,illustration ,a ,,book ,,of ,,porcelain ,,fine ,,examples ,,in ,,the ,,victoria ,,and ,,albert ,,museum ,,agents ,,america ,,the ,,macmillan ,,company #fd #ff ,,fifth ,,avenue1 ,,new ,,york ,,australasia ,,the ,,oxford ,,university ,,press #bje ,,flinders ,,lane1 ,,melbourne ,,canada ,,the ,,macmillan ,,company ,,of ,,canada1 ,,ltd4 ,,st4 ,,martin',s ,,house1 #gj ,,bond ,,street1 ,,toronto ,,india ,,macmillan ,,company1 ,,ltd4 ,,macmillan ,,building1 ,,bombay #cji ,,bow ,,bazaar ,,street1 ,,calcutta ,,plate #a ,jar1 ,chinese1 period of the ,ming dynasty1 decorated in colours of the demi-grand feu1 with chased brass cover of ,persian workmanship4 ,height4 #ae in4 ,no4 #agcj-ahgf4 ,see p4 #ad4 ,unmarked4 ,illustration ,a ,,book ,,of ,,porcelain ,,fine ,,examples ,,in ,,the ,,victoria ,,albert ,,museum ,,painted ,,by ,,william ,,gibb ,,with ,,text ,,by ,,bernard ,,rackham1 ,m4,a4 ,,adam ,,and ,,charles ,,black ,,soho ,,square ,,london ,,mcmx ,,dedicated ,,by ,,permission ,,to ,h4,m4 ,,queen ,,alexandra ,,preface ,the twenty-eight water-colour drawings reproduced in this volume have been made from specimens of porcelain in the collections of the ,victoria and ,albert ,museum1 ,south ,kensington1 many of which have never been published before1 while others have not hitherto been reproduced in colours4 ,the selection has been made not merely of those pieces in their several classes which have a high sale-room value2 due consideration has been given to those which by their aesthetic qualities appealed to the sympathies of the artist1 while at the same time an effort has been made to include objects having some particular historical or personal interest1 or important as documents in the history of ceramics4 ,in this connection it should be explained that the drawings were made before ,mr4 ,george ,salting's unrivalled collection of ,oriental porcelain passed by his death into the hands of the nation4 ,the text does not pretend to be a general treatise on porcelain1 or even an exhaustive summary of its history4 ,the aim of the writer has been to record everything that is noteworthy with regard to the several pieces represented in the drawings1 and at the same time to lay stress on the particular aspects of the subject which these examples serve to elucidate1 taking them as the theme for a discussion of various phases in the evolution of the art4 ,anything in the nature of a bibliography of works consulted by the author would be out of place in a publication of this kind1 but acknowledgment must be made of his indebtedness1 in the sphere of ,oriental ceramics1 to the writings of ,dr4 ,bushell1 ,captain ,brinkley1 ,dr4 ,otto ,kmmel 7in ,geschichte des ,kunstgewerbes71 and ,mr4 ,r4 ,l4 ,hobson4 ,for ,english porcelain reference has been made1 in addition to older authorities1 to the works of ,mr4 ,william ,burton2 while the chief authorities consulted on the subject of ,continental factories are ,dr4 ,brinckmann1 ,dr4 ,berling1 ,dr4 ,bertold ,pfeiffer1 ,signor ,corona1 ,m4 le ,baron ,davillier1 ,m4 le ,comte ,x4 de ,chavagnac1 and ,m4 ,lechevallier-,chevignard4 ,the author desires to express his gratefulness for various information and personal assistance afforded him by ,mr4 ,m4 ,yeats ,brown1 ,mr4 ,h4 ,p4 ,mitchell1 ,m4 le ,comte ,x4 de ,chavagnac1 ,m4 mile ,auscher1 and the ,friherrinna ,julia ,marks von ,wrtemberg4 ,thanks are also due to ,mr4 ,j4 ,h4 ,fitzhenry for kind permission to reproduce a ,ludwigsburg coffee-pot in his collection4 ,,bernard ,,rackham4 ,,london1 ,october #aiaj4 ,,contents ,,page ,,preface vii ,,introductory xiii ,i4 ,,chinese ,,porcelain #a ,,ii4 ,,japanese ,,porcelain #bi ,,iii4 ,,italian ,,porcelain #cg ,,iv4 ,,french ,,porcelain #dg ,v4 ,,german ,,porcelain #fc ,,vi4 ,,english ,,porcelain #gc ,,index #hi ,,list ,,of ,,plates ,,in ,,colour ,,by ,,william ,,gibb #a4 ,jar1 ,ming ,dynasty4 ,chinese1 with ,persian ,brass ,cover4 7,frontispiece47 #b4 ,jar1 ,chinese1 ,early ,ming ,dynasty4 #c4 ,bowl1 ,period of ,chia ,ching1 and ,plate1 ,period of ,yung ,chng4 ,chinese4 #d4 ,ewer1 ,period of ,wan ,li4 ,chinese1 with ,augsburg ,mount4 #e4 ,vase1 ,chinese ,celadon ,ware with ,louis ,,xvi4 ,ormolu ,mount4 #f4 ,vase1 ,fuchien ,porcelain1 with ,louis ,,xiv4 ,silver-gilt ,mount4 #g4 ,jar1 8,blue and ,white40 ,chinese1 ,period of ,k'ang ,hsi4 #h4 ,vase1 famille verte4 ,chinese1 ,period of ,k'ang ,hsi4 #i4 ,vase in ,archaic ,style4 ,chinese1 ,period of ,yung ,chng4 #aj4 ,bottle1 ,medici ,porcelain4 ,florentine4 #aa4 ,bowl1 probably made at ,pisa1 dated #afch4 #ab4 ,toilette-pot1 ,st4 ,cloud1 with ,ormolu ,mount4 #ac4 ,toilette-pot1 ,chantilly1 with ,japanese ,design4 #ad4 ,vase1 ,svres1 rose ,pompadour4 #ae4 ,ewer and ,basin1 ,svres1 yellow ground4 #af4 cuelle and ,stand1 ,svres1 ,turquoise-blue1 with ,panels after ,boucher4 #ag4 ,jug1 ,svres1 bleu de roi4 #ah4 ,vase1 ,svres1 green ground4 #ai4 ,vase1 ,svres1 bleu de roi1 given by ,gustavus ,,iii4 to ,catherine ,,ii4 #bj4 ,vase1 ,meissen1 ,marcolini ,period4 #ba4 ,coffee-pot1 ,ludwigsburg4 #bb4 ,figure of a ,shepherdess1 ,chelsea4 #bc4 ,jar1 ,chelsea1 in ,japanese ,style4 #bd4 ,vase1 ,chelsea1 ,mazarine ,blue4 #be4 ,teapot1 ,chelsea1 ,claret-colour1 with ,figures after ,watteau4 #bf4 ,vase1 ,chelsea-,derby1 with ,biscuit ,handles4 #bg4 ,vase1 ,worcester1 with ,japanese ,pattern4 #bh4 ,vase1 ,bristol1 with ,exotic ,birds4 ,,introductory ,it is the experience probably of most ,western amateurs of porcelain to pass through three successive stages of development in their appreciation of an art which1 even for the uninitiated1--for those who have no knowledge of its history and little understanding of its technical aspects1--is not lacking in charm and fascination4 ,for1 indeed1 there is about most porcelain1 of whatever kind1 some quality of alluring grace1 a daintiness of material1 or a pleasing play of colour1 which makes an appeal at first sight to the eye of all lovers of things beautiful4 ,mere casual pleasure in its superficial attractiveness will not fail to give place to an ever-deepening interest for those who will take the pains to learn its inner secrets1 to discover in it1 expressed in enduring form1 the creative power of a craftsman's soul1 nay more1 a reflection of the very spirit of humanity in its changing moods1 varying in conformity with racial differences or environment of time and place4 ,this wondrous product of human skill1--as it were a new stone of rare value added to those which nature has given us1--will assuredly kindle in the hearts of its admirers a desire to learn something of its story4 ,they will find1 in their endeavours to understand its mysteries1 that their interest is aroused in the first place by the porcelain of their own country1 reflecting as it does a culture in the midst of which they have themselves been born and bred4 ,the ,english amateur will naturally seek a field for his first studies in ,english porcelain4 ,it wears a certain air of homeliness which endears it to his heart2 its uses and forms are those which are familiar in the daily life of his countrymen2 its decoration as a rule makes no exacting demands on his erudition in order to be fully understood4 ,after ,english porcelain1 the collector's attention will most readily be turned to that of the continent of ,europe4 ,his apprenticeship1 the first of the three stages to which allusion has been made above1 is thus spent in the study of the ,western manifestations of the art4 ,as yet he does not understand1 and cannot appreciate at their true value1 the ,eastern wares from which the ,european trace their descent4 ,in the course of his researches a curiosity can scarcely fail to be stirred in him to know more of these ,oriental precursors4 ,his curiosity deepens2 his desire to satisfy it brings him at last under a new spell1 and the second stage is reached4 ,his enthusiasm is now all for the ,chinese2 its perfection of material and form1 its dazzling beauty of colour1 the artistic fitness of its decoration1 engage his admiration more and more4 ,alien to his imagination as it is in conception1 it nevertheless fascinates him ever more surely as he grows more familiar with it4 ,the ,european china of his early collecting days pleases him no longer4 ,but there will follow a third stage1 in which a more catholic taste is developed4 ,the student of the ,oriental can understand much in the ,western wares that was meaningless so long as he was ignorant of the sources from which they were derived4 ,his appreciation of the high artistic worth of the ,chinese is undiminished1 but his sympathy is now again awakened by the more humane qualities of the ,european1 appealing as they do to kindred instincts in his own ,western nature4 ,he has now reached the point at which he is able to give its true value to all good work1 whatever its origin may be4 ,the excellences of the ,eastern do not blind him to the merits of the ,western2 all alike in their several types of beauty are a joy to his soul4 ,,plate #i ,vase1 ,chinese1 period of ,yung ,chng 7#agbc-agce71 with 8five colour0 design of archaistic style4 ,height1 #ah in4 ,no4 #cjbb-ahec4 ,see p4 #bf4 ,unmarked4 ,illustration ,i ,,chinese ,,porcelain ,,plate #e ,vase1 ,chinese celadon porcelain1 decorated in slip under the glaze1 with ,french ormolu mount of the period of ,louis ,,xvi4 ,height1 #ag in4 ,jones ,collection4 ,no4 #hag-ahhb4 ,see p4 #af4 ,unmarked4 ,illustration ,the very name by which porcelain is commonly known suggests1 to those in whom it arouses an interest beyond the mere aesthetic pleasure to be got from its outward beauty of appearance1 that if they would understand it rightly1 they must turn their attention first to the land of its origin4 ,to the ,chinese the world owes a material as lovely as any ever fashioned by the hand of man1 and some account of the growth of this art in ,chinese hands is a necessary prelude to any study alike of the ,chinese ware itself and of the ,european imitations of it4 ,the first beginnings of this wonderful art must be sought in pottery of humble material4 ,the rough but dignified earthenware of the ,,han ,,dynasty1 contemporaneous approximately with the opening of the ,christian era1 signalises the first appearance in ,china of pottery of an artistic nature4 ,the green-glazed vessels of this period1 imitating the shapes and outward texture of bronze1 have become only in recent times familiar objects on the shelves of our museums4 ,from them we can trace the porcelain of later times1 by which the ,chinese have proved themselves the master-potters of the world1 excelling and giving the lead to the ceramists of every other race4 ,yet it is strange to reflect how late in history their skill has been learned1 and to remember that ,persians1 ,egyptians1 ,greeks and other ,western races were masters of the potter's craft many centuries before the ,chinese achieved their earliest artistic wares4 ,coming late into the field1 they evolved in a comparatively short span of time a material which placed them ahead of every rival4 99 99 99 99 99 ,the ,,sung ,,dynasty1 which occupied the throne of ,china for more than three hundred years beginning towards the end of the tenth century1 witnessed the first emergence of a true ceramic style4 ,the potters of earlier times had been content to follow the forms set by the bronze-founder1 but their successors of the ,sung period set forth on purely ceramic lines and arrived at a great variety of wares which are recorded in ,chinese literature4 ,to identify these among surviving specimens that may be attributed to this period is a formidable task for the antiquarian4 ,the problem need not be discussed here1 as most of these wares cannot be classed as porcelain in the ordinary sense of the word2 but it is interesting to note briefly those types which foreshadow the developments of later times4 ,the emancipation of the potter to a position of independence is well shown by a small vase in the ,victoria and ,albert ,museum of the type known as 8,chn yao10 made from the earliest years of the ,sung period at ,chn-chou1 in the province of ,honan4 ,the vase is of ovoid form with a lizard-like dragon coiled round it in relief2 the surface is covered with a thick lavender-blue glaze on which is a splash of strong crimson4 ,though the body is porcellanous1 the freedom of the modelling marks a distinct advance from the imitative bronze vessels of earlier times1 while the brilliancy of the colouring anticipates the pure and gorgeous hues which were among the triumphs of the golden age of porcelain4 ,the discovery during this period of the properties of kaolin and the effort to imitate by artificial means the luminous beauties of jade1 pointed the way to the evolution of a white translucent porcelain body4 ,the cream-coloured ,ting ware1 made at ,ting-chou in the province of ,chihli1 stand1 among the relics of these far-off times which have escaped destruction1 as the first achievements in this direction4 ,the beauty and dignity of this ware is well exemplified by the two quadrangular vases at ,south ,kensington1 formerly in ,dr4 ,bushell's collection4 ,the delicate floral or diaper ornament incised under the soft ivory-toned glaze gives promise of the skilful handiwork of the golden age of the art4 ,one distinctive characteristic of porcelain1 the quality of translucency1 is still absent in most wares of this order1 but pieces of smaller size1 such as an exquisitely fashioned little box and cover at ,kensington1 show a warm glow through their thinner parts when held to the light4 ,another class of ware to which reference must here be made is the celebrated celadon ware of ,lung-ch'an1 in the province of ,chekiang1 which was first produced during this dynasty in the effort to imitate green jade4 ,this ware was widely exported over land and sea1 and is met with in remote and unexpected corners of the ,old ,world4 ,a well-known specimen of it1 ,archbishop ,warham's cup1 preserved at ,new ,college1 ,oxford1 is the first piece of ,chinese ware recorded to have reached this country4 ,though it has the nature rather of fine stoneware than of porcelain1 it is to be noted as the forerunner of a large class of porcelain of later times4 99 99 99 99 99 ,it was not until the period of the ,,ming ,,dynasty that the ware usually associated in ,europe with the term 8porcelain0 first began to be made1 that is1 a ware with a hard1 pure white body1 more or less translucent4 ,the beginning of the same period witnessed the emergence to a position of ascendancy of the imperial factory at ,ching-t-chn1 in the province of ,kiangsi4 ,the factory was rebuilt in #ahfi by ,hung ,wu1 the first of the ,ming emperors1 and remained henceforward the chief centre of the porcelain industry in ,china4 ,the subsequent achievements of ,ching-t-chn have never been surpassed in the whole history of ceramic art4 ,the ,ming dynasty productions have a certain well-marked cachet1 which distinguishes them clearly in their several classes alike from the wares of earlier times and from the porcelain made under the later ,ch'ing emperors4 ,there is a notable predominance of vessels of large size1 formed of heavy material1 displaying a massiveness and bold simplicity in their contours and decorated with designs1 whether modelled or painted1 of vigorous conception and of free1 even rough execution4 ,the potter addresses himself with energy to his task1 and is no longer limited either to the imitative work of the ,han dynasty1 or to the more restrained1 often delicate performances of the intervening age4 ,at the same time1 he has not yet gained the mastery of hand or the familiarity with the powers of the kiln which made possible the artistic and technical refinements of his successors4 ,,plate #h ,vase1 ,chinese1 period of ,k'ang ,hsi 7#affb-agbb71 with enamel painting of the famille verte4 ,height1 #ah in4 ,no4 #bgf-ahfd4 ,see p4 #ba4 ,unmarked4 ,illustration ,we are probably right in recognising as the earliest productions in pure white-bodied porcelain that have come down to us1 a group1 of which there are several fine examples in the ,victoria and ,albert ,museum2 one of these has been chosen for illustration in ,plate #b4 ,the class is characterised by a dense heavy body1 massive form1 and decoration1 executed by means of coloured glazes1 which are applied and fixed at a lower temperature after the first firing of the ware4 ,the colours are confined to a full dark blue1 turquoise-blue1 straw-yellow1 and a pale manganese-violet1 to which sometimes an opaque white is added4 ,in the greater number of cases the outline stands out in slight relief from the surface of the object1 and is filled in with the coloured glazes in the same manner as the hollows in the copper base of a champlev enamel4 ,a similar technique is met with again in the so-called cuenca tiles made in ,southern ,spain in the sixteenth century4 ,in some rare instances the vase is made with double sides1 and the design is reserved in openwork by cutting through the outer casing4 ,this type is represented at ,south ,kensington by a large jar#a decorated with a procession of soldiers1 which stands out with bold effectiveness against the dark hollows of the pierced background4 #a ,illustrated in ,dr4 ,bushell's ,chinese ,art1 vol4 ii4 fig4 #ab4 ,a fine example of the more usual method of decoration is the piece reproduced in ,plate #b4 ,it is a jar of large dimensions which has reached this country by way of ,persia1 and has been embellished there with a mounting of brass chased with inscriptions and medallions4 ,the high esteem in which ,chinese porcelain has been held for centuries in the ,nearer ,east is evident from the pronounced ,chinese influence manifested in ,persian and ,syrian art from an early period1 while during the course of the ,ming dynasty the export of porcelain from ,china to ,western ,asia grew enormously1 and the imitation of ,chinese motives became the predominant element of design in the indigenous wares of ,persia4 ,that country was the source which supplied a large part of the collection of ,ming porcelain now exhibited at ,south ,kensington4 ,the jar here illustrated is of characteristically solid material1 only slightly translucent4 ,groups of crested wading birds among rocks and bushes of peony in blossom1 the flower symbolical of spring in ,chinese lore1 form the main feature of the decoration4 ,on the shoulder are lobed compartments enclosing the eight ,buddhist 8,emblems of ,happy ,augury40 ,round the lower part are floral designs in shaped panels4 ,the outlines1 being slightly raised from the surface of the jar1 form barriers by which the coloured glazes were kept from mingling one with another in the kiln4 ,the harmonious hues serve to emphasise the bold and simple forms of the ornament1 which seem thoroughly in keeping with the strong curves of the profile of the vase itself4 ,other fine examples of this class exhibiting the same technique may be seen at ,south ,kensington4 ,besides two large jars with processions of mounted soldiers1 there are two smaller vases of the elongated pear shape which is also characteristic of this period4 ,one of these1 decorated with chrysanthemums and peonies1 is remarkable for the full and rich colours of the glazes1 while the other is of interest from the quaint figures on it with their primitive garb of sewn leaves4 ,in a pair of square vases1 probably early exponents of the style1 an effect of solemn beauty has been obtained by the use of white and turquoise only on a manganese ground of dense purple4 ,,plate #aj ,bottle1 8,medici porcelain10 made in ,florence about #aehj1 with design of ,oriental character in blue1 outlined in manganese-purple4 ,height1 #f-g_/h in4 ,no4 #bbi-ahij4 ,see p4 #da4 ,unmarked4 ,illustration ,in the classes of porcelain which have hitherto been dealt with1 the decoration has been effected either by cutting into the surface with a pointed instrument or moulding it in relief1 or by the addition of colouring materials to the glaze4 ,we must now consider the method most widely prevalent in recent times1 namely1 that of painting on the surface either before or after glazing4 ,in ,china this method came into use at a comparatively late period4 ,elsewhere it had been known for many centuries as a means of ceramic decoration4 ,in ,persia1 for example1 painted designs are met with on the pottery found by ,french excavators in the lowest stratum on the site of the city of ,susa1 dating possibly from #ejjj years before ,christ1 while on the semi-porcellanous ware of ancient ,egypt painting is of common occurrence4 ,it was widespread as a ceramic process in the ,near ,east and the countries round the ,mediterranean long before it was practised by the ,chinese4 ,the earliest painted wares of ,china certainly do not date back before the ,sung dynasty1 and it is doubtful whether even so great an age as this can be ascribed to them4 ,there is a class of vases painted in a strong dark brown with roughly-drawn ornament of ,buddhistic character1 which are probably not more recent than the earliest years of the ,ming dynasty1 and may date from the latter part of the ,sung period4 ,they were made at ,tz-chou1 in the province of ,honan4 ,several examples of this kind are in the ,victoria and ,albert ,museum1 most of them painted with spirited designs of lotus-flowers and leafy scrollwork1 sometimes with birds introduced amongst the foliage4 ,one vase is decorated with four shaped panels1 three enclosing lotus-flowers1 while in the fourth is a crude figure of a ,buddhist monk4 ,these vases are worthy of special attention1 as they appear to mark the point at which a step forward was taken of far-reaching significance in its effect on ,chinese ceramics4 ,the introduction of the painter's brush among the implements of the ,chinese potter led the way to developments which placed him above his fellow-craftsmen in other lands1 amongst whom this branch of the art had been familiar in much earlier ages4 ,of all the materials employed as pigments in the decoration of porcelain1 the most important and the most widespread in use is cobalt-blue4 ,it is said that this colour was first introduced into ,china from the west of ,asia as early as the tenth century1 but it does not appear to have been used for painting before the thirteenth century4 ,in this connection mention may be made of a miniature vase at ,south ,kensington of the cream-coloured ,ting ware already alluded to1 which is painted with indistinct markings in cobalt-blue4 ,it may be that such pieces as this can rightly be referred back to the end of the ,sung dynasty1 and that we have in them the first manifestations of the great family of 8blue and white0 china1 which in the eyes of the world at large represents ,chinese porcelain par excellence4 ,be that as it may1 it was not till the time of the ,ming emperors that there was any extensive production of painted 8blue and white0 porcelain4 ,the earliest extant pieces that can be dated with any degree of certainty are ascribable to the reign of the emperor ,hsan ,t 7#adbf-adce74 ,there is a small bowl of this period in the ,salting ,collection4 ,it is remarkable as well for the quality of the glaze1 resembling vellum in its texture1 as for the soft greyish tones of the cobalt used in the delicate painting of chrysanthemums and other flowering plants4 ,two other pieces bearing the mark of ,hsan ,t are to be seen at ,south ,kensington1 but although they belong undoubtedly to the ,ming dynasty1 it cannot be regarded as certain that the mark upon them indicates their actual age4 ,one of these is a bowl painted with a design of trees1 the pine1 peach1 and bamboo1 symbolising long life1 and the pomegranate1 which is the emblem of fecundity2 by a quaint conceit the trunks of the trees are distorted into the form of the characters fu 78happiness07 and shou 78longevity074 ,the other specimen is a tall cylindrical vase1 bearing the mark in a cartouche on the border1 as it is sometimes found on porcelain of the later ,wan ,li period4 ,it is decorated with conventional lotus-flowers in three horizontal bands1 painted in dark cobalt-blue and the underglaze crimson obtained from copper1 which ranks with cobalt as one of the earliest pigments used in ,chinese ceramics4 ,a noticeable feature of the painting is the way in which the leaves and petals are darkened by a stippling of dots over a lighter wash of colour4 ,another interesting jar1 of six-sided form and undoubtedly early in date1 has floral ornament executed in dark blue1 approaching to black where heavily laid on1 which recalls the designs occurring on the hexagonal tiles from the ,great ,mosque at ,damascus4 ,the ,persian chased brass rim with which the jar is mounted indicates the channel through which it has come to the ,west4 ,the ,damascus tiles are believed to date from the fifteenth century1 and the resemblance between them and the jar in question is so striking as to suggest that they were painted under direct ,chinese influence4 ,this view is confirmed by the occurrence among the motives upon them of the ,far ,eastern chrysanthemum4 ,advancing to the sixteenth century and the reigns of ,chng ,t1 ,chia ,ching1 and ,wan ,li1 we find surviving 8blue and white0 specimens by no means rare4 ,to the first reign are attributed certain objects made for ,mohammedan use1 as shown by the occurrence upon them of ,arabic inscriptions1 and some large globular jars with conventional lotus designs under a glaze usually of pronounced bluish tone4 ,the ,chia ,ching period is characterised particularly by a blue of great intensity1 sometimes verging upon violet2 it is seen in several large jars at ,south ,kensington in which the strong painting harmonises with the massiveness of the form4 ,the bowl figuring in ,plate #c shows that a more refined style was also in vogue at the same time4 ,it is fashioned with the utmost delicacy and painted in a free manner1 but with unerring sureness of hand4 ,on the outside are seen the mythical fng huang1 or phnix1 of ,buddhist lore1 and other smaller birds flying amid bamboos2 on the bamboo stems grows the sacred fungus or ling-chih1 like the bamboo itself an emblem of longevity4 ,in the medallion at the bottom inside is an exquisite drawing of a song-bird perched on the branch of a blossoming tree4 ,the bowl is marked underneath with the words ,ta ,ming ,chia ,ching nien chih 78,made in the ,chia ,ching period of the great ,ming dynasty074 ,the soft grey-blue recalls the bowl of the ,hsan ,t period to which reference has already been made4 ,form and painting alike are executed with spontaneity and directness1 qualities as attractive as the technical finish of later periods1 when a loss of sincerity was the inevitable price paid for exactness of workmanship4 ,this difference of quality may be well appreciated by a comparison of the bowl with the 8egg-shell0 plate of the ,yung ,chng period reproduced in the same drawing1 to which reference will again be made4 ,another drawing 7,plate #d7 shows a typical example1 formerly in ,sir ,charles ,robinson's collection1 of the better kind of 8blue and white0 produced during the reign of ,wan ,li1 who was contemporary with our own ,queen ,elizabeth4 ,that this elegant wine-pot found its way to ,europe at no long interval after it was made is proved by the bronze mounting1 which happily accentuates its gracefulness of contour4 ,the domed cover of ogee outline and the crested borders indicate that the mounting is of ,german origin1 and was done probably at ,augsburg in the early years of the seventeenth century4 ,the six sides of the body form panels filled in with a variety of flowers1 among which may be distinguished such oft-recurring emblems of longevity as the lotus and the ling-chih or miraculous fungus2 the slender neck is painted with conventional flames4 ,in the hollow beneath the foot is the word fu 78longevity071 written in seal character4 ,this piece belongs to the same class of finer porcelain made under ,wan ,li as a melon-shaped wine-pot1 mounted in silver-gilt1 bearing the ,london hall-mark for #aehe-hf1 and the well-known set of bowls1 also with ,elizabethan silver-gilt mounting1 which were formerly in the possession of the ,cecil family at ,burghley ,house4 ,in addition to this finer porcelain1 vast quantities of 8blue and white0 ware of inferior quality were made for export4 ,it went eastwards to ,japan1 where it provided patterns for some of the porcelain turned out from the kilns of the province of ,hizen1 and westwards to ,persia1 to be imitated in earthenware by the native potters of the time of the great ,shah ,abbas ,,ii4 ,the decoration1 rough and careless as it often is1 has generally a certain attractiveness on account of its freedom from the fault of over-refinement4 ,roughly-sketched landscapes with deer1 hares or birds in shaped panels are frequent motives4 ,a dish at ,south ,kensington1 probably of the ,wan ,li period1 is doubly interesting4 ,its decoration of floral ornament on scrolled stems is identical with a design not uncommon on ,damascus earthenware of the sixteenth century4 ,the back exhibits an unglazed surface of deep reddish-yellow1 and bears1 sharply cut into the paste1 the ,persian word naranji 78orange-coloured07 and a ,persian name1 probably that of a former owner4 ,the next illustration 7,plate #a7 stands for another process of decoration invented in the ,ming period1 which opened the way to wonderful developments in later times4 ,this new method consisted in painting over the glaze in enamel colours1 necessitating a second firing at a lower temperature than that required for fusing the glaze4 ,the colours employed are a dry scarlet obtained from oxide of iron1 green1 yellow of straw-coloured tone1 and manganese-violet1 which1 together with underglaze cobalt1 constitute the scheme known as the 8five colour0 decoration4 ,in some cases only two or three of these colours are used1 but generally the predominant notes are given by red and green4 ,this style anticipates the famille verte order of the time of ,k'ang ,hsi2 it is specially associated with the ,wan ,li period1 when it came into general vogue1 but instances of it occur dating from the reign of ,chia ,ching1 and in these the red is of a more neutral tone sometimes verging on orange4 ,the jar figuring in ,plate #a is altogether exceptional by reason of the manganese-purple ground on which the ornament is painted4 ,the predominance of this colour gives a splendour of effect which is accentuated by the points of bright red and green distributed with such sureness of judgment over the surface4 ,the powers of the ,ming dynasty potter are here displayed at their best4 ,scattered flowers of the winter plum1 one of the numerous emblems of long life1 are interspersed among the 8,eight ,precious ,things0 7,pa ,pao71 tokens to the ,buddhist of all that goes to make up mortal felicity4 ,visible in the drawing are the pair of books strung together1 standing for literary accomplishments2 the open lozenge1 a symbol of victory or success2 and the pearl or jewel of the law4 ,the remaining five objects1 not appearing in the view of the vase shown in the illustration1 are the 8cash10 figuring as a square enclosed by a circle1 for pecuniary wealth2 the painting1 representative of the arts2 the ch'ing or musical stone1 a kind of gong considered lucky on account of the identity of its name with the word for 8prosperity02 the pair of rhinoceros-horn cups paralleled by the classical 8horn of plenty02 and the leaf of the artemisia1 a fragrant plant believed to be efficacious as an antidote against harmful influences4 ,below these symbols are waves of the sea1 tossing in green foam against jagged rocks2 spiral eddies painted in black outline under a wash of transparent purple form the background to the composition4 ,the jar was bought in ,persia1 and is mounted with a brass neck and domed cover of ,persian workmanship1 chased with arabesques and pierced with grotesque figures in a row of medallions4 ,mention has already been made of the celadon-glazed wares made from the ,sung period onwards in imitation of green jade1 which are perhaps the most widely distributed of all the wares produced in ,china for export4 ,to this category belong the great rice-dishes and jars for storing grain1 often of extraordinary weight in proportion to their size1 frequently met with in ,india and ,persia1 and everywhere along the shores and islands of the ,indian ,ocean4 ,this class of porcelain was known to the ,arab traders of the ,middle ,ages as 8,martabani10 from the name of the ,burmese port which was one of the centres for its distribution4 ,this nomenclature finds its parallel in the name 8,gombroon ware10 by which it was called in ,england in the seventeenth century2 the establishment of the ,east ,india ,company's factory at ,gombroon on the ,straits of ,ormuz first opened the way for its importation in any considerable quantity into this country4 ,,plate #aa ,bowl1 ,italian1 dated #afch1 probably made at ,pisa1 the design on the exterior borrowed from ,turkish earthenware4 ,height1 #b in4 ,willett ,collection4 ,no4 #cda-aije4 ,see p4 #db4 ,the mark and the medallion inside are reproduced below the elevation of the bowl4 ,illustration ,the long-necked vase of celadon ware from the ,jones ,collection in ,plate #e may fitly be described here1 as it probably dates from the latter part of the ,ming dynasty1 though the refinement of the form suggests that it may have been made in the earlier years of ,k'ang ,hsi4 ,the surface of the vase is entirely coated with a crackled glaze of bluish-celadon tone1 running down in thick waves round the edge of the foot4 ,on this glaze is a design delicately traced in white slip1 thick enough to stand out in sensible relief1 with details incised by means of a pointed instrument4 ,this decoration1 spread over the whole of the vase1 is composed of archaic dragons1 from the mouths of which issue scrolled stems with leafy terminations having in some cases the outline of the sacred ling-chih fungus4 ,the rich ormolu mounting is characteristic ,french work of the period of ,louis ,,xvi4 ,below the mouth of the vase hang festoons of drapery1 passing through handles which are finished downwards with a bunch of grapes and vine-leaves2 the foot is chased with a band of guilloche pattern above a square plinth with incurved corners4 ,this is probably the workmanship of ,levasseur1 one of the host of artist-craftsmen to whose talent the furniture of eighteenth-century ,france owes its dignity and refinement4 ,their taste and judgment was never better displayed than when objects of beauty or rarity were handed to them to be enriched by their skill4 ,the vase before us is a typical case2 the porcelain loses nothing of its own loveliness in becoming the medium for displaying the beauty of the metalwork4 99 99 99 99 99 ,the numerous minor factories existing in ,china before the ,ming dynasty were unable to hold their own against the great imperial factory at ,ching-t-chn4 ,since the time of its establishment there has been only one other factory of artistic standing1 that of ,thua in the province of ,,fuchien4 ,it is devoted to the production of plain white porcelain with a creamy surface1 resembling ivory in texture1 but varying considerably in shades of colour4 ,quantities of ,fuchien china were brought to ,europe during the seventeenth century by the various ,india ,companies4 ,in ,france1 where it received the name of 8blanc de ,chine10 it provided models for the porcelain makers of ,st4 ,cloud1 and among the earliest output of many other ,european works will be found plain white cups and teapots with applied sprays of ,chinese plum-blossom in relief1 faithfully copying the models of the ,thua factory4 ,statuettes and groups of divinities always formed a large proportion of its productions2 the royal collection at ,dresden contains a fine series of such figures1 many of them nearly two feet in height1 which were among the porcelain collected by ,augustus the ,strong of ,saxony1 through the agency of the ,dutch ,east ,india merchants4 ,the smaller objects made at ,thua are delightful by virtue of their very simplicity4 ,in the absence of coloured decoration of any kind1 the full charm of the soft white surface can be appreciated4 ,the specimen illustrated in ,plate #f affords proof that this ware was highly esteemed by early ,european collectors4 ,this piece1 one of a pair in the ,jones ,bequest1 was doubtless originally a bottle or rosewater-sprinkler with bulbous body and narrow tapering neck1 but it has been cut down and fitted with silver-gilt mounts to adapt it to the purpose of a pastille-burner4 ,the neck has been removed and replaced by a silver-gilt knob of finely-chased foliage4 ,the shoulder has been drilled with holes2 lower down the porcelain has been cut away for the insertion of a band engraved with delicate cartouches and rosettes4 ,the foot of the bottle is raised on a tripod silver-gilt base1 ornamented with three lions' heads and three grotesque mascarons exquisitely chased4 ,when the piece is turned up1 further enrichment is disclosed underneath it in the form of an engraved design of a type much in favour about #agjj1 representing1 in a half-grotesque manner1 a squirrel1 birds and a hound among trees4 ,the hall-marks with which the mounts are stamped in several places are unfortunately very indistinct1 but from their form it is clear that they are ,parisian marks of the early years of the eighteenth century4 ,the initials of an unknown silversmith 8,p4 ,b40 can easily be made out1 while another mark appears to be that of tienne ,baligny1 fermier gnral from #agjc till #agac2 but no marks are necessary to show that we have here ,french work in the finest style of the age of ,louis ,,xiv4 ,the care bestowed upon the mounting is sufficient evidence of the value set upon ,fuchien porcelain by ,european collectors of the time4 ,further testimony of this is afforded by the fact already noticed1 that the designs and methods of decoration in vogue at the ,thua potteries were extensively imitated in the earlier stages of several ,western factories4 ,in the blossoming sprays of plum applied to the body of the piece in our illustration we recognise the favourite emblem of longevity which is of such constant occurrence on ,chinese objects1 lending them a felicitous significance appropriate to things destined to be given as presents or tokens of congratulation4 ,the same motive is familiar in the early white china of ,meissen1 ,bow1 and ,chelsea1 and of ,st4 ,cloud1 ,vincennes1 and ,svres4 ,,plate #f ,vase of white porcelain of ,thua in the province of ,fuchien1 mounted in silver-gilt of the period of ,louis ,,xiv4 as a pastille-burner4 ,height1 #g in4 ,jones ,collection4 ,no4 #haf-ahhb4 ,see p4 #ah4 ,unmarked4 ,illustration ,in addition to applied reliefs the ,fuchien potters decorated their porcelain with delicate incised designs1 sometimes scarcely perceptible until closely examined1 or with ornaments impressed by means of small stamps4 ,an instance of the latter method is seen on the foot of the piece under consideration1 which has a repeating border of fret-pattern lightly impressed in the paste4 99 99 99 99 99 ,the reign of ,wan ,li was followed by an epoch extending over nearly half a century which is almost devoid of significance in the history of porcelain4 ,the invasions of the ,manchu ,tartars brought to an end the native ,ming dynasty1 and gave its last two emperors little leisure for the patronage of art4 ,the establishment on the throne of the still-ruling ,ch'ing dynasty of ,tartar emperors was the opening of a new era1 and the accession of its second monarch1 ,k',,ang ,,hsi1 was the signal for a brilliant artistic renaissance1 nowhere more apparent in its effects than in the wonderful achievements of the imperial porcelain works at ,ching-t-chn4 ,k'ang ,hsi's reign of sixty years' duration covered roughly the same space of time as that of his illustrious ,french contemporary1 the ,grand ,monarque1 who gave the impetus for a similar revival in the arts of his own kingdom4 ,it was an age of peace and order following after years of strife and confusion4 ,energies no longer required to be spent in warfare were free to be diverted to the pursuance of the arts of peace4 ,in the domain of porcelain the outcome of these favourable conditions is seen in an extraordinary advance along technical lines unparalleled in the history of ceramics4 ,a white body of the utmost purity1 a glaze fusing so perfectly on to the surface of the paste as to give an appearance of deep luminosity1 underglaze colours and overglaze enamels unsurpassed in brilliance and liveliness1 brought within the reach of the potter a wonderful variety of effects far beyond anything that had been attained before4 ,yet the very technical skill which made the triumphs of the ,k'ang ,hsi period possible1 opened the way for the artistic decline of the following half century4 ,virtuosity took the place of aesthetic spontaneity2 while there is undeniable beauty in the new achievements1 they generally lack the vigour and sincerity of earlier periods when the principles of technique were less well understood4 ,the characteristic qualities of ,k'ang ,hsi porcelain are well illustrated by the vases chosen for the drawings reproduced in ,plates #g and #h4 ,the first of these is a 8blue and white0 covered vase1 formerly in the collection of ,mr4 ,james ,orrock1 with decoration in shaped panels reserved on a 8powdered blue0 ground4 ,of the four large panels1 two are filled with sprays of flowers1 and a third with a selection from the curious assemblage of objects known as the 8,hundred ,antiques0 7,po ,ku71 symbolising the elegant arts and accomplishments4 ,in the remaining panel is a mountainous landscape rendered in the conventional manner customary in ,chinese paintings2 the conventions are not such as we are familiar with in ,western art1 but once accepted1 they will be found to suggest nature and to perform a decorative function no less effectively than those of the ,european designer4 ,the cobalt-blue is typical of the finest quality of the period2 it has a depth of tone and a limpid brilliancy found only in the reign of ,k'ang ,hsi1 compared with which all but the best blue of other periods seems dingy and lustreless4 ,the ground colour is carefully sprayed or splashed on to the vase1 and has in consequence on a close inspection a minutely speckled appearance2 to this is owing the intense throbbing effect which has often been noticed as the peculiar quality of the blue of this class4 ,this beauty of colour1 combined with the faultless spacing of the decoration1 compensates for a certain prim formality noticeable when comparison is made with the less orderly designs of the ,ming dynasty4 ,passing on to ,plate #h1 we come to a representative of the class of decoration above all others associated with the ,k'ang ,hsi period4 ,this class is derived from the 8five colour0 group1 already discussed1 of the later ,ming emperors1 characterised by painting in enamel colours fired over the glaze at a comparatively low temperature1 and hence known to ,french collectors as enamels of the demi-grand feu4 ,from the predominance of green the class is generally termed the 8famille verte40 ,the blue comprised among the five colours of the ,ming dynasty is always an underglaze cobalt painted on the biscuit before the application of the glaze2 but in the majority of pieces of later date1 whether strictly of the 8five colour0 order or of the derivative famille verte1 the blue1 like the rest of the pigments1 is an overglaze enamel4 ,the vase here illustrated is of special interest as exemplifying the use of both kinds of blue2 while in the main decoration an enamel blue of greyish tone has been employed1 there are also two bands1 round the shoulder and base respectively1 filled with a diaper pattern in underglaze blue enclosed between ridges in slight relief4 ,the form of the vase is that known as 8club-shaped40 ,the scheme of decoration is of a type which became increasingly prevalent as the eighteenth century advanced1 and departs entirely from the traditions of earlier times4 ,instead of a broadly-treated design proportionate to the dimensions of the vase1 the surface is divided into a number of panels of diverse size and outline1 set against a figured groundwork and filled in with delicate miniature paintings4 ,two large rectangular panels contain rocky lake-scenes with figures4 ,smaller panels enclose some of the 8,hundred ,antiques0 already alluded to1 while in two circular medallions we see a carp rising from a cataract1 beneath a full moon partly hidden among clouds4 ,this latter subject is an allegory of literary success attained by perseverance and industry4 ,the allusion is to the legend according to which the sturgeon of the ,hoang ,ho river1 when they ascend the stream in the third month of the year1 are transformed into dragons if they succeed in climbing the rapids of the ,lung ,mn or ,dragon ,gate4 ,the green ground of the vase is figured with a close pattern of conventional lotus-flowers amid small scrolled foliage4 ,the whole is exquisitely rendered1 and composes such a beautiful harmony of colour as to compel admiration1 in spite of the comparative lack of breadth in the treatment of the design4 ,,plate #g ,jar1 with ,cover1 ,chinese1 period of ,k'ang ,hsi 7#affb-agbb71 with decoration in panels reserved on a powdered blue ground4 ,height1 #ah in4 ,orrock ,collection4 ,no4 #fg-ahhg4 ,see p4 #bj4 ,unmarked4 ,illustration ,to detail all the methods of decoration in vogue in the ,k'ang ,hsi period1 many of them then for the first time introduced1 would be beyond the scope of such a work as this2 it must suffice to mention briefly a few of the most remarkable4 ,firstly1 there are many varieties of the famille verte1 the most notable being that in which naturalistic flowers are relieved against a ground of enamel1 either straw-yellow1 green1 or lustrous black4 ,the pieces on which the last-named ground colour occurs form the subdivision known to connoisseurs as the 8famille noire02 the ,salting ,collection includes a splendid series of vases of this category4 ,dignity of form is combined in them with masterly composition in the painting1 while the measure of conventionalism necessitated by the limited palette frees this type from the imputation of excessive naturalism4 ,the 8blue and white0 of the time of ,k'ang ,hsi has already been noticed4 ,beautiful effects were obtained where the cobalt was used in harmonious