handle as he placed them in the kiln4 ,at another time every piece of china had to be broken before it could be taken out of the seggar4 ,we always washed the round ,o's--the article in which the china was placed in the kiln--with silex1 but this man had washed them with feldspar1 which1 of course1 melted1 and fastened every article to the bottom2 but ,william discharged him1 and we got over that difficulty4 ,in the year #ahbg my brother received a silver medal from the ,franklin ,institute of ,pennsylvania1 and in #ahca received one from the ,institute in ,new ,york4 ,in #ahbh ,i commenced to learn the different branches of the business4 ,on the #bb;d of ,august1 #ahcb1 my brother ,william died4 ,some time before1 he connected himself with the late ,judge ,hemphill4 ,they purchased the property at the southwest corner of ,schuylkill ,sixth and ,chestnut ,streets1 where they built a large store-house and factory1 which they filled with porcelain4 ,after the death of my brother1 ,judge ,hemphill and myself continued the working of porcelain for some years1 until he sold out his interest to a company of ,eastern gentlemen2 but1 being unfortunate in their other operations1 they were not able to give the porcelain attention4 ,in the year #ahcg ,i undertook to carry it on alone1 and did so for about one year1 making a large quantity of very fine porcelain1 many pieces of which ,i still have4 ,the gilding and painting are now as perfect as when first done4 ,mr4 ,tucker presented at this time a piece of the work1 which is now in the collection at ,philadelphia4 ,in addition to this ,i give a communication from ,general ,hector ,tyndale1 which adds confirmation to the above3 ,about the years #agfj to #aggj potteries were established in the ,united ,states--notably at ,philadelphia--of which few records now remain4 ,but they attracted the attention of the ,english potters1 as may be seen by a letter from ,josiah ,wedgwood 7page #cfg1 ,meteyard's ',life of ,wedgwood1' ,london1 #ahfe71 wherein he expressed apprehension of the effect of these upon ,british 'trade and prosperity4' ,porcelain-works1 to which ,mr4 ,elliott alludes1 were established in ,philadelphia 7corner of ,schuylkill ,sixth and ,chestnut ,streets7 about the year #ahcj1 ,judge ,hemphill being among the most prominent of the founders of them4 ,the wares made were of very good1 and1 in some respects1 of excellent qualities4 ,the products were white and decorated table and tea services1 and decorative wares4 ,the 'body' was very good1 being hard1 dense1 tough1 and translucent1 quite vitreous1 with sharp and clear ring1 and withstanding great and rapid changes of temperature4 ,in appearance it somewhat resembled the ,french 7,limoges7 porcelain of that day1 and1 in durability and use1 that of ,berlin1 and quite equal to either4 ,the glaze was good1 and well adapted to receive colors4 ,the forms were copies of the ,french and ,english of the time1 and these were almost always bad4 ,the ornamentation was generally poorly copied from the ,english or ,french1 or1 if original1 was decidedly worse4 ,english1 ,french1 and ,german artisans were imported1 but whatever skill these may have had was soon lost1 owing perhaps to the want of comparative and competitive productions1 and also to the want of taste among the general buyers and the public4 ,so far as ornament was concerned1 and a knowledge of sthetic rules or a prevailing sense of beauty and fitness were involved1 this attempt at manufacture was premature4 ,these works continued1 with a diminishing success1 for several years2 and the founders1 who lost much money in the establishment1 deserve much credit for their serious and wellnigh successful effort4 ,at present there are porcelain-works near ,new ,york--at ,greenpoint1 and perhaps elsewhere--making very good and enduring wares1 of excellent 'body' and glaze1 but of coarse and inartistic form and ornament4 ,the porcelain-factory last spoken of is that of ,t4 ,c4 ,smith and ,sons1 which1 at the ,centennial ,exhibition1 made a creditable display4 ,through the courtesy of ,mr4 ,prime1 editor of the ,hand-,book of the ,new ,york ,museum of ,art1 ,i am able to give some extracts essential to this brief history3 ,when ,delft pottery began to be used for table and household purposes in ,england1 it is probable that small quantities found their way to this country1 but neither crockery nor porcelain took the place of pewter and wood on ,american tables1 and the importations increased but slowly with the increase of population and wealth4 ,wooden trenchers1 pewter dishes1 mugs1 water-pitchers1 etc41 continued in general use until the present century4 ,by an examination of early newspapers we are enabled to learn much of the character of the table-furniture which dealers advertised for sale1 and these were probably alike in all parts of the country4 ,we find pewter always prominent4 ,in the ,new ,haven ,gazette of ,september #cj1 #aghd1 a druggist advertises ,wedgwood mortars and pestles4 ,in the same paper1 ,october #bast1 a dealer advertises 'blue and white stone-ware1 consisting of butter-pots1 jars1 and cans2' also 'quart1 pint1 and half-pint water-flasks2 matted ditto2 spaw ditto2 ,bristol ditto4' ,in the same paper1 ,november #beth1 a dealer advertises 'queen's-ware in small crates1 well assorted1' which had been imported direct to ,new ,haven2 and1 ,december #b;d1 he advertises ',english china cups and saucers4' ,on ,november #d1 #aghd1 the same dealer advertised 'a large assortment of coarse stone-ware in crates1 large