combination with the other high temperature underglaze pigments1 a greyish celadon-green and the soft crimson obtained from copper4 ,another new type of painted ware dating from this time is that in which the design is entirely carried out in the overglaze iron-red1 first seen amongst the pigments of the 8five colour0 order4 ,the red of the ,k'ang ,hsi period1 a pure coral-red of the utmost brilliancy1 is generally employed in conventional designs1 such as dragons and symbols or lotus-flowers1 symmetrically disposed over the whole surface of a vase4 ,perhaps the greatest glory of the reign are the single-colour and variegated glazes1 reviving and excelling the achievements in this direction of the ,sung dynasty4 ,chief among these are the crimson1 or 8sang de buf10 and the apple-green associated with the name of ,lang ,t'ing-tso1 viceroy during the beginning of the reign of the province of ,kiangsi1 in which the imperial kilns of ,ching-t-chn are situated2 further developments were attained1 such as the 8peach-bloom10 the 8kingfisher0 turquoise-blue1 and the revived 8clair de lune10 when in #afhc ,ts'ang ,ying-hsan was appointed director of the factories4 ,these wares rank among the most splendid achievements of the potter's art2 in beauty of form and gorgeousness of colour they have never been surpassed1 while by their nature they are free from the defect of over-refinement incident to the productions of an age of great technical discoveries1 which has been noticed in speaking of the painted porcelain4 ,lastly1 before passing on to the next reign1 a word must be said of the statuettes of divinities and the objects fashioned in the shape of fruit or living creatures1 which are another feature of the ,k'ang ,hsi renaissance4 ,painted generally in the enamel colours of the famille verte1 these figures are often masterpieces of modelling1 instinct with vivacity and expression4 99 99 99 99 99 ,the short reign of ,,yung ,,ch,,ng1 who succeeded ,k'ang ,hsi in #agbc1 witnessed still further advances in the direction of technical perfection1 accompanied on the artistic side by a corresponding growth of the tendency to over-refinement4 ,the discovery during the latter years of ,k'ang ,hsi of a rose-coloured enamel derived from gold1 varying in shade from pink to crimson1 opened the way for a revolution in the colour-scheme which is the chief characteristic of the painted porcelain of ,yung ,chng and his successor ,ch'ien ,lung4 ,from the prevalence of this colour1 the type of porcelain on which it occurs received the name of 8famille rose0 among ,french connoisseurs4 ,the widened range of the enamel-painter's palette made possible a completely naturalistic manner1 in which all conventionalism of treatment was abandoned4 ,no album of flora can show more faithful botanical drawings than are to be seen in such exquisite subjects after nature as that in the piece reproduced in ,plate #b2 in no work on ornithology could be found truer renderings of bird life4 ,the plate1 painted with a bird of the kingfisher family perched on the branch of a gnarled plum-tree in flower1 belongs to the collection bequeathed by ,mr4 ,w4 ,h4 ,cope4 ,the spray of blossoming pomegranate which completes the composition is naturally rendered by means of the newly-invented carmine enamel4 ,while we may question the fitness of a subject thus treated for the decoration of a porcelain plate1 we cannot but admire the exquisite delicacy of the painting and the skilful arrangement of the composition4 ,,plate #ab ,toilette-pot and ,cover1 ,st4 ,cloud1 about #agjj1 with ormolu mount of the period4 ,height1 #h in4 ,given by ,mr4 ,j4 ,h4 ,fitzhenry4 ,no4 ,c #deg-aiji4 ,see p4 #ej4 ,mark concealed by the mounting4 ,illustration ,perhaps the most famous of the productions of the ,yung ,chng period are the plates and cups and saucers of thin 8egg-shell0 china with enamel decoration of figure-subjects or birds and flowers enclosed within elaborate borders of complex diaper4 ,the same fine porcelain was employed as a material for lanterns2 fine examples of these are exhibited in the ,victoria and ,albert ,museum4 ,concurrently with such technical refinements as these1 there came about under ,yung ,chng an archaistic revival of ancient wares1 resulting from the commission given by the emperor for the reproduction of the ceramic treasures of past centuries preserved in his palaces4 ,imitations were made both of the shapes and of the numerous varieties of glaze of the factories of the ,sung dynasty1 while in the 8blue and white0 category the spotted manner of painting already noticed as characteristic of the reign of ,hsan ,t was specially in favour4 ,another ancient type extensively reproduced was the 8five colour0 class of the later ,ming emperors4 ,where there cannot be traced a refinement in the handling of the design foreign to the earlier painters1 the copies are readily distinguished from their prototypes by a difference in the quality of the colours employed4 ,the underglaze cobalt-blue has a decidedly violet nuance1 a delicate lilac replaces the earlier purple1 and the green is of a lighter grass-coloured hue2 furthermore1 the enamel colours often display a faint iridescence where the light glances on them4 ,the vase represented in ,plate #i is a fine example of this archaistic school of the time of ,yung ,chng4 ,the shape1 of noble simplicity1 dates back to the earliest period of the ,ming dynasty1 but the decoration belongs to the 8five colour0 type of ,wan ,li4 ,the design is composed of a dragon and a mythical phnix 7fng huang71 emblems of the emperor1 amid flowers and foliage of the tree-peony on wavy stems4 ,the breadth of treatment1 the vigorous drawing1 the masterly balance of the colouring1 entitle this vase to a place among the best performances of the ,chinese potter4 ,by the time of the ,emperor ,,ch',,ien ,,lung1 whose reign of sixty years ended in #agie1 deteriorating influences made themselves felt with ever-increasing insistence1 and the story of ,chinese porcelain from this time forward is a record of steady decline4 ,the seeds of decay may be considered to have been planted about the beginning of the seventeenth century1 when the establishment of the ,european trading companies brought ,china into close and constant touch with the ,western world4 ,the new markets thus opened for ,chinese products inevitably brought about the creation of a new style in ,chinese art to suit the taste of ,european buyers4 ,traces of ,western influence may be discerned1 if not in the decoration1 at all events in the forms of ,chinese porcelain all through the seventeenth century1 and in ,k'ang ,hsi's reign its effect is fully apparent4 ,the splendid rebirth of art and culture consequent upon the restoration of peace in the empire under his rule availed for a time to check the sinister effect of these changes2 but as the eighteenth century advanced1 a new class of wares affecting shapes unknown to ,oriental customs and designed to meet ,western requirements1 was produced in ever-increasing quantities1 and did not fail to influence the whole output of the ,chinese kilns4 ,the commercial spirit thus engendered1 hastened the decline already originated by too close attention to the technical side of ceramic craftsmanship4 ,the result is seen in the shapeless extravagances1 wonderful in technique1 but devoid of grace and beauty1 produced in the latter years of ,ch'ien ,lung1 and in the dreary 8,india china0 made for export through the various ,india companies of ,europe4 ,there was a momentary gleam of revival in the nineteenth century under ,taou ,kuang1 when creditable copies were made of some of the ,yung ,chng designs1 but such imitative efforts do not avail to arouse the interest of those to whom the art of a country ceases to appeal1 when it reflects the genius of a people no longer in the full vigour of manhood4 ,,ii ,,japanese ,,porcelain ,the subject of ,japanese porcelain can only be briefly discussed here1 on the one hand in its relation to the ,chinese porcelain of which it may be considered an offshoot1 and on the other1 from the point of view of its influence on ,european factories4 ,though the origin of the art in ,japan is obscure1 it is certain that the ,japanese learned the making of porcelain from their neighbours across the sea4 ,tradition asserts that one ,gorodayiu ,go ,shonsui visited the ,chinese factories in #aeaj with this purpose1 and on his return established a kiln of short-lived duration for the manufacture in his own country4 ,it is not1 however1 until the beginning of the following century that sure ground is reached2 about that time the necessary materials were discovered in the province of ,hizen1 in the extreme south-west of the island empire1 by a ,corean potter named ,risanpei1 and porcelain kilns were set up by him at ,,arita1 which remains to the present day one of the chief ,japanese centres of the industry4 ,at first only blue and white wares were made1 but about #afde the method of painting in enamel colours over the glaze was learned from a ,chinaman by a potter of the ,arita factory named ,kakiyemon1 and the style of decoration associated with him was inaugurated4 ,this style was maintained by more than one generation of the ,kakiyemon family1 and characterises a quantity of the porcelain exported to ,europe through the ,dutch merchants established at ,deshima1 in the outskirts of ,nagasaki4 ,as will be seen later1 it provided patterns for imitation in many of the earlier ,european porcelain works2 most of the pieces so imitated1 as1 for instance1 the prototype of the ,chelsea jar figuring in ,plate #bc1 bear designs of a formal character1 showing that they probably do not belong to the earliest work of the ,kakiyemon school4 ,a typical example of this later manner is a large jar at ,south ,kensington1 painted with a group of figures and trees repeated in three panels1 reserved on a close pattern of peony-flowers and foliage2 a dish in the ,brighton ,museum1 bearing on the back the name 8,kaki0 in seal characters1 shows formal designs painted with extraordinary neatness with a full palette of enamel colours1 betokening a still later stage in the development of the style4 ,charming as these more familiar designs are by reason of their clean drawing and the purity of their colours1 they must be regarded as somewhat foreign to the ,japanese genius1 being the outcome of the effort to please the taste of ,western buyers4 ,the purely ,japanese manner which may be attributed to the first ,kakiyemon is illustrated by some small plates at ,kensington from the ,bowes ,collection2 the design is limited to slight floral sprays or a few detached blossoms in three colours only1 red1 green1 and light blue1 so as to allow the qualities of the soft white glaze to be fully appreciated4 ,,plate #ac ,toilette-pot and ,cover1 ,chantilly1 about #agce1 painted in the style of the ,japanese ,kakiyemon ware4 ,silver-gilt mount of the period4 ,height1 #g in4 ,given by ,mr4 ,j4 ,h4 ,fitzhenry4 ,no4 ,c #dbd-aiji4 ,see p4 #ec4 ,mark3 a hunting-horn in red4 ,illustration ,illustration ,the baneful influence of contact with the ,west1 already noticed in dealing with ,chinese porcelain1 did not fail to make itself felt in the work of the ,arita potters4 ,from the last quarter of the seventeenth century may be dated the appearance of the ware generally considered in ,europe as peculiarly characteristic of ,japanese ceramics1 but in reality of a type entirely alien from native ideas4 ,though made at ,arita1 it is usually called by the name of the neighbouring port of ,imari1 from which it was exported4 ,the style is embodied in jars and dishes generally of large dimensions1 decorated in underglaze blue of muddy tone1 with dull red1 green1 purple and yellow enamels and gilding added at a subsequent firing over the glaze4 ,their effect is occasionally pleasing and handsome1 but in general these objects have a dull and lifeless air that places them among the least interesting of all ,oriental wares4 ,this style was sometimes copied both at ,meissen and at ,chelsea during their earlier stages1 and suggested some of the designs of the ,worcester factory1 but it was not till the first decades of the nineteenth century that it was extensively imitated1 when the 8,japan patterns0 of ,derby and the ,staffordshire works enjoyed a great popularity2 it may fairly be said that in the reduced scale necessitated by their application to table wares1 and in the livelier colouring obtainable in the ,english soft porcelain1 these patterns gain an attractiveness wanting in their ,oriental forerunners4 99 99 99 99 99 ,other kilns were founded in the neighbourhood of ,arita under the protection of feudal lords1 by whose patronage they were secured from the debasing effects of foreign trade4 ,porcelain began to be made about #affj at the kilns of ,,okawaji1 founded at an earlier date for making earthenware by a chief of the ,nabeshima family4 ,here the methods of painting employed were those of the later ,arita potters1 but the colours are purer and the decoration1 designed to please native tastes1 is at once less florid and more spontaneous in character4 ,fine porcelain was made in the second half of the eighteenth century at ,,mikawaji1 also in the province of ,hizen1 under the munificent patronage of the feudal lord of ,hirato4 ,the wares are of two principal types4 ,the first is painted in blue of a quiet grey tone with designs of exquisite delicacy1 inspired by the ,chinese 8blue and white0 of the time of ,hsan ,t2 and it should be noted that this milder quality of blue was deliberately aimed at by the potters of the best ,japanese schools1 in preference to the deep sapphire blue attained by the ,chinese at their highest period of development4 ,the second class of ,mikawaji ware is seen in the skilfully modelled figures of divinities1 children1 or mythical creatures such as the ,corean lion2 they are usually enlivened with coloured glazes of three harmonious tones1 blue1 russet-brown1 and black4 99 99 99 99 99 ,two other ,japanese factories remain to be noticed in their relation to ,chinese ceramics1 in the provinces of ,kaga and ,kishiu respectively4 ,the kilns at ,,kutani in ,kaga were established in #affd and made two distinct classes of ware4 ,one of these is called 8,ao ,kutani10 or green ,kutani1 from the predominance of green in the colouring1 and is characterised by the use of transparent green1 yellow1 manganese-violet1 and blue enamels of great intensity1 washed over strong floral or landscape designs drawn in heavy black outline4 ,this type is perfectly exemplified by a fine dish in the series at ,south ,kensington brought together by the ,japanese ,government in #ahgf4 ,while it appears to be reminiscent in its methods of the 8three colour0 class of the ,chinese1 its artistic character is free from extraneous elements and entirely ,japanese in genius4 ,the other type1 known par excellence as 8,ko ,kutani10 or old ,kutani ware1 includes a brilliant red among its colours1 and is the ancestor of the red and gold ,kaga porcelain of recent times4 ,,plate #ae ,ewer and ,basin1 ,svres1 dated #agfc1 painted with groups of children in the manner of ,boucher on a jaune jonquille ground4 ,mark of the decorator ,catrice4 ,ewer1 height1 #f-e_/h in42 basin1 length1 #aj in4 ,jones ,collection4 ,no4 #gec-ahhb4 ,see p4 #ef4 ,mark3 ,illustration ,illustration ,the porcelain made in the ,nishihama park1 near ,wakayama in the province of ,,kishiu1 dates only from the earlier