round bottles holding nearly two quarts1 in small1 convenient hampers1 and quart1 pint1 and half-pint flasks1' with a discount to those who buy large quantities4 ,this last advertisement may refer to wares made in ,america4 ,in #aghe we find advertised ',nottingham1 queen's1 china1 and glass ware4' ',nottingham ware' had long been a popular name in ,england for brown potteries1 originally made at ,nottingham1 and the name continued in use here until a very recent date4 ,bricks and ruder forms of pottery were made in ,new ,england in the eighteenth1 and possibly in the seventeenth1 century4 ,investigations in progress may elicit information now wanting on this subject4 ,josiah ,wedgwood1 in a letter written in #agfe1 speaks of a pottery then projected in the ,carolinas of whose work he had great apprehensions1 and seems to desire some government interference to prevent the colonies from making their own pottery and thus injuring the home business4 ,before the end of the eighteenth century many potteries were established in various parts of the country1 but1 so far as is now known1 no articles were produced except the ordinary coarser kinds of household utensils4 ',a ,brief ,examination of ,lord ,sheffield's ,observations on the ,commerce of the ,united ,states1' by ,matthew ,carey1 was printed in successive numbers of the ,american ,museum1 in #agia1 and was collected in a volume1 printed the same year at ,philadelphia1 with a supplementary note on ',the ,present ,state of ,american ,manufactures1' etc4 ,on pages #abf and #abg he has the following observations3 ',manufactures of glass1 of earthen-ware1 and of stone1 mixed with clay1 are all in an infant state4 ,from the quantity and variety of the materials which must have been deposited by ,nature in so extensive a region as the ,united ,states1 from the abundance of fuel which they contain1 from the expense of importation1 and loss by fracture1 which falls on glass and earthen wares1 from the simplicity of many of these manufactures1 and from the great consumption of them1 impressions of surprise at this state of them1 and a firm persuasion that they will receive the early attention of foreign or ,american capitalists1 are at one produced4 ,coarse tiles1 and bricks of an excellent quality1 potter's wares1 all in quantities beyond the home consumption1 a few ordinary vessels and utensils of stone mixed with clay1 some mustard and snuff bottles1 a few flasks or flagons1 a small quantity of sheet-glass and of vessels for family use1 generally of the inferior kinds1 are all that are now made4' ,hamilton's return of exports of the ,united ,states from ,august1 #aghi1 to ,september1 #agij1 printed in the appendix to ,carey's book1 gives1 for earthen and glass ware1 nineteen hundred and ninety dollars4 ,in ,miss ,caulkins's ',history of ,norwich1' ,chapter ,,xlix41 it is stated that in #agif 'a pottery for the manufacture of stone-ware was established at ,bean ,hill1 which continued in operation far into the present century1 seldom1 however1 employing more than four or five hands4' ,in ,morse's ',gazetteer1' #agig1 we read1 under ,norwich1 that the inhabitants manufacture 'stone and earthen ware4' ,in the ,norwich 7,connecticut7 ,gazette1 ,september #ae1 #agif1 we find this advertisement of a pottery1 which appears to have been in operation by a ,mr4 ,lathrop prior to #agif1 and is1 without doubt1 the one referred to by ,miss ,caulkins and ,dr4 ,morse3 ',c4 ,,potts ,,son1 informs the ,public1 that they have lately established a ,manufactory of ,,earthen ,,ware at the shop formerly improved by ,mr4 ,charles ,lathrop1 where all kinds of said ,ware is made and sold1 either in large or small quantities1 and warranted good4' ,a memorial of ,samuel ,dennis1 dated ,new ,haven1 ,october #i1 #aghi1 to the ,general ,assembly of ,connecticut1 shows 'that he is acquainted with the potter's business1 and is about to erect a stone-pottery2 and there is in this country a plenty of clay which he presumes of the same kind with that from which the queen's-ware of ,staffordshire is usually made2 and that he wishes to erect a pottery for the purpose of manufacturing the finer kinds of ware usually made in ,staffordshire1 particularly the queen's-ware1' and he asks the aid of the ,state in founding the works4 ,his memorial was negatived1 and it does not appear whether he went on with his project4 ,isaac ,hanford1 of ,hartford1 ,connecticut1 took out a patent1 ,january #bj1 #ahjj1 for a new method of making bricks1 tiles1 and pottery-ware in general1 and of discharging the moulds4 ,nothing further is known of his work2 but coarse pottery has1 from the beginning of the century1 been made in ,hartford4 ,prior to #ahjj a pottery was in existence at ,stonington1 ,connecticut1 managed by ,adam ,states1 who was succeeded in the business1 after #ahjd1 by his sons1 ,adam and ,joseph4 ,they made jugs1 butter-pots1 jars of all sizes1 and some small wares with handles1 uniformly of soft pottery1 usually gray in color1 with salt-glaze4 ,contemporary with this was a pottery at ,norwalk1 ,connecticut1 which made red wares of soft pottery in many forms4 ,we learn from a lady1 whose memory extends back to #ahjd1 that it made jars and pots of all sizes1 teapots1 mugs1 and large milk-pans1 then in common use among the farmers in ,connecticut1 glazed with a lead-glaze1 the color deep red with flashes of black1 probably caused by smoke in the firing4 ,other potteries produced wares similar to the ,stonington and ,norwalk4 ,from a report of the ,secretary of the ,treasury 7,mr4 ,gallatin71 made in #ahaj1 it appears that the exports of 'coarse earthen-ware' exceeded the imports4 ,in this report the secretary says that progress has been made in the manufacture of 'queen's and other earthen ware1' and that 'a sufficient quantity of the coarser species of pottery was made everywhere4 ,four manufactories of a finer kind had lately been established which made ware resembling that of ,staffordshire4' ,dr4 ,dwight1 in his ',travels' 7#ahbb71 after quoting the above1 states that he had gained access to the reports from ,massachusetts and ,connecticut1 upon which the secretary's report had been founded1 and gives among the manufactures of ,connecticut for the year1 potteries1 twelve2 'value of earthen and stone ware1 thirty thousand seven hundred and forty dollars2' and for ,massachusetts1 'earthen-ware1 eighteen thousand seven hundred dollars4' ,before the end of the last century direct trade had been established between the ,united ,states and ,china1 and ,oriental porcelain began to make its appearance in ,america4 ,the ,english trade increased rapidly in the early part of the present century1 and ,english manufacturers had begun to decorate pottery with ,american subjects for the ,american market4 ,porcelain seems to have been decorated at ,lowestoft with ,american designs1 for special orders1 before #ahjj4 ,from #ahaj to #ahcj great quantities of ,english pottery1 especially blue and white wares1 were imported4 ,much of this was decorated with ,american views1 buildings1 landscapes1 and pictures of public events1 the principal exporters in ,england being ,j4 and ,r4 ,clews1 of ,cobridge1 and the ,ridgways1 of ,shelton4 ,illustration3 ,,fig4 #afb4--,the ,washington ,pitchers4 ,the ,washington ,pitchers were made at this period by the ,english potters1 and were shipped here and sold in great numbers4 ,they are now much prized1 but are not uncommon4 ,few of them have any merit as works of art1 being intended only to please the patriotic sentiment of the country4 ,the smaller one of our illustration 7,fig4 #afb7 contains the best picture of ,washington of any ,i have seen painted upon porcelain1 and is really an excellent engraving after ,stuart's great picture4 ,it is said to have been made in ,england1 by order of a ,philadelphia dealer1 in #ahja4 ,both of these pitchers are in the ,historical ,society of ,philadelphia4 ,the larger one is more patriotic and less artistic4 ,around the portrait are entwined the names of ,new ,hampshire1 ,massachusetts1 ,rhode ,island1 ,connecticut1 ,new ,york1 ,new ,jersey1 ,pennsylvania1 ,delaware1 ,maryland1 ,virginia1 ,north ,carolina1 ,south ,carolina1 ,georgia1 ,vermont1 ,kentucky--fifteen ,states1 and fifteen stars4 ,on the front is the eagle1 and the patriotic ,latin1 ,e pluribus unum4 ,also the name of the owner1 ,james ,taylor1 ,m4 ,d4 ,on the other side1 in an oval1 is some poetry1 made in ,england for our use1 as follows3 ,as he tills your rich glebe the old peasant shall tell1 ,while his bosom with ,liberty glows1 ,how your ,,warren expired1 how ,,montgomery fell1 ,and how ,,washington humbled your foes4 ,the intentions of the poet we may accept as good1 even if slightly mercenary4 ,one more brief extract will complete this history3 ,in #ahdg a factory was established in ,bennington1 ,vermont1 by ,messrs4 ,lyman and ,fenton1 and continued in operation till about #ahfj4 ,pottery was made in various forms1 with good enamel2 bisque or ,parian wares were produced1 and soft-paste porcelain of good quality1 well decorated4 ,so far as is at present known1 this was the first ,american factory which has attempted to make figures of men and animals4 ,a peculiar enamel seems to have been patented by ,mr4 ,fenton1 of this firm1 which was used on some of the pottery4 ,the impressed mark on pottery of this class was arranged in a circle1 ',lyman1 ,fenton and ,co41 ,fenton's ,enamel1 ,patented #ahdi1 ,bennington1 ,vermont4' ,some time prior to #ahbi a factory was established in ,jersey ,city1 ,new ,jersey1 by persons not now known 7said to be ,french71 which made porcelain4 ,no mark was used1 but we are indebted to ,messrs4 ,rouse and ,turner1 the present proprietors1 for fragments of the porcelain made prior to #ahbi1 which is hard paste of fair quality4 ,the enterprise was not successful1 and in #ahbi ,david ,henderson and ,co4 bought the works1 and carried them on under the name of the ,american ,pottery ,company4 ,they made white and brown potteries1 decorating the former with prints1 and the latter with colored enamels and raised work2 and also a translucent pottery1 which is apparently a natural soft-paste porcelain4 ,their mark was ',american ,pottery ,company1 ,jersey ,city1 ,new ,jersey1' in a circle1 stamped in the paste4 ,they executed work for druggists and other dealers in ,new ,york1 printing labels on their jars1 boxes1 etc4 ,a favorite pattern was a brown pottery pitcher1 the handle a hound1 the surface covered with a raised representation of a hunt4 ,it was made in various sizes1 and is still produced1 with a changed form of the same decoration4 ,in #ahee ,messrs4 ,rouse and ,turner became proprietors of the factory1 and have since carried it on with much success1 producing granite1 ,rockingham1 and stone wares1 plain and decorated1 for table and general use4 ,they use clay obtained from ,woodbridge1 ,new ,jersey1 and another clay from ,bath1 ,south ,carolina2 and occasionally a clay from ,glen ,cove1 ,long ,island1 which contains silex4 ,their stone-wares are made by the mixing of certain clays1 