years of the nineteenth century1 but is of interest as a revival of the early ,ming ware with designs in coloured glazes separated by outlines moulded in slight relief2 the enamels of the ,kishiu kilns produce a wonderful richness of effect1 notably where turquoise blue is used in combination with deep violet4 ,,iii ,,italian ,,porcelain ,,plate #af cuelle1 with ,cover and ,stand1 ,svres1 dated #agfh1 with pastoral subjects after ,boucher1 by ,chabry1 on a turquoise-blue ground4 cuelle1 height1 #d in42 stand1 diameter1 #d in4 ,jones ,collection4 ,no4 #geh-ahhb4 ,see p4 #eg4 ,mark3 ,illustration ,illustration ,the manufacture of porcelain in ,europe has a history of very recent origin when compared with the long story of its invention and development in the land of its birth1 but what it lacks in antiquity is atoned for by the interest and diversity of the vicissitudes through which it has passed4 ,we can never know at what period and by whose agency the mysterious substance was first brought into ,western lands4 ,from the earliest records that can rightly be supposed to refer to it1 we gather that the rare vessels of porcelain which found their way from ,china in the ,middle ,ages were regarded with superstitious wonder as the work of superhuman hands1 to be treasured as jealously as gold or precious stones4 ,how to rival this ware of pure white surface and translucent substance may well have been the problem that many a potter of those days attempted to solve1 but it must have been the despair of the rudely-trained craftsmen whose hands shaped the rough stone-wares of the ,rhineland1 or the lead-glazed slip-wares1 with their artless scratched or moulded designs1 of medival ,france and ,italy4 ,the road to success was first opened by the potters of the last-named country4 ,the ,italian tin-enamelled maiolica1 which attained its full development at the end of the fifteenth century1 marks the first pronounced step in the advance4 ,it derived its inspiration in the first instance not immediately from ,chinese porcelain1 but indirectly through the painted earthenware of the ,near ,east and of the ,moors in ,spain1 which was itself evolved in emulation of the ,chinese wares4 ,by the early years of the sixteenth century1 the latter must have been quite familiar to the ,italian maiolica potters1 who used the term 8alla porcellana0 to denote a certain type of design in which they sought to imitate the contemporary ,oriental 8blue and white40 ,the mere outward simulation that could be achieved by coating grey earthenware with pure white enamel did not satisfy the keen spirits of an age when every mind was pregnant with new ideas1 and no task seemed too gigantic for the artist's hand4 ,to produce a body which1 in substance and surface as well1 should equal the object of imitation1 must have been the aim of many a pioneer in the art of whose efforts all record has been lost4 ,if contemporary documents are to be trusted1 it would appear that something in the nature of porcelain was made in ,italy as early as the first quarter of the sixteenth century2 it is not surprising to learn that the scene of the first successful experiments was ,venice1 a city by that time famous all over ,europe for its glass1 a substance for the manufacture of which its seaboard situation gave it exceptional advantages4 ,though the literary evidences for the fabrication are too clear to be reasonably doubted1 no piece of this early ,venetian porcelain is known to exist at the present day4 ,we reach sure ground towards the end of the century1 when we come to the porcelain invented at ,,florence about #aege by ,francesco de' ,medici1 the second ,grand ,duke of ,tuscany4 ,this1 the earliest ,european porcelain of which specimens still survive1 is an imperfect artificial porcelain largely compounded of glass4 ,it is mentioned in a letter dated #aegf by the ,venetian ambassador at the ,tuscan ,court4 ,the only dated specimen known is a flask with the arms of ,philip ,,ii4 of ,spain and the date #aeha1 now in the museum at ,svres4 ,the ,grand ,duke probably ceased after a short time to take interest in the factory1 and it became a private enterprise2 of its subsequent fortunes something will be said on a later page4 ,,plate #ad ,jardinire1 ,svres1 dated #agfa1 painted with cupids on a rose ,pompadour ground4 ,mark of the decorator ,dubois4 ,height1 #g in4 ,jones ,collection4 ,no4 #ghg-ahhb4 ,see p4 #ef4 ,mark3 ,illustration ,illustration ,while as regards material the object of emulation was ,chinese porcelain1 the forms affected by the ,medici porcelain show little indication of extraneous influence4 ,by their variety and by the gracefulness of many they bear witness to the taste and inventiveness of the ducal patron1 who interested himself personally in the processes of fabrication and was doubtless in artistic matters the guiding spirit of the works4 ,the decoration1 painted in cobalt-blue usually of rather dull tone1 either alone or outlined with pale manganese-violet1 is of two distinct styles4 ,one of these is made up of grotesques of the kind familiar in the later maiolica of the ,urbino school4 ,the other style is marked by ,oriental motives1 derived in some cases from ,chinese1 but more often from ,near ,eastern sources4 ,the designs are never mere copies1 but rather interpretations of their prototypes2 often indeed they betray only slight traces of the inspiration to which they are due4 ,the last-named class of design is well exemplified by the bottle in ,plate #aj1 one of the four pieces of ,medici porcelain belonging to the ,victoria and ,albert ,museum4 ,the subtle shapeliness of the modelling and the ably-distributed painted ornament1 in which a slight suggestion of the contemporary ,chinese 8blue and white0 of ,wan ,li is perceptible1 betoken the work of an artist whose conceptions were superior to the material at his disposal for their embodiment4 99 99 99 99 99 ,from the scanty documents that remain1 it would appear that the venture of ,francesco de' ,medici was abandoned for a time1 and that his successor ,ferdinand ,i4 summoned to ,florence one ,niccol ,sisti for the purpose of re-establishing there the manufacture of porcelain4 ,the kilns were later removed to ,,pisa1 and a document exists to prove that in #afbj ,sisti received monetary aid for his work from the then-reigning ,grand ,duke1 ,cosmo ,,ii4 ,in the light of these records1 meagre as they are1 the greatest interest attaches to the little bowl figuring in ,plate #aa1 one of the most precious documentary pieces of porcelain in the ,south ,kensington collections2 it was formerly in the possession of ,mr4 ,henry ,griffith and later belonged to ,mr4 ,henry ,willett of ,brighton1 on whose death it was acquired for the ,museum4 ,this bowl is of remarkably thin material1 light to handle1 and shows a somewhat yellow tone in the paste by transmitted light4 ,the design painted round the outside consists of four alternate sprays of hyacinth and lily1 separated by flowers resembling scabious or cornflower branching from a curved serrated leaf2 these motives are obviously borrowed from the ,turkish earthenware of the period4 ,in a medallion inside the bowl is a view of a city with a domed building2 on the bottom are the initials 8,g4 ,g4 ,p4 ,f40 and the date #afch4 ,the only other piece hitherto identified as belonging to the same kind is another bowl1 in the collection of ,mr4 ,montague ,yeats ,brown4 ,like its companion1 it is light in weight and thin in the walls4 ,it is decorated round the sides externally and internally with a frieze of birds perched upon rocks2 inside is a medallion with a group of ruins among trees1 curiously anticipating the fanciful compositions seen on ,worcester and ,bow china of the eighteenth century4 ,in the painting there appear in addition to cobalt-blue two colours of common occurrence in the maiolica of the ,urbino school1 a strong brownish-orange and a greenish-blue derived from copper1 the latter much blurred in the firing4 ,this bowl also bears a signature and date1 8,i4 ,g4 ,p4 ,f4 #afbg01 and it is of extreme interest to observe that both bowls are marked with the same devices1 a cross potent and a curious aggregation of strokes1 of which the significance is difficult to determine2 evidently these signs are the distinctive mark of the factory4 ,the meaning of the initials is also uncertain1 but in view of the known existence of the ,sisti factory at ,pisa a few years before the date on the earlier bowl1 it may be conjectured that the last letters 8,p4 ,f401 occurring in both signatures alike1 stand for 8,pisanus fecit0 or 8,pisano fece02 if that be so1 the preceding 8,g0 may indicate the family name of the potters who took over from ,sisti the secret of porcelain making1 while the 8,i0 and the first 8,g0 respectively refer to the baptismal names of different members of the family4 ,be this as it may1 these two bowls1 unique in the nature of their paste and decoration and by reason of the dates they bear1 are of the utmost interest as isolated landmarks in the history of ,european porcelain1 standing midway between the production of ,francesco de' ,medici and the earliest ,french achievements4 99 99 99 99 99 ,the ,tuscan experiments above recorded were made at an unpropitious time1 and were consequently destined to have no lasting effect in the development of ,european ceramics4 ,italy was then fast relapsing into the state of torpor which followed as a reaction from her restless activities in the age of the renaissance1 and the time had not yet arrived when the influx of ,chinese porcelain1 resulting from the extension of trade relations with the ,east1 was to spur on the potters and chemists of ,europe1 aided by royal patronage1 to success in their efforts to produce a similar kind of ware4 ,porcelain is not heard of again in ,italy till about #agbj1 when ,francesco ,vezzi1 a ,venetian goldsmith1 in co-operation with a deserter from the ,saxon royal factory1 succeeded for a short time in producing hard porcelain of a type similar to that of ,meissen4 ,at a later date another ,saxon workman named ,hewelcke set up a short-lived factory in ,,venice1 but no porcelain of importance was produced there till the establishment of the works of ,geminiano ,cozzi in #agfe4 ,the chief ,italian factory was that at ,,doccia near ,florence1 founded by the ,marchese ,carlo ,ginori in #agce and still kept up by his descendants4 ,his aim was to compete with the porcelain imported from ,saxony1 and he succeeded in his efforts without the princely support by which alone in most ,european countries the manufacture was saved from failure4 ,he obtained the assistance of an expert from the factory at ,vienna1 ,carl ,wendelin ,anreiter1 of whose painted work on porcelain rare specimens are occasionally met with4 ,the earliest ,doccia productions showed distinct signs of ,meissen influence1 as may be seen from a soup-bowl in the ,victoria and ,albert ,museum2 this has a basket-work rim of the ,meissen type1 and is decorated with genre scenes from ,italian peasant life in medallions1 surrounded by tendrils in red and gold and small panels of lilac colour4 ,other pieces of the same service bear the mark of a ,doccia painter1 ,pietro ,fanciullacci4 ,at a later stage the ,ginori works became famous for their large reproductions in white porcelain of antique statues in the ,florentine palaces1 such as the ,crouching ,venus and the ,apollo ,belvedere4 99 99 99 99 99 ,the celebrated royal factory at ,,capodimonte1 near ,naples1 is said to owe its origin to a present of ,meissen porcelain made to ,charles ,,iii41 ,king of the ,two ,sicilies1 in #agcf1 when he married the ,saxon princess ,maria ,amelia4 ,its earliest productions were in white porcelain moulded with shells1 coral1 and other marine decorations1 but its fame is more specially founded on the services with mythological subjects minutely picked out in enamel colours4 ,as at ,doccia1 the inborn genius of the ,italians for modelling was exhibited in figures and elaborate statuettes1 in which drapery and flesh are usually tinted after nature4 ,a characteristic example is a large allegorical composition at ,kensington1 supported on four figures copied from the crouching ,turkish slaves 78,i quattro ,mori07 by ,pietro ,tacca1 which surround the monument of ,ferdinand ,i4 of ,tuscany in the harbour at ,leghorn2 modelling and colouring alike display the tendency to exaggeration and sensationalism characteristic of ,italian art in the period of decadence4 ,when ,charles ,,iii4 succeeded in #agei to the throne of ,spain1 he removed with him to the palace of ,,buen ,,retiro1 near ,madrid1 the whole establishment of his ,neapolitan factory2 the ,madrid porcelain is of a similar kind to that made before the transfer of the works4 ,the later factory carried on at ,,naples under ,ferdinand ,,iv4 shows the influence of the excavations at ,herculaneum in the severe classical style by which it is marked4 ,painted views of the district of ,naples and of the local antiquities are a favourite feature4 ,at the same time the works gained some renown by the cleverly modelled statuettes in biscuit china of greyish tone made under the direction of ,filippo ,tagliolini4 ,,iv ,,french ,,porcelain ,,plate #ai ,vase1 ,svres1 given in #aghj by ,gustavus ,,iii4 of ,sweden to ,catherine ,,ii4 of ,russia4 ,decorated by ,morin1 ,fontaine1 and ,le ,guay on a bleu de roi ground4 ,height1 #ai in4 ,jones ,collection4 ,no4 #gha-ahhb4 ,see p4 #ei4 ,mark3 ,illustration ,illustration ,the ,florentine experiments and the ,pisa bowls remain as solitary relics in the story of ,european porcelain until the year #afgc1 when the scene is shifted to ,france4 ,at this date a privilege was granted for making porcelain to ,edme ,poterat1 of ,st4 ,sever1 a suburb of ,rouen1 in the name of his son ,louis4 ,since #afdd he had been working as a faencier as lessee of the ,sieur ,poirel de ,grandval1 huissier de cabinet to ,anne of ,austria2 the ,sieur ,poirel had been granted an exclusive licence for making faence in the province of ,normandy4 ,the manufacture of porcelain at ,rouen was not continued for long after the death of ,poterat in #afid1 in consequence of a dispute between his sons1 which resulted in their privilege being withdrawn4 ,the nature of this earliest ,french porcelain is established by a few pieces1 which there are sufficient grounds for supposing to be authentic4 ,one of these is at ,south ,kensington1 a tall cup finely fashioned in a paste of bluish tone and carefully painted in a strong underglaze blue2 the design consists of small vases of flowers amid formal lambrequin ornament below a castellated border4 ,a point of special interest in connection with the earliest ,french experiments is that1 while the efforts of their authors were consciously directed at the emulation of ,oriental porcelain1 the style of decoration adopted by them was thoroughly ,french1 showing hardly any trace of ,chinese influence4 ,the surviving ,rouen specimens are closely similar in their ornament to the faence produced by the factory in which they were made4 ,the same is true of the porcelain manufactured1 for the first time in ,europe on a commercial scale1 at ,,st4 ,,cloud1 near ,paris4 ,this factory was started by a ,rouen potter named ,pierre ,chicaneau for the making of earthenware4 ,as the result of experiments made shortly before his death1 ,chicaneau could boast of producing objects in porcelain 8presqu'aussi parfait que les porcelaines de la ,chine et des ,indes40 ,his widow and family continued the work he had begun1 and in #agjb were granted letters patent by ,louis ,,xiv42 the factory was subsequently carried on by ,henri ,trou1 second husband of ,chicaneau's widow4 ,the jar reproduced in ,plate #ab illustrates admirably the style in vogue at the ,st4 ,cloud works4 ,formal devices adapted from ,rouen faence and inspired by the designs of ,brain1 are symmetrically disposed as borders1 leaving a large part of the surface free1 so as to display to full advantage the soft tone of the glaze4 ,the sense of fitness and proportion never absent from the best ,french work asserts itself as much in the painted ornament as in the rich ormolu mount with which the jar is embellished4 ,the legs of console outline and the rayed masks between them are typical forms of the art of ,louis ,,xiv4's reign2 instinct as they are with sober dignity1 they are saved from stiffness of effect by the contrast of the band of running foliage engraved on the collar round the top of the jar4 ,painting in blue under the glaze was the predominant manner of decoration at ,st4 ,cloud4 ,in other cases the porcelain is left white1 and only moulded ornaments are used2 these are either copied directly from the ,chinese ,fuchien porcelain1--here at last ,oriental motives appear1--or they exhibit a hybrid mingling of classical and ,chinese forms4 ,the latter type is seen in a fine soup-tureen in the ,fitzhenry gift at ,south ,kensington2 it is moulded with pseudo-,oriental cranes and foliage in relief above a gadrooned border1 and has grotesque mask handles and a knob in the form of a cabbage4 ,the tureen is of special interest because to the relief decoration has been added enamel colouring in primrose-yellow1 green1 and pale red2 an examination of the piece discloses on the bottom1 not only the incised mark of ,henri ,trou1 but also a fleur-de-lys in overglaze blue1 showing that the colouring was added at the ,spanish royal factory of ,buen ,retiro4 ,another tureen in the same collection has polychrome painting executed at ,st4 ,cloud1 a typical example of a rare class2 in a strong orange-yellow1 green1 purple1 red and blue are depicted ,oriental figures and a motive of a bird singing among trees by a wattled hedge1 borrowed from the ,japanese ,kakiyemon4 99 99 99 99 99 ,the life of the ,st4 ,cloud works was a long one1--it lasted till #agff1 having survived a disastrous fire in #agcg1--;and its output must have been considerable2 yet it had little direct influence on the subsequent history of ceramics4 ,it is indeed interesting to note here the existence at ,kensington of a seau in ,staffordshire salt-glazed stoneware with relief ornament copied from a ,st4 ,cloud model2 but this is an isolated case1 and imitations of ,st4 ,cloud are not common even among the productions of ,french factories4 ,a different tale can be told of the next in importance of the early ,french china works4 ,the factory founded in #agbe by ,louis-,henri de ,bourbon1 prince de ,cond1 on his domain at ,,chantilly1 was destined to hold a position of more than transient significance4 ,not only were styles of decoration devised there which became popular beyond the ,channel as well as in ,france itself2 ,chantilly has a greater claim to recognition in that it was two ,chantilly workmen who initiated the greatest of all ,european enterprises of this kind1 the royal and national manufactory at ,svres4 ,before entering into details of this passage in the course of events1 some account must be given of the productions of the parent factory4 ,the prince de ,cond chose for his director one ,ciquaire ,cirou1 who appears to have been a faence-maker1 and obtained royal recognition by a grant of letters patent in #agce4 ,the distinguishing element in the earlier ,chantilly porcelain is the use as a surface-coating of the same tin-enamel which is the generic feature of faence4 ,for some ten years the ,chantilly potters confined their artistic efforts as far as painting was concerned to adaptations or often close imitations of ,oriental porcelain of the preceding decades1 of which the princely patron had a rich collection4 ,the ,chinese famille verte supplied the motives in a few instances1 but the wares which suggested to ,cirou and his painters their daintiest designs were the work of ,kakiyemon4 ,few things have been made to display more effectively the delicate freshness which is the crowning virtue of painted porcelain4 ,the warm tone of the stanniferous glaze yields a softer ground for the flower-like hues of the enamel colours than the colder white of the ,japanese prototypes1 while the esprit of the ,french interpreter adds to the charming ,eastern themes just that homeliness of touch which endears them to ,western beholders4 ,no better illustration could be furnished than by the little silver-mounted pot de toilette from ,mr4 ,fitzhenry's gift to the nation1 figured in ,plate #ac4 ,little ,japanese boys at play1 houses perched among fir-trees on rocky crags1 tiny birds and butterflies are scattered with an unimpeachable sense of fitness over the creamy white surface2 all1 down to the mark on the bottom1 a cour de chasse in red enamel1 is drawn with the greatest neatness4 ,a ground colour of pure primrose-yellow is sometimes seen in pieces of this early period1 borrowed doubtless from ,meissen1 and foreshadowing the sumptuous coloured grounds of ,vincennes and ,svres4 ,this is well exemplified by a large jardinire with rococo ormolu mounting1 also in the ,fitzhenry gift4 ,at a later date less distinctive manners were adopted1 bouquets of flowers of the ,meissen type1 cupids in the style of ,boucher1 and rococo-panelled designs4 ,the manufacture was commercialised and the quality of the wares rapidly deteriorated1 but still a good word may be said for the blue festooned borders which are a common feature in ,chantilly services1 and are an admirable pattern of what designs in table ware should be4 ,an instance is the service made for ,louis ,philippe1 duc d',orlans1 for use at his chteau of ,villers-,cotterets2 a plate from this set is in the ,kensington collection4 99 99 99 99 99 ,two other minor factories of soft-paste china call for a passing notice1 those of ,,mennecy and ,sceaux1 both near ,paris4 ,the former appears to have been first established in ,paris itself1 and in #agdh transferred to a site at ,mennecy on the estate of the duc de ,villeroy1 who supported it with his patronage4 ,in #aggc1 on the expiration of their lease1 the directors of the works removed their plant to ,bourg-la-,reine1 where they came under the protection of the comte d',eu4 ,the factory was in the main confined to the production of small articles for the boudoir1 to which their simple decoration of bouquets or brightly-plumaged birds is well enough suited4 ,objects for purely ornamental purposes are seldom met with4 ,in ,mr4 ,fitzhenry's gift there is a pair of vases on high pedestals of the form known from its antique prototype as the 8vase ,mdicis10 finely painted with birds in landscapes4 ,it may be remarked that the polychrome flower-painting of ,mennecy often bears a close resemblance to that of early ,chelsea4 ,figures were turned out in considerable quantities4 ,the earlier ones are generally left white1 and show not only a sense of the grotesque but also much artistic feeling in their breadth of modelling4 ,the later figures with polychrome painting1 somewhat childish conceptions1 it is true1 are yet not without a certain grace and daintiness2 an important set of groups of children with musical instruments in the ,fitzhenry ,collection belongs to this class4 ,the works at ,,sceaux1 dating back apparently to #agdi1 are noteworthy for the skilfulness of their flower-paintings2 the tints are brilliant yet harmonious1 while the drawing is executed with remarkable care and sureness of touch4 99 99 99 99 99 ,the royal manufactory of ,s,,veres1 destined to enjoy a fame greater than that of any other in ,europe1 had its origin in a combination of circumstances from which at first no great results might have been expected4 ,orry de ,fulvy1 intendant des finances to ,louis ,,xv41 had long been interested in experiments for making porcelain1 when at ,vincennes in #agch he came across two workmen from ,chantilly1 the brothers ,dubois1 to whom reference has already been made4 ,they had been allowed secretly to set up a kiln in the precincts of the chteau4 ,de ,fulvy gave them his support1 and their operations were continued at his expense4 ,the ,dubois were subsequently dismissed as incompetent1 and the venture was in danger of abandonment2 but after many vicissitudes ,de ,fulvy's perseverance was crowned with success1 and in #agde he was able to form a company for the manufacture under royal privilege4 ,for eleven years the works were carried on at ,vincennes1 but in #agef they were transferred to new premises at ,svres1 on the other side of ,paris1 at a convenient distance from the royal palace of ,versailles2 three years previously the company had been reorganised under an exclusive privilege1 the king himself holding a quarter of the shares1 while the royal interest in the undertaking was signalised by the stipulation that its productions should be marked with the royal cipher of two interlaced 8,l0s4 ,from the outset the wares were given a high artistic quality4 ,duplessis1 goldsmith to the king1 was charged in #agdg with the control of the modellers2 he kept the workshops under close personal supervision1 and to his guiding influence is attributable the originality and unfailing taste of the shapes adopted4 ,hellot1 director of the ,academy of ,sciences1 was in charge of the chemical composition of the materials1 while ,bachelier was at the head of the painters and gilders4 ,drawings of figure-subjects were supplied by ,franois ,boucher for the painted decoration1 as well as for translation into the round by the modellers2 an instance of the latter process is the fine biscuit group of ,leda modelled from ,boucher's design by ,fernex1 a painted version of the same subject being in the ,national ,museum at ,stockholm4 ,the rare pieces surviving from the earliest stage of the factory's existence show clearly the aim which ,de ,fulvy set himself of competing with the ,saxon porcelain2 the landscapes or river-scenes painted on them1 with miniature groups of figures and buildings1 are evidently inspired by the ,meissen subjects of the period4 ,the same is true of the coloured grounds with medallions in reserve which made their appearance shortly afterwards1 but the colours used for the purpose were entirely new4 ,the earliest of these was the deep blue 78gros bleu07 from which was subsequently developed the famous 8bleu de roi40 ,the researches of ,hellot bore fruit later in the discovery of the rose ,pompadour pink and turquoise-blue4 ,a feature of the earliest years of the factory before its removal from ,vincennes were the artificial flowers modelled in porcelain1 which amounted in value to over three-fourths of the total output4 ,none of the pieces in our illustrations are of the primitive period4 ,they represent several of the ,svres ground colours4 ,plate #ad shows a jardinire with openwork socket painted with cupids and flowers in panels reserved on a rose ,pompadour ground4 ,it is marked with the royal cipher enclosing the date-letter ,i1 for #agfa1 and with a branch of foliage1 the mark of the painter ,jean ,ren ,dubois4 ,,plate #bj ,vase1 with ,cover1 ,meissen1 ,marcolini period1 about #aghj4 ,height1 #aa-g_/h in4 ,jones ,collection4 ,no4 #hcg-ahhb4 ,see p4 #fh4 ,mark ,illustration ,illustration ,the ewer and basin in ,plate #ae are dated #agfc and have the mark of the decorator ,catrice4 ,on a ground of yellow 7jaune jonquille7 are rococo-bordered panels with charming miniatures of children painted1 with the exception of the flesh tints1 en camaeu in blue4 ,this manner of painting in a monochrome of blue or crimson is a survival from an earlier period1 in which it is often found as the sole decoration on a plain white ground2 the simple contours of the shapes also point back to an early style4 ,the cuelle or soup-bowl with cover and stand1 shown in ,plate #af1 selected like the last two pieces from the ,jones ,collection1 is an example of the most sumptuous style of ,svres applied to the decoration of porcelain for useful purposes4 ,it bears the date-letter 8,p0 for #agfh4 ,the panels with pastoral scenes in colours by ,chabry fils follow closely the manner of ,boucher1 if he did not actually supply the designs for them2 with the rich gilt scrollwork borders and the turquoise ground they blend in an ensemble of splendid but harmonious effect1 admirably in keeping with the gracefully-modelled shapes4 ,another specimen of ,svres table ware of a simpler class is the jug reproduced in ,plate #ag1 with lid attached by a silver hinge4 ,on the bottom are the date-letter for #aggj and the mark of the flower-painter ,bouillat fils4 ,the subject of the next drawing1 a vase in the ,jones ,collection1 with classical busts in medallions raised above an apple-green ground1 brings us to the year #aggb1 with which by the death of the director ,boileau the most prosperous epoch of the factory's career came to a close4 ,when compared with the previous illustrations1 a distinct change of style is noticeable2 not a trace of the rococo of ,louis ,,xv4 is to be seen1 while the laurel-wreath round the foot and the classical ornament surrounding the cameo-like medallion betoken the adoption of the severer and simpler style associated with the following reign4 ,the transition to antique forms and ornament came about in ,svres china more gradually than in other branches of ,french applied art1 partly on account of the fact that in many cases the artists and workmen in the factory were succeeded by their sons1 who kept up the traditions they had learned from their parents4 ,the change in the directorship and the succession of the new king two years later finally determined the abandonment of the old style4 ,,plate #be ,teapot1 ,chelsea1 from a service painted with pseudo-,chinese figures in the style of ,watteau1 on a claret-coloured ground4 ,height1 #e-c_/h in4 ,bequest of ,miss ,emily ,h4 ,thomson1 of ,dover4 ,no4 #eag-aijb4 ,see p4 #hb4 ,mark3 an anchor in gold4 ,illustration ,illustration ,the vase represented in ,plate #ai is typical of the new tendencies4 ,it embodies to perfection the graceful ,french interpretation of classical art associated with the name of ,louis ,,xvi4 ,the vase is noteworthy not only as a splendid exponent of the powers of the royal manufacture1 but also on account of its historical associations4 ,it was made in #aghj1 and was given by ,gustavus ,,iii41 ,king of ,sweden1 as a present to the empress ,catherine ,,ii4 of ,russia2 the gift was the outcome of an unexpected turn of events1 resulting from the war between ,england and her ,american colonies4 ,the state of hostilities at sea was a grave menace to the commerce of the northern countries1 and an alliance was formed on #ast ,august #aghj1 between ,sweden1 ,denmark1 and ,russia1 powers at that time usually at variance1 to ensure the safety of their merchant fleets4 ,gustavus ,,iii41 who himself played the rle of ,augustus in ,swedish history1 had a great admiration for the genius of the ,russian empress4 ,he was at the time absent from his kingdom on a long tour in the ,south1 in the course of which he had doubtless had opportunities of forming a personal judgment of the merits of the ,french