without the addition of other substances4 ,they use no mark on their fabrics4 ,important works are now in operation at ,baltimore1 ,maryland1 and at ,trenton1 ,new ,jersey1 making varieties of pottery1 plain and decorated1 and stone-wares of excellent quality4 ,at the ,exhibition at ,philadelphia good exhibitions were made by ,messrs4 ,otto and ,brewer1 ,mercer ,pottery ,company1 ,james ,moses and ,isaac ,davis1 of ,trenton2 also by ,laughlin ,brothers1 of ,east ,liverpool1 ,ohio4 ,some twenty firms1 mostly from ,trenton1 were collected in the southeast corner of the ,main ,building1 where they made a creditable display of what is known as the white granite ware1 so useful and so detestable2 thick1 that it may resist the hostility of the ,milesian maiden1 clumsy because of that1 without color or decoration of any kind1 and cheap3 can we expect or demand much8 ,looking more carefully1 we found in ,otto and ,brewer's exhibit a modeler named ,broome1 who had made some base-ball players which were full of life and spirit2 also some unglazed vases which had excellence of form and precision of modeling and decoration1 showing that good things may be done here4 ,in ,fig4 #afc we show one of the ,parian vases designed by ,broome1 who only needs encouragement to develop into excellence4 ,james ,moses1 too1 had some white-and-gold work which was good4 ,isaac ,davis1 one of these granite-potters1 had ventured to turn his cups with a sense of good form1 and with a thin lip from which one might drink without being reminded of the horse-trough2 he must beware lest it should not pay6 ,illustration3 ,,fig4 #afc4--,parian ,vase4 ,laughlin ,brothers1 of ,ohio1 had a good show of the same kind of wares1 and they had also a decorated dinner-set which was good4 ,they had more than this1 in that they promised us something4 ,they are using feldspars1 kaolins1 clays1 silexes1 from various parts of the ,united ,states1 and believe we have the best and the greatest variety to be found in any country2 but besides these a new clay or mineral1 as they think1 has been found in ,missouri1 which promises to be of infinite value4 ,it is cheap1 is easily ground and mixed1 and imparts to the body a creamy softness and a beauty which add much to the production4 ,that this is true was shown in some of the cups made with it4 ,moreover1 as ,mr4 ,laughlin states1 several of the best porcelain-makers of ,europe are seriously contemplating the propriety of establishing themselves on this shore of the sea1 and putting to use these kaolinic treasures4 ,and why not8 ,with cheap clays1 cheap fuels1 cheap foods1 may we not begin to supply ourselves1 if not some of the rest of the world1 with the finest productions of the potter's wheel8 ,and it would seem a good thing for us to do4 ,,appendix4 ,,books ,,upon ,,pottery ,,and ,,porcelain4 ,the following synopsis of works on pottery and porcelain1 for which we are indebted to ,mr4 ,g4 ,w4 ,wales1 will be found useful and interesting3 ,,general ,,historical ,,treatises4--,jacquemart1 ,history of the ,ceramic ,art--a descriptive philosophical study of the pottery of all ages and nations1 profusely illustrated in aquatint and woodcut1 and containing one thousand marks and monograms2 ,semper1 ,der ,stil in den ,knsten1 in the second volume treats of ceramics1 and is a well-illustrated1 comprehensive1 and useful hand-book2 ,mareschal1 ,la ,faence ,populaire au #ahme ,sicle1 has one hundred and twelve colored plates1 mostly of ,french and ,delft porcelain2 ,maze1 ,recherches sur la ,cramique is illustrated by photographs1 and has a list of marks and monograms2 ,burty1 ,chefs-d',o,euvre des ,arts ,industriels1 gives a popular account of ceramics1 well illustrated 7there is a translation by ,chaffers72 ,stallknecht's papers on ,artistic ,pottery and ,porcelain give also an account of the articles in the ,vienna ,exposition of #ahge2 ,treadwell's ,manual is a brief popular work2 ,hall1 ,bric--brac ,hunter4 ,one of the best works in ,english is ,marryat's ,history1 well illustrated1 in colors4 ,so also is ,graesse's ,guide de l',amateur1 a very complete collection1 in fac-simile1 of marks and monograms4 ,chaffers's ,keramic ,gallery1 besides historical notices and descriptions1 gives several hundred photographs of rare and curious specimens of these arts4 ,besides these works1 devoted especially to ceramics1 it will be well to refer to the following1 selected out of many books treating generally of the arts of the middle ages1 most of them illustrated in the best style1 in which may be found chapters or short treatises on pottery and porcelain1 with admirable illustrations adapted for use as designs for decoration3 ,sommerard's ,arts au ,moyen ge1 plates2 ,villemin1 ,monumens ,franais2 ,lenoir1 ,muse des ,monumens ,franais2 ,lacroix1 ,arts of the ,middle ,ages2 ,louandre1 ,arts ,somptuaires2 ,instrumenta ,ecclesiastica2 ,racinet1 ,l',ornement ,polychrome2 ,jones1 ,grammar of ,ornament2 ,bedford1 ,treasury of ,ornamental ,art2 ,newbery1 ,gleanings from ,ornamental ,art2 ,chenavard1 ,album de l',ornamentiste2 ,tradesman's ,book of ,ornamental ,designs2 ,wyatt1 ,industrial ,arts of the ,nineteenth ,century2 ,durand1 ,recueil et ,parallles des ,edifices de tout ,genre2 ,south ,kensington ,museum1 ,industrial ,arts2 ,photographs from the ,british ,museum2 ,labarte1 ,arts ,industriels au ,moyen ge2 ,zahn1 ,ornamentmalerei4 ,,manufacture4--,the following books treat more particularly of the processes of manufacture of pottery and porcelain1 only incidentally touching the artistic history4 ,they are mostly in ,french1 viz43 ,brongniart1 ,trait des ,arts ,cramiques1 two volumes of text and one of plates4 ,this is well illustrated1 and cited by all writers on the subject as high authority4 ,figuier1 in the first volume of the ,merveilles de l',industrie1 which treats both sides of the subject1 is very fully illustrated as regards both the manufacture and the art-history of glass1 pottery1 and porcelain4 ,other briefer treatises are those by ,guillery1 ,bastenaire-,daudenart1 ,boyer1 and a treatise on pottery 7,paris1 #aggb71 in volume ii4 of the ,description des ,arts et ,mtiers4 ,in ,english3 ,tomlinson's ,brief ,history1 from the ,encyclopdia ,britannica2 and ,arnoux1 in volume iii4 of ,bevans's ,british ,manufacturing ,industries4 ,see also ,turgau1 ,les ,grandes ,usines de ,france1 for history of the ,svres porcelain2 ,denistoun1 ,dukes of ,urbino1 volume iii41 page #chb1 for an account of the manufacture of maiolica in the duchy of ,urbino2 ,rosina1 ,memoria sulle ,stoviglie1 on manufacture of utensils and analysis of clays in the ,lombardo-,venetian territory4 ,the following books give some practical instructions on painting1 enameling1 etc43 ,tilton1 ,designs and ,instructions for decorating ,pottery2 ,snell1 ,practical ,instructions2 ,art ,recreations2 ,gessart1 ,art of ,enameling2 ,sutherland1 ,practical ,guide2 ,reboulleau4 ,,marks ,,and ,,monograms4--,chaffers's ,marks and ,monograms1 which contains also an historical essay on ,english pottery1 with illustrations2 also his ,collector's ,hand-book--a concisely-arranged volume of fac-similes of marks1 a supplement to the work just named2 ,mareschal1 ,iconographie de la ,faence--a dictionary of ceramic artists and marks1 with colored illustrations of the different styles2 ,hooper and ,phillips1 ,manual--a dictionary of easy reference2 ,demmin1 ,guide de l',amateur de ,faences 7two volumes7--a comprehensive1 illustrated work of high authority2 ,bohn's ,guide to ,knowledge of ,pottery and ,porcelain1 containing also a priced catalogue of the ,bernal collection1 and an essay2 ,maze1 ,recherches1 illustrated by photographs2 ,meteyard's ,wedgwood ,hand-book--a thorough history of this exquisite ware4 ,see also a work by the same author1 for admirable photographs of ,wedgwood's principal works1 and ,fortnum's ,catalogue of ,maiolica4 ,the following books treat of the history of pottery and porcelain of different countries and periods3 ,,england4--,for a sketch of the art of pottery in ,england1 see the introductory chapters of volume i4 of ,eliza ,meteyard's ,life of ,josiah ,wedgwood2 her ,wedgwood ,hand-book1 which gives marks1 monograms1 priced catalogues1 and a glossary of technical terms4 ,the same author has recently 7#ahgf7 published ,wedgwood and his ,works1 admirably illustrated with photographs of his more important works2 also ,wedgwood ,memorial1 likewise beautifully illustrated4 ,prefixed to ,chaffers's ,marks and ,monograms is an ,essay on the ,vasa ,fictilia of ,england2 ,jewitt's ,life of ,wedgwood contains also a ,history of the ,early ,potteries of ,staffordshire1 well illustrated2 ,haslem's ,old ,derby ,china1 illustrated in color1 gives a full account of this ware and of the principal workmen1 with marks and price-lists2 ,binns's ,century of ,potting in ,worcester gives in an appendix a sketch of ,celtic1 ,roman1 and ,medival pottery in ,worcestershire4 ,see also ,wedgwood1 an ,address by ,w4 ,e4 ,gladstone 7#ahfc72 ,boyer1 ,trait sur l',origine1 les ,progrs et l'tat actuel des ,manufactures de ,porcelaine et de ,faence en ,angleterre--one of the excellent ,roret manuals of arts and trades4 ,,france4--,mareschal1 ,faence ,populaire au #ahme ,sicle1 with one hundred and twelve finely-colored plates1 mostly of ,french and ,delft ware 7,paris1 #ahgb72 ,pottier1 ,histoire de la ,faence de ,rouen 7#ahgj71 two volumes1 quarto--an elaborate and finely-illustrated treatise2 ,pouy1 ,les ,faences d',origine ,picarde 7#ahgb71 with colored plates and marks2 ,foresti1 ,les ,anciennes ,faienceries de ,montauban1 and other places in the department of ,tarn-et-,garonne4 ,on the pottery of the ,gauls1 see ,du ,cleuzion1 ,poterie ,gauloise4 ,a publication by the ,arundel ,society gives fine photographs of twenty examples of ,henri-,deux ware from the ,south ,kensington ,museum4 ,,italy1 ,,germany1 ,,spain1 ,,etc4--,on maiolica1 see the history by ,passeri1 treating of the products of ,pesaro and ,urbino1 and of the works of ,giorgio da ,gubbio4 ,on maiolica and ,italian faience1 see the splendidly-illustrated works by ,delange and ,sauzay1 ,monographe de l',o,euvre de ,bernard ,palissy 7,paris1 #ahgb72 and the ,recueil de ,faences ,italiennes of the fifteenth1 sixteenth1 and seventeenth centuries 7,paris1 #ahfi71 by ,delanges1 ,darcel1 and ,bornemann4 ,fortnum's ,maiolica2 also his ,catalogue of ,maiolica1 ,hispano-,moresco1 ,persian1 ,damascus1 and ,rhodian wares in the ,south ,kensington ,museum1 finely illustrated in color1 and giving marks and monograms2 ,centennial ,exposition ,catalogue of the ,castellani ,collection2 ,beckwith's ,majolica and ,fayence 7,new ,york1 #ahgg7 is a concise and useful general treatise on ceramics1 containing much information in small space1 with numerous photo-engraved illustrations2 ,drake's ,notes on ,venetian ,ceramics2 ,riao1 ,catalogue of ,art ,objects of ,spanish ,production in the ,south ,kensington ,museum2 ,de ,jorio1 ,galleria de' ,vasi1 ,real ,museo ,borbonico2 ,le ,secret des ,vraies ,porcelaines de la ,chine et de ,saxe 7#ageb72 ,robinson1 ,catalogue of the ,soulages ,collection4 ,asselineau1 ,meubles et ,objets divers du ,moyen ge gives specimens of ,palissy and ,flemish ware4 ,lazari1 ,notizie della raccolta ,correr di ,venezia4 ,,oriental ,,and ,,savage ,,races4--,alabaster1 ,chinese ,art ,objects in ,south ,kensington ,museum2 ,audsley and ,bowes1 ,keramic ,art1 now in course of publication1 splendidly illustrated with colored plates by ,racinet2 ,jarves1 ,glimpse at the ,art of ,japan2 ,schweinfurth1 ,artes ,african2 ,hartt1 ,manufacture of ,pottery among ,savage ,races4 ,on the cloisonn enamels of ,china1 see appendix to ,julien's ,industries de l',empire ,chinois4 ,on ,chinese porcelain decoration1 consult ,owen ,jones's ,examples of ,chinese ,ornament1 giving one hundred fine colored plates1 from examples at ,south ,kensington4 ,,tiles4--,nichols's ,examples of ,decorative ,tiles1 in fac-simile1 chiefly in ,original ,size2 chapter entitled ,cramique1 by ,riocreux and ,jacquemart1 in volume iv4 of ,lacroix's ,moyen ge et la ,renaissance1 which contains a bibliography of ceramics4 ,,ancient ,,pottery4--,birch's ,history of ,ancient ,pottery treats of ,assyrian1 ,egyptian1 ,greek1 ,roman1 ,etruscan1 ,celtic1 ,teutonic1 and ,scandinavian pottery1 and is fully illustrated4 ,it contains also a list of the principal collections of ancient pottery4 ,one of the best works is ,millingen's ,ancient ,unedited ,monuments1 giving excellent colored illustrations of painted ,greek vases4 ,other valuable works are those of ,inghirami1 ,pitture di ,vasi ,etrusche1 four volumes quarto1 with fine outlines of ,greek vase-decoration1 some in color2 a very beautifully-illustrated work 7in color7 is that of the ,count of ,syracuse1 ,notizia dei ,vasi dipinti rinvenuti a ,cuma2 see also ,lucien ,bonaparte's ,museum trusque2 ,donati1 ,della ,maniera d'interpretare le ,pitture ne' ,vasi fittili antichi2 ,description of the ,ancient ,terra-,cottas in the ,british ,museum1 illustrated by line-engravings2 ,stackelberg1 ,die ,grber der ,hellenen1 giving plates of urns1 vases1 bass-reliefs1 etc42 ,dumont1 ,inscriptions ,cramiques de ,grce2 ,fabroni1 ,vasi fittili aretini2 ,kramer1 ,ueber den ,styl und die ,herkunft der bemalten griechischen ,thongefsse2 ,de ,sanctis1 ,vasi antichi della ,collezione ,hamilton1 with outline illustrations2 ,g4 ,gerhard1 ,vases ,grecs relatifs aux ,mystres1 outline illustrations2 ,gerhard1 ,etruskische und kampanische ,vasenbilder 7,berlin1 #ahdc71 with finely-colored illustrations of vases2 ,gerhard1 ,auserlesene griechische ,vasenbilder 7,berlin1 #ahef71 two volumes text1 two volumes plates1 quarto1 also admirably illustrated2 ,fitzwilliam ,museum at ,cambridge1 part iii41 ,fictile ,vases2 ,schliemann1 ,trojanische ,alterthmer2 ,british ,museum ,catalogue of ,greek and ,etruscan ,vases1 with outlines2 ,catalogue of the ,st4 ,petersburg ,imperial ,collection of ,vases in the ,ermitage1 with sixteen plates of outlines2 ,inghirami1 ,etrusco ,museo ,chinsino1 copperplate outlines2 ,engravings of ,ancient ,vases in the ,collection of ,sir ,william ,hamilton 7,naples1 #agia71 three volumes folio4 ,on ,egyptian pottery consult ,wilkinson's ,ancient ,egyptians2 and the splendid illustrated volumes of ,champollion1 ,lepsius1 and ,belzoni1 for illustrations from the monuments4 ,,biography4--,jouveaux1 ,histoire de trois ,potiers ,celbres1 biographical sketches of ,palissy1 ,wedgwood1 and ,bttger2 ,lessons from ,noble ,lives 7,palissy72 see ,c4 ,c4 ,perkins's ,tuscan ,sculptors1 volume i41 for a chapter on ,luca della ,robbia1 also in ,vasari2 ,vasari1 volume xiii41 page #gb1 ,vita di ,battista ,franco4 ,for a list of books of reference on ceramics1 see ,chaffers's ,marks and ,monograms4 ,,index4 ,a ,,page ,abbey1 ,richard1 ,potter1 #cab ,abderrahman ,,iii41 #hc ,african ,pottery1 #fe ,alabastron1 #dg ,a la corne1 #adf ,alchemists1 ,the1 #bcj ,alcora ,porcelain1 #bhg ,alexander ,severus1 ,emperor1 #agb ,alhambra1 ,the1 #hc ---- ,vase of the1 #hd ,amateur ,painters1 #bih ,amatorii1 #ajd ,american ,pottery1 #bc ,amphora1 #ah1 #dj1 #df ,amstel ,porcelain1 #cba ,andreoli1 ,maestro ,giorgio1 #aac ,andrews1 ,w4 ,l41 #ahe ,antonibon1 ,potter1 #bha ,apostle ,mugs1 #ge ,arabic ,pottery1 #ij ,arabs of ,spain1 ,the1 #gb1 #ha ,arcesilaus1 ,cup of1 #ea ,archaic ,man1 #ad ---- ,style1 #da ,arezzo1 #bg ,art in ,decoration1 #bcf ---- ,japanese1 #bbe ---- ,oriental1 ,character of1 #aij1 #bjf ,aryballos1 #ce1 #df ,aspasia1 ,house of1 #de1 #eh ,assyrians1 ,glazed ,ware of1 #gj ,athenian ,prize-,vase1 #di ,augustus ,,ii41 ,elector of ,saxony1 #bca ,avery1 ,s4,p41 #ib4 #ahi1 #aie1 #bjj1 #baj1 #baf1 #bbb ,aztec ,civilization1 #ba ,b ,baireuth1 #ge ,baldassini1 ,painter1 #bgi ,balearic ,islands1 #ie ,bamboo1 ,wedgwood's1 #afh ,banko ,ware1 #bbe ,barberini ,vase1 #aga ,barbizt1 ,m41 #adi ,barlow1 ,s4 ,l4 ,m41 #bgj1 #bif ,basalt1 ,wedgwood's1 #afh1 #aga ,bavarian ,porcelain1 #bdi ,beauvais ,pottery1 #ada ,beccheroni1 ,painter1 #bgi ,beckford1 ,mr41 #aie ,belgium1 #cai ,bellarmine1 ,cardinal1 #gf ,bellarmins1 #gf ,belleek1 #adi ,belmont1 ,a41 #bgj ,bennington ,potteries1 #cci ,bentley1 ,mr41 #afg ,berlin ,porcelain1 #bdb ,bernal ,sale1 ,the1 #aca1 #ada1 #bdj1 #bdd1 #bdg1 #bej1 #bea1 #bie1 #bih ,betts1 ,f4 ,j41 #gf ,billingsly1 ,potter1 #caj ,binns1 ,r4 ,w41 ,potter1 #bhi1 #cjf ,birch1 ,mr41 #da1 #gj ,bloor1 ,potter1 #big ,blue1 ,celestial1 #aha1 #aic ---- ,cobalt1 #aij ---- ,dragon ,decoration1 #caa ---- ,japanese1 #bah ,bonnin1 ,potter1 #cca ,boston ,museum of ,arts1 #hf ,bttger1 ,j41 #bca ,boucher1 ,painter1 #bfa ,bow and ,chelsea1 ,confusion between1 #bib ---- ,porcelain1 #bij ,bramelds1 ,the1 ,potters1 #cac ,breslau1 ,pottery ,monument in1 #hj ,brianchon1 ,m41 #adi ,bricks1 ,glazed1 #gj ,bristol ,porcelain1 #cji ,british ,museum1 #baa ,broeck1 ,village of1 #aei ,bromfield and ,son1 ,potters1 #cag ,brongniart1 ,alexandre1 #da1 #bgj ,bronze ,age1 #af ,brown-,westhead1 ,moore and ,co41 ,potters1 #cag ,brunswick ,porcelain1 #bdi ,bryant1 ,mr41 #cj ,buen ,retiro ,porcelain1 #bhf ,burke1 ,edmund1 #cji ,burlingame1 ,mrs4 ,anson1 #ahb1 #ahd1 #ahf1 #ahi ,c ,caistre1 #bf ,calle1 ,raffaelle del1 #ajd ,calpis1 #df ,cameos1 ,wedgwood's1 #afh ,campanienne ,vase1 #di ,cantheros1 #df ,capo di ,monte 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#bch1 #bfi1 #bhe1 #bif1 #cjb1 #cjf1 #cbf ,wall1 ,dr41 #cjc ,wallace1 ,sir ,richard1 #aab1 #cae ,washington ,pitchers1 #cch ,watcombe ,pottery1 #fg ,water-,coolers1 #fc ,wech1 ,painter1 #bdf ,wedgwood1 ,josiah1 #afc1 #ccc ,wedgwoods1 ,the1 ,potters1 #cad ,wedgwood ,ware1 ,prices of1 #agd ,weesp ,porcelain1 #cba ,wegeley1 ,mr41 #bdb ,wheel1 ,potter's1 #ai ,wilkinson1 ,sir ,gardiner1 #gj ,williams1 ,h4 ,d41 #bbj ,willow-,pattern1 #caa ,woman1 ,the ,greek1 #ed ,worcester ,porcelain1 #cjc ,wyman1 ,miss1 #ahe ,x ,xantippe1 #fa ,xanto1 #ajd1 #ajh ,z ,zeuxis1 #dd ,,the ,,end4 99 99 99 99 99 ,,appletons ,,american ,,cyclop,,dia4 ,,new ,,revised ,,edition4 ,entirely rewritten by the ablest writers on every subject4 ,printed from new type1 and illustrated with ,several ,thousand ,engravings and ,maps4 ,the work originally published under the title of ,,the ,,new ,,american ,,cyclop,,dia was completed in #ahfc1 since which time the wide circulation which it has attained in all parts of the ,united ,states1 and the signal developments which have taken place in every branch of science1 literature1 and art1 have induced the editors and publishers to submit it to an exact and thorough revision1 and to issue a new edition entitled ,,the ,,american ,,cyclop,,dia4 ,within the last ten years the progress of discovery in every department of knowledge has made a new work of reference an imperative want4 ,the movement of political affairs has kept pace with the discoveries of science1 and their fruitful application to the industrial and useful arts and the convenience and refinement of social life4 ,great wars and consequent revolutions have occurred1 involving national changes of peculiar moment4 ,the civil war of our own country1 which was at its height when the last volume of the old work appeared1 has happily been ended1 and a new course of commercial and industrial activity has been commenced4 ,large accessions to our geographical knowledge have been made by the indefatigable explorers of ,africa4 ,the great political revolutions of the last decade1 with the natural result of the lapse of time1 have brought into public view a multitude of new men1 whose names are in every one's mouth1 and of whose lives every one is curious to know the particulars4 ,great battles have been fought1 and important sieges maintained1 of which the details are as yet preserved only in the newspapers1 or in the transient publications of the day1 but which ought now to take their place in permanent and authentic history4 ,in preparing the present edition for the press1 it has accordingly been the aim of the editors to bring down the information to the latest possible dates1 and to furnish an accurate account of the most recent discoveries in science1 of every fresh production in literature1 and the newest inventions in the practical arts1 as well as to give a succinct and original record of the progress of political and historical events4 ,the work has been begun after long and careful preliminary labor1 and with the most ample resources for carrying it on to a successful termination4 ,none of the original stereotype plates have been used1 but every page has been printed on new type1 forming in fact a new ,cyclopdia1 with the same plan and compass as its predecessor1 but with a far greater pecuniary expenditure1 and with such improvements in its composition as have been suggested by longer experience and enlarged knowledge4 ,the illustrations1 which are introduced for the first time in the present edition1 have been added not for the sake of pictorial effect1 but to give greater lucidity and force to the explanations in the text4 ,they embrace all branches of science and of natural history1 and depict the most famous and remarkable features of scenery1 architecture1 and art1 as well as the various processes of mechanics and manufactures4 ,although intended for instruction rather than embellishment1 no pains have been spared to insure their artistic excellence2 the cost of their execution is enormous1 and it is believed that they will find a welcome reception as an admirable feature of the ,cyclopdia1 and worthy of its high character4 ,this work is sold to subscribers only1 payable on delivery of each volume4 ,it is completed in sixteen large octavo volumes1 each containing about #hjj pages1 fully illustrated with several thousand ,wood ,engravings1 and with numerous colored ,lithographic ,maps4 ,,price ,,and ,,style ,,of ,,binding4 ,in extra cloth1 per vol4 #e4jj ,in library leather1 per vol4 #f4jj ,in half turkey morocco1 per vol4 #g4jj ,in half russia1 extra gilt1 per vol4 #h4jj ,in full morocco antique1 gilt edges1 per vol4 #aj4jj ,in full russia1 per vol4 #aj4jj 999999 ,specimen pages of the ,,american ,,cyclop,,dia1 showing type1 illustrations1 etc41 will be sent gratis1 on application4 ,d4 ,,appleton ,,co41 ,,publishers1 #edi #eea ,broadway1 ,new ,york4 99 99 99 99 99 ,,appletons' ,,magazines4 ,,appletons' ,,journal3 ,a ,,monthly ,,miscellany ,,of ,,popular ,,literature4 ,,new ,,series4 ,,twenty-,,five ,,cents ,,per ,,number4 ,,three ,,dollars ,,per ,,annum4 ,,appletons' ,,journal is now published monthly2 it is devoted to popular literature and all matters of taste and general culture--published at a price to bring it within the reach of all classes4 ,it contains superior fiction1 in the form of serials and short stories2 papers graphically descriptive of picturesque places2 articles upon men of note1 and upon the habits of different peoples2 essays upon household and social topics2 articles of travel and adventure2 scientific and industrial articles written in a graphic and popular style4 ,in brief1 the aim is to be comprehensive1 including in its plan all branches of literature and all themes of interest to intelligent readers4 ,each number is illustrated4 ,,terms3 ,three dollars per annum1 postage prepaid1 to all subscribers in the ,united ,states2 or ,twenty-five ,cents per number4 ,a ,club of ,four ,yearly ,subscriptions will entitle the sender to an extra subscription gratis2 that is1 five copies will be sent one year for twelve dollars4 ,for #g4bj1 ,,appletons' ,,journal and ,,the ,,popular ,,science ,,monthly 7full price1 eight dollars71 postage prepaid4 ,,the ,,popular ,,science ,,monthly4 ,,conducted ,,by ,e4 ,l4 ,,youmans4 ,this periodical was started 7in #ahgb7 to promote the diffusion of valuable scientific knowledge1 in a readable and attractive form1 among all classes of the community1 and has thus far met a want supplied by no other magazine in the ,united ,states4 ,containing instructive and interesting articles and abstracts of articles1 original1 selected1 translated1 and illustrated1 from the pens of the leading scientific men of different countries2 accounts of important scientific discoveries1 the application of science to the practical arts1 and the latest views put forth concerning natural phenomena1 have been given by savants of the highest authority4 ,prominent attention has been also devoted to those various sciences which help to a better understanding of the nature of man1 to the bearings of science upon the questions of society and government1 to scientific education1 and to the conflicts which spring from the progressive nature of scientific knowledge4 ,,the ,,popular ,,science ,,monthly is published monthly in a large octavo1 handsomely printed on clear type1 and1 when the subjects admit1 fully illustrated4 ,each number contains #abh pages4 ,,terms3 #e4jj per annum1 or ,fifty ,cents per ,number4 ,postage free to all ,subscribers in the ,united ,states4 ,,the ,,art ,,journal3 ,an ,international ,gallery of ,engravings1 ,,by ,,distinguished ,,artists ,,of ,,europe ,,and ,,america2 ,,with ,,illustrated ,,papers ,,in ,,the ,,various ,,branches ,,of ,,art4 ,,the ,,art ,,journal is a quarto monthly publication1 superbly illustrated and printed1 and specially devoted to the world of ,art--,painting1 ,sculpture1 ,architecture1 ,decoration1 ,engraving1 ,etching1 ,enameling1 and ,designing in all its branches--having in view the double purpose of supplying a complete illustrated record of progress in the ,arts1 and of affording a means for the cultivation of ,art-taste among the people4 ,each number is richly and abundantly illustrated on both steel and wood1 and no pains are spared to render this ,,art ,,journal the most valuable publication of the kind in the world4 ,it contains the ,steel ,plates and ,illustrations of the ,,london ,,art ,,journal1 a publication of world-wide fame 7the exclusive right of which1 for ,canada and the ,united ,states1 has been purchased by the publishers72 with extensive additions devoted principally to ,american ,art and ,american topics4 ,published monthly4 ,sold only by ,subscription4 ,price1 #ge ,cents per ,number2 #i4jj per ,annum1 postage prepaid4 ,subscriptions received by the ,publishers1 or their ,agents4 ,,agencies3 #bb ,hawley ,st41 ,boston2 #ibb ,chestnut ,st41 ,philadelphia2 #bb ,post-,office ,avenue1 ,baltimore2 #ec ,ninth ,st41 ,pittsburg2 #ajj ,state ,st41 ,albany2 #db ,state ,st41 ,rochester2 #ajc ,state ,st1 ,chicago2 #cj ,w4 #dth ,st41 ,cincinnati2 #cje ,locust ,st41 ,st4 ,louis2 #bj ,st4 ,charles ,st41 ,new ,orleans2 #bcj ,sutter ,st41 ,san ,francisco4 ,d4 ,,appleton ,,co41 ,publishers1 #edi #eea ,broadway1 ,n4 ,y4 99 99 99 ,,footnotes3 #a ,see ,demmin1 ,guide1 etc41 p4 #acj4 #b ,la ,poterie ,gauloise1 ,description de la ,collection ,charvet1 par ,henri du ,cleuziou1 ,paris1 #ahgb4 #c ,birch's ,history of ,ancient ,pottery4 #d ,guide de l',amateur de ,faences et ,porcelaines4 #e ,trait des ,arts cramiques4 #f ,published at ,nevers in #ahfc4 #g ,demmin says that ,,mm4 ,jauffret et ,mouton are at work there still4 #h ,earthen-ware4 #i ,histoire de la ,porcelaine ,chinoise4 #aj ,marryat1 ,pottery and ,porcelain4 #aa ,jacquemart4 #ab ,from a ,chinese dictionary quoted by ,jacquemart4 #ac ,this mandarin porcelain ,mr4 ,a4 ,w4 ,franks1 the latest writer on the subject1 believes was made in ,china2 and thus he differs from ,jacquemart4 #ad ,the crown thus becomes three shillings and sixpence sterling4 #ae ,marks and ,monographs of ,pottery and ,porcelain1 ,g4 ,w4 ,chaffers4 #af ,bohn's ,catalogue4 #ag ,an article made of fire-clay1 to place the china in when being burnt4 99 99 99 99 99 ,typographical errors corrected by the etext transcriber3 and and that time and that time pg #g ,louis ,phillippe ,louis ,philippe1 pg #bfi