royal porcelain4 ,it is not surprising therefore that he should have thought of a set of ,svres china as a suitable present to mark the occasion of the treaty2 he invoked to assist him in his choice a friend of earlier days1 the writer ,marmontel1 to whom he communicated his desires through his ambassador at the ,french ,court1 the baron de ,stal4 ,the circumstances of the purchase are fully related in the letter dated #bith ,august #aghj1 by which ,marmontel informed the director of the factory1 ,regnier1 of the selection he had made at the works4 ,of five pieces chosen to make up a garniture de chemine1 one is the vase before us1 and it is worth while to cite the words in which it is described3 8,un grand vase bleu de roi et or1 avec un cartouche reprsentant une marine marchande4 ,dans ce petit tableau deux hommes sont occups lire dans un livre pos sur un tonneau4 ,je suis convenu avec le peintre que sur le livre il crivoit ces mots que je vais tracer figurativement3 ,neutra- ,catherine ,,ii4 lite arme ,gustave ,,iii4 ,il faut que ces caractres soient en mail et l'on m'a promis que cette petite besogne seroit faite aujourd'hui40 ,the remaining four pieces of the set were a pair of figures representing ,pygmalion and ,prometheus1 and two small cornucopia vases4 ,instructions were given for the figures to be inscribed with verses of ,marmontel's own composition1 highly flattering to the imperial recipient of the present4 ,the letter concludes with a request that the goods might be despatched without delay to the ,swedish king1 who was awaiting them at ,spa4 ,the price paid for the vase was #gbj livres1 and for the complete set #ahif livres4 ,the subsequent story of the vase is not fully known1 but it may be surmised that it left ,russia on the occasion of a great fire at the palace of ,czarsko ,selo1 when it is recorded that many pieces now scattered in various museums were stolen from the celebrated turquoise-blue service of ,svres china ordered by ,catherine ,,ii4 in #aghh4 ,the vase was bought by ,mr4 ,jones in #ahhj at the sale of the ,san ,donato ,palace at ,florence1 and is now housed with the rest of his bequest to the nation4 ,it remains only to mention that the marine subject in the style of ,joseph ,vernet is the work of ,morin1 the bouquet of flowers in the reverse medallion is by ,fontaine1 while the gilding was done by ,le ,guay1 whose signature with the royal cipher is painted under the base4 ,a brief allusion has already been made to the sculpture in biscuit china1 which was among the most remarkable work done at ,svres during the time of its prosperity4 ,the enamelled figures in the ,meissen style1 made in the earliest stages at ,vincennes1 were soon superseded in popularity by those in biscuit1 a much better vehicle for reproducing delicate modelling4 ,the high artistic merit attained by them was due to the guiding genius of the sculptor ,falconet1 who was in charge of the modellers from #ageg for nearly ten years2 he himself provided the models for nearly all the figures made during that period1 the traditions set by him being maintained by his successors4 ,his nice sense of the capabilities of his material is manifest alike in graceful genre and pastoral subjects and in works of more elevated conception1 such as the ,pygmalion group already mentioned4 ,,plate #bg ,vase1 with ,cover1 ,worcester1 about #agfj1 with design adapted from the ,japanese4 ,height1 #aa in4 ,schreiber ,collection4 ,no4 #dhj4 ,see p4 #he4 ,unmarked4 ,illustration ,,plate #bh ,vase1 with ,cover1 ,bristol1 #aggj-agha1 painted with exotic birds in the ,svres manner4 ,height1 #ae in4 ,schreiber ,collection4 ,no4 #gdj4 ,see p4 #hg4 ,unmarked4 ,illustration ,after the death of ,bachelier the factory was hampered by mismanagement and financial difficulties2 the consequent deterioration in its productions was precipitated by the ,french ,revolution1 which marks the close of its most glorious epoch4 ,the artistic level reached in the last years of ,louis ,,xv4 was never again attained until recent times2 the success of the factory was the outcome of the peculiar excellence of the ,svres soft-paste for the display of gilding and painting in enamel colours1 and the abandonment of this class of body was inevitably followed by an artistic decline4 ,at quite an early stage of the factory's career experiments were made with a view to discovering in ,france the materials for true hard porcelain like that of ,china and ,germany4 ,the success of those researches in #agfe was the prelude to the complete adoption of the new material1 when the works were rescued by ,napoleon from the state of adversity into which they had sunk in the revolutionary period4 ,for some years before the fall of ,louis ,,xvi4 both soft and hard-paste were made concurrently2 an early example of the latter is a cup and saucer in the ,jones ,collection1 painted with the shield of ,france supported by an eagle and a dolphin1 made to commemorate the birth of the ill-fated ,dauphin in #agha4 ,under the ,empire and the restored monarchy everything was done that could be effected by rich gilding and highly-finished painting to bring back the magnificence of former years1 and the new material made possible dimensions never attempted before2 witness is borne by the huge vase in the ,svres ,museum representing the arrival in ,paris of the artistic spoils of ,napoleon's ,italian conquests1 and another with a frieze depicting the athletic sports of ancient ,greece4 ,france suffered perhaps less than other countries from the general debasement of art in that age1 but the redeeming charm of the eighteenth century styles was gone1 and with it the glory of the ,svres factory2 its artistic recovery with the return of ,french prosperity under the ,third ,republic belongs to recent history4 99 99 99 99 99 ,before leaving the subject of ,french porcelain1 something must be said of the cluster of ,,parisian ,,factories for making hard-paste china1 which arose in many cases under ,court patronage after the introduction of the new material at ,svres4 ,the exclusive privileges of the royal factory1 designed to repress all attempts at competition within the borders of ,france1 had been one by one abandoned1 having become gradually of no effect4 ,in #aghg complete liberty was accorded to all ,french manufacturers to pursue all the methods employed at ,svres1 including the jealously-protected use of gilding4 ,as a rule only useful wares were made in the smaller factories1 but these were often of considerable merit4 ,the use of gold as the only decoration on a white ground became increasingly popular1 and much charming ware is ornamented in this manner4 ,a typical instance may be cited in the spirit-kettle made at the ,clignancourt works1 comprised in the series of ,parisian hard-paste in the ,fitzhenry gift4 ,the affectation by these small factories of classical forms is exemplified in the same collection by a ewer with oblong basin decorated in gold and blue1 made in the duc d',angoulme's kilns in the rue ,bondy1 which are also famous for the pretty cornflower-sprig pattern afterwards popular in ,english china4 ,,plate #bf ,vase1 ,chelsea-,derby1 #aggj-aghd1 with handles in the form of female terminal figures in biscuit porcelain2 on the front a medallion with the subject of ,celadon and ,amelia4 ,height1 #ae in4 ,jones ,collection4 ,no4 #hbe-ahhb4 ,see p4 #hd4 ,mark3 an anchor in gold4 ,illustration ,illustration ,v ,,german ,,porcelain ,while the efforts to imitate ,chinese porcelain first led to lasting results by the invention of soft-paste porcelain in ,france1 the credit belongs to ,germany of discovering and introducing into ,europe the art of making true hard-paste porcelain of the ,chinese type4 ,the discovery was the outcome of researches not originally directed to this end4 ,the romantic story of ,johann ,friedrich ,bttger1 the chemist to whom it was due1 is well known3 how he claimed to possess the secret of making gold1 how he fled from ,berlin across the ,saxon border to avoid the covetous attentions of the ,king of ,prussia1 how he was promptly visited with the fate he wished to escape1 at the hands of ,augustus the ,strong1 ,elector of ,saxony and ,king of ,poland1 and how he spent a great part of a short life in fruitless efforts to make gold by alchemistic means for replenishing the ,elector's coffers4 ,it was only when the needs of ,augustus had become the more pressing1 in consequence of the exhausting war with ,sweden through which he lost the ,polish ,crown1 that his optimistic credulity was in danger of being overtaxed4 ,bttger foresaw that the ,elector could no longer be duped1 and the happy idea was suggested to him1 probably by the chemist ,von ,tschirnhausen1 of drawing a blind over his failure by another plan for enriching his royal master4 ,the latter was foremost among the sovereigns of ,europe as an amateur of the porcelain at that time being imported by ,dutch merchants from the ,far ,east2 he was therefore likely to view with favour ,bttger's new scheme1 which was no other than the restoration of ,saxony's prosperity by the establishment in the country of ceramic industries1 and particularly of porcelain factories on the ,chinese lines4 ,all ,bttger's efforts were now turned in this direction4 ,in #agjh a 8,steinbckerei0 was started at ,dresden for the manufacture of tiles1 and shortly after ,bttger's celebrated red stoneware was invented4 ,in #agaj he obtained a royal patent for the foundation of a porcelain factory2 the site chosen for it was the fortress of ,albrechtsburg1 near ,,meissen1 and in the course of the year the first samples were submitted to the ,elector1 two small cups with enamel decoration1 still in the royal collection at ,dresden4 ,so began the manufacture of hard-paste china in ,europe4 ,the porcelain made at ,meissen before ,bttger's death derived its shape in part from contemporary metalwork of the baroque style1 and partly from the ,elector's ,chinese collection2 statuettes were also modelled1 after the caricatures of the ,french etcher ,callot4 ,varied methods of decoration were attempted4 ,lace-like borders inspired by ,french designs were executed in enamel colours1 or in gold1 silver1 or lustre2 we also find miniature hunting-scenes1 such as are seen on ,bohemian and ,silesian drinking-glasses of the period1 applied in gold leaf thickly laid on in slight relief4 ,,plate #c ,bowl1 ,chinese1 bearing the mark of the ,emperor ,chia ,ching 7#aebb-aeff7 of the ,ming dynasty4 ,height1 #b-g_/h in4 ,no4 #afaf-ahgf4 ,see p4 #ab4 ,mark3 ,illustration ,plate1 ,chinese1 jointed in colours of the famille rose1 with a bird perched on the branch of a plum-tree4 ,period of ,yung ,chng 7#agbc-agce74 ,diameter1 #h-a_/h in4 ,cope ,bequest4 ,no4 #fjj-aijc4 ,see p4 #be4 ,unmarked4 ,illustration ,after ,bttger's death in #agai the painter ,herold became the leading spirit of the factory1 and painting began to play the chief rle in the decoration of the wares4 ,the earlier ,french borders gave place for a time to faithful copies of ,oriental patterns selected from the royal collection1 those of the ,japanese ,kakiyemon being specially in favour4 ,by #agcj a distinctive ,meissen style had arisen1 characterised by simple baroque forms and a decoration of panels enclosed with borders of delicate symmetrical scrollwork in gold and colours1 often reserved on a monochrome ground2 the panels are filled either with groups of pseudo-,chinese figures1 or with landscape subjects depicting wide open country with broad rivers1 reminiscent of the lowland scenery to the north of ,dresden4 ,the appointment of the sculptor ,johann ,joachim ,kndler1 in #agca1 to be superintendent of the modellers1 led to a revolution in the character of the wares4 ,if painted figure-subjects were introduced1 the favourite themes were gallant parties of ladies and gentlemen in the manner of ,watteau1 but relief ornament and not painting now became the leading feature2 the style adopted in the modelling was a modified form of the ,french rococo1 and impressed itself on the productions of most of the ,german factories which sprang up in rivalry with ,meissen4 ,the very spirit of the ,german rococo is embodied in the countless figures and groups1 destined among other purposes to form part of table-services as decorative 8,tafelaufstze10 which were modelled during this period by ,kndler and his associates2 as we shall see later1 they were extensively copied in the earliest ,english china works4 ,the development of sculpture in porcelain inaugurated at ,meissen is a branch of the art in which ,europe attained a proficiency absolutely unknown in ,china2 the ,german factories in particular excelled in their skill in this class of work4 ,the state of warfare in which ,germany was plunged about the middle of the century was a serious check to the progress of the works4 ,when peace was restored in #agfc1 a new spirit began to manifest itself1 contemporaneously with the addition to the staff of the ,french modeller ,acier4 ,the change was completed under the directorship of ,count ,camillo ,marcolini1 which lasted from #aggd to #ahad4 ,just as in music1 an art in which ,germany enjoyed at that time an unquestioned supremacy1 the sprightly melodies of ,haydn gave place to the graver harmonies of ,beethoven1 so in porcelain too the altered mood of the age was reflected4 ,florid rococo forms were abandoned and replaced by the severer contours and simpler decoration of the classic style of ,louis ,,xvi4 ,the philosophic sentimentalism of the day was not interested in the pretty but aimless frivolities of the ,watteau school1 and subjects of an entirely different order were chosen to fill panels and medallions4 ,a service at ,south ,kensington is painted with a series of careful miniatures in illustration of ,goethe's ,sorrows of ,werther1 a work in which the spirit of the age is characteristically expressed4 ,other favourite themes were ,angelica ,kauffmann's renderings of the more sentimental stories of classical mythology4 ,the ,meissen vase chosen for illustration in ,plate #bj1 one of a set of three in the ,jones ,bequest1 dates from the earlier years of ,count ,marcolini's management4 ,the slight decoration of dainty and pleasing effect allows the fine qualities of the paste to be fully appreciated4 ,the various ornamental features embody in characteristic manner the ideas of the age4 ,the symmetrical amphora form1 the square architectural plinth1 the wreaths of oak on the cover and foot1 point to the new interest awakened in ancient1 more particularly ,roman1 art by the publication of the antiquities of ,herculaneum2 the garlands and festoons of forget-me-nots recall the sentiment of an age that amused itself with the study of the 8language of flowers40 99 99 99 99 99 ,the ,meissen factory had not long been working before its success suggested the introduction of the manufacture of porcelain in other ,german states1 and in less than fifty years from the date of the royal patent of ,augustus the ,strong1 a porcelain factory was considered a necessary adjunct to the ,court of even the minor ,german rulers4 ,the influence of ,meissen is everywhere apparent1 but individuality shown in various directions by a few of the rivals entitles them to special mention4 ,the seniority amongst these belongs to ,,vienna1 where a factory was set up as early as #agah by a ,dutchman with the help of workmen who had escaped from ,meissen2 in #agdd it became an imperial institution4 ,the style of the wares followed closely on that of the parent works1 until financial embarrassments led to a complete reorganisation under ,baron von ,sorgenthal in #aghd4 ,the change was heralded by the adoption of severely angular shapes1 and of romantic or mythological subjects pictorially rendered1 within elaborate borders composed of classical motives carried out in rich highly-burnished gilding on panels of gorgeous colouring2 the true qualities of porcelain were forgotten in the effort to arrive at the highest pitch of sumptuous richness4 99 99 99 99 99 ,the factory of ,h,,chst1 under the patronage of the ,elector of ,mainz1 famous for its figures of children modelled by ,johann ,peter ,melchior1 was also founded with the help of a ,meissen artist4 ,again1 it was his marriage with a ,saxon princess that awakened in the ,elector of ,bavaria1 ,max ,josef ,,iii41 the desire to possess his own porcelain kilns4 ,these were erected at first at ,neudeck1 near ,munich1 and were removed in #ageh to ,,nymphenburg4 ,thanks to an ,italian sculptor1 ,franz ,bastelli1 the ,bavarian factory takes foremost rank in ,germany for its statuettes2 whether characters from the ,italian comedy1 or dancing cavaliers and ladies1 they display in their crisp1 nervous lines1 a spontaneity tempered by masterly restraint which is best appreciated when the white porcelain is left to speak for itself1 unobscured by the application of enamel colouring4 99 99 99 99 99 ,the ,duke of ,wrttemberg's factory at the ,residenzstadt of ,,ludwigsburg1 near ,stuttgart1 was founded in #ageh1 a propitious moment for starting a new enterprise of the kind1 as ,meissen and other factories in northern ,germany were suffering from the effects of a long-protracted war4 ,under the directorship of ,ringler1 who had previously gained experience at ,vienna and ,neudeck1 the works speedily reached a high pitch of efficiency4 ,in figures they were stamped at an earlier date than other ,german works with the new ideas of classicism1 through the influence of the sculptor who was appointed in #agei to superintend the modelling1 ,wilhelm ,beyer of ,gotha4 ,as the result of prolonged residence in ,rome and ,naples he was deeply imbued with the spirit of antique sculpture4 ,he understood well how to temper the cold serenity of the antique so as to suit the taste of an emotional age2 at the same time he knew how to modify classical forms in compliance with the exigencies of his material1 nor did he1 like later porcelain-modellers of the classical school1 renounce the charms of glaze and colour4 ,the classical feeling makes itself felt as much in his pastoral groups as in his renderings of mythological subjects4 ,,plate #d ,ewer1 ,chinese1 period of ,wan ,li 7#aegc-afai71 with contemporary brass mount of ,augsburg workmanship4 ,height1 #ab in4 ,no4 #agd-ahgi4 ,see p4 #ac4 ,mark3 ,fu 78,happiness07 in seal character4 ,illustration ,illustration ,whilst ,beyer was the pioneer of the classical in porcelain figures1 the ,ludwigsburg factory was slow to abandon the rococo style in its table wares4 ,the exceptionally graceful forms which they assume are typified by the coffee-pot in ,mr4 ,fitzhenry's collection1 represented in ,plate #ba4 ,the gilt scrollwork under the lip shows the rococo at its best4 ,the mark on the bottom is the cipher of ,duke ,carl ,eugen1 a double 8,c0 under a ducal crown4 99 99 99 99 99 ,excellent work was done in their best periods by several other ,german factories4 ,,berlin under the patronage of ,frederick the ,great was successful in combining gracefulness of form with rich painted and gilt decoration1 as for instance in the beautiful rococo service with openwork borders made for the ,neue ,palais at ,potsdam4 ,the works of the ,elector ,palatine at ,,frankenthal rivalled ,meissen in the rich diversity of its figure-modelling1 while at ,,ansbach the factory established by the ,margrave ,christian in #ageh excelled in landscape work in the manner of ,claude1 painted en camaeu in crimson within elaborate gilt borders of feathery rococo scrollwork4 ,the royal ,danish factory at ,,copenhagen may be mentioned as another instance in which the help of ,meissen workmen was secured for setting the enterprise on foot4 ,the manufacture is represented at ,south ,kensington among other pieces by an important vase with a portrait of the ,crown ,prince1 afterwards ,frederick ,,vi4 of ,denmark4 ,,plate #ba ,coffee-pot1 ,ludwigsburg1 about #agfj4 ,height1 #h in4 ,collection of ,mr4 ,j4 ,h4 ,fitzhenry4 ,no4 #aiij4 ,see p4 #ga4 ,mark3 the cipher of ,carl ,eugen of ,wrttemberg under a ducal crown4 ,illustration ,illustration ,,vi ,,english ,,porcelain ,,plate #ag ,jug1 with hinged ,cover1 ,svres1 dated #aggj1 with the mark of the flower-painter ,bouillat fils4 ,height1 #e in4 ,no4 #bjai-ahee4 ,see p4 #eg4 ,mark3 ,illustration ,illustration ,the obscurity which enshrouds the history of the earliest ,english porcelain works may be accounted for by the fact that these factories were private ventures1 started for commercial purposes2 they were not1 as at the outset were many of their ,continental rivals1 experimental undertakings conducted under the protection1 or subsidised out of the funds1 of a royal or princely patron4 ,it is true that the ,chelsea works received some measure of support from ,king ,george ,,ii4 and his son1 the ,duke of ,cumberland1 but it was probably to private enterprise that they owed their beginning and continuance alike4 ,while the earliest known piece of ,english china1 bearing the date #agde1 belongs to ,chelsea1 the other great ,london factory1 ,bow1 has the honour of the earliest documentary record of the manufacture in this country4 ,this priority1 by one year only1 based on a patent applied for in #agdd1 entitles the ,bow works to be noticed first4 99 99 99 99 99 ,except in the direction of figures1 the productions of ,bow were of an unambitious character4 8,useful0 wares showing many varied types of decoration were made during the thirty odd years of the factory's existence4 ,the earlier of these were interpretations1 not as a rule slavish copies1 of the ,chinese famille rose and of the works of the ,japanese potter1 ,kakiyemon2 their colours are often harmonious1 and their gilding of peculiar richness4 ,such praise cannot be bestowed on the later productions1 which have too often a garish and clumsy air2 the charm of simplicity is sacrificed in the effort to be splendid1 and the results are crude and ungainly4 ,it is interesting to note some pieces with landscapes so closely resembling the type which is commonly found on the ,german porcelain made at ,fulda as to point to the suggestion that they must have been derived from that source4 ,some of the figures made at ,bow show considerable spirit and breadth of modelling1 which is best appreciated when the china has been left white1 without the addition of coloured enamels4 ,the statuettes of the actors ,woodward and ,kitty ,clive in character1 ,king ,lear1 and some dignified figures of nuns1 are almost as effective as the white figures of ,nymphenburg1 of which mention has already been made4 ,these white pieces date mostly from the earlier stages of the works4 ,at a later time the clever modelling is usually obscured by enamelling of unpleasing tones4 ,a great number of the later figures are copied directly from the ,meissen models of ,kndler4 ,instances in the ,schreiber ,collection at ,kensington are a spirited pair of prancing horses held in respectively by a ,turk and a negro1 ,augustus the ,strong of ,saxony kissing his hand to a lady1 and a pair of tureens in the form of partridges on their nests4 ,perhaps the most pretentious figures ever made at ,bow were the pair of ,general ,wolfe and the ,marquis of ,granby1 of which there is an example in the same collection4 ,these were modelled by ,tebo1 who is also mentioned as having worked at ,worcester and ,bristol4 ,the name has a curiously unfamiliar form1 and is probably an ,english phonetic spelling of the ,french ,thibaut4 ,it is by no means improbable that he was one of the many ,french potters who migrated to this country in search of fortune1 or to escape the tyrannical pretensions of the ,french royal manufacture4 ,the pair of figures was doubtless made in #agfj1 to commemorate the events of the previous year1 so glorious in the annals of ,british warfare4 ,in the victories of ,quebec and ,minden1 ,wolfe had met his death and ,lord ,granby had won his first distinction by saving the ,british cavalry from disgrace4 ,these two soldiers were the popular heroes of the day1 and their figures in porcelain would be sure to command a ready sale4 ,the portrait of ,wolfe is copied from a sketch by ,captain ,smith1 which was engraved by ,richard ,houston4 ,granby appears to be taken from a print by the same engraver after a painting by ,reynolds1 which was published in #agfj2 he is represented in the uniform of ,colonel of the ,horse ,guards4 99 99 99 99 99 ,passing on to ,,chelsea we have to deal with perhaps the most famous of ,english china works1 one that takes its place worthily beside the great factories of the ,continent4 ,the history of ,chelsea is in one respect parallel to that of ,bow2 its earlier productions1 with all their technical imperfections1 are possessed of a charm that is wanting in the gorgeous and ambitious achievements of its later years4 ,this is notably the case with the statuettes for which most of all the name of ,chelsea is famous4 ,neither the figures of the cream-coloured glassy paste marked with a triangle1 nor those in the heavy cold-looking material on which a raised anchor often occurs1 are devoid of spirit and vigour2 nor are these qualities concealed by the excessive use of gold and enamel colours common at a later period4 ,while they are not for the most part original conceptions1 good judgment was exercised in the choice of models to be copied4 ,barthlemy de ,blmont's ,nourrice1 for example1 is no less charming in white ,chelsea porcelain than in the colour-glazed earthenware in which it first made its appearance4 ,after the works passed from the management of ,charles ,gouyn into the hands of ,nicholas ,sprimont1 distinct changes are noticeable alike in the composition of the paste and in the nature of the decoration1 but still for some time the colouring of the figures was subdued and limited in range4 ,new models appear1 copied in many cases directly from the ,meissen figures of ,kndler and ,acier2 the masked man dancing with a peasant girl1 and the 8,monkey ,musicians10 may be cited as instances4 ,chelsea seems1 however1 to have been less dependent than ,bow on extraneous inspiration4 ,during the last years of the factory's independent existence a great variety of fresh models make their appearance1 coming from the hand of sculptors such as ,roubiliac4 ,here at last original compositions are more in evidence2 where inspiration has been sought elsewhere it has been derived not from porcelain prototypes1 but from painted works by ,french or ,english masters1 made accessible by contemporary engravings4 ,,plate #ah ,vase1 ,svres1 dated #aggb1 with classical medallions on an apple-green ground4 ,height1 #aj-g_/h in4 ,jones ,collection4 ,no4 #hje-ahhb4 ,see p4 #eh4 ,mark3 ,illustration ,illustration ,the masterpiece of ,chelsea is the group of the 8,music ,lesson10 with its two accompanying pairs of figures symbolising the ,four ,seasons1 made to form a garniture for the chimney-piece2 a complete set is in the ,schreiber ,collection1 where it stands as a veritable tour de force in porcelain4 ,this set is the work of ,roubiliac1 whose initial 8,r0 is stamped on all three pieces1 the subject of the centre-piece being borrowed from ,l',agrable ,leon by ,boucher4 ,other examples of translation in the round from a painting or engraving are the dancing figures taken from ,watteau's ,ftes vntiennes4 ,historical interest attaches to the pair of figures of the democratic hero ,john ,wilkes and his champion1 ,general ,conway2 they were doubtless modelled in #agfd1 when ,conway sprang into popularity in consequence of the degradation with which he was punished for having spoken in ,parliament on ,wilkes's behalf4 ,the later ,chelsea figures of this class are usually so much decorated that their attractiveness is gone1 but an example has been chosen for illustration in ,plate #bb1 which has suffered less than others in this respect1 and is thoroughly characteristic of the style4 ,the graceful allure of the shepherdess with her basket of flowers and kilted skirts will suffice as an excuse for the painter's extravagance in the decoration of her raiment4 ,in its earlier stages the ,chelsea firm depended for its vases and 8useful0 wares1 as far as form was concerned1 on the models offered by ,oriental china1 and by the work of contemporary ,london silversmiths4 ,in decoration also1 ,oriental1 particularly ,japanese1 patterns were closely followed4 ,this lack of originality is atoned for in some measure by the added charm derived from the mellow surface of the soft ,chelsea glazes1 while the very defects in the painting due to the touch of a ,western hand give a certain homeliness which endears the imitations to an ,english amateur4 ,a beautiful example of this style is the hexagonal covered vase in the ,schreiber ,collection depicted in ,plate #bc4 ,both shape and decoration are copied with fidelity from an original of the school of the great ,japanese1 ,kakiyemon4 ,the perfect balance of the design and the harmony of the colouring are his1 but the interpretation and the material in which it is embodied belong wholly to the ,western potter2 8,western0 must be said advisedly1 for it must be doubted whether ,english workmen had any but a minor part at ,chelsea in its early days4 ,whether the 8,japan patterns0 were copied directly from ,oriental wares 7the designs in a few instances are ,chinese1 of the famille verte71 or whether they were obtained through the medium of ,meissen imitations of the ,oriental1 it would be difficult to decide2 the latter would certainly be more easily obtainable in ,england4 ,it is1 however1 interesting to observe that the vase here illustrated is an almost exact replica of a pair of ,japanese vases at ,hampton ,court ,palace1 belonging to the collection formed probably by ,queen ,mary ,,ii4 through the agency of the ,dutch ,east ,india merchants2 it is tempting to conjecture that the ,chelsea artists may have been allowed access to the royal apartments for the purpose of making drawings for use at the works4 ,,plate #bb ,figure of a ,shepherdess1 ,chelsea1 about #agfe4 ,height1 #ab in4 ,schreiber ,collection4 ,no4 #bcg4 ,see p4 #gi4 ,mark3 an anchor in gold4 ,illustration ,illustration ,oriental patterns were gradually superseded by motives inspired by rivalry with ,saxon porcelain--sprays of naturalistic flowers with insects1 landscapes1 or animal subjects1 such as the series in illustration of sop's ,fables4 ,a further advance is seen in the use of ground colours betokening emulation of ,svres1 which lasted in vogue till the independent existence of ,chelsea came to an end4 ,the earliest of these colours1 an attempt at reproducing the ,french bleu de roi1 is probably that occurring on the vases with a ground of uneven streaky blue of rather dull tone which have often been ascribed1 without evidence to justify the attribution1 to the ,longton ,hall factory in ,staffordshire4 ,later a more satisfactory colour was arrived at in a dense and splendid 8mazarine blue10 while in the effort to equal the rose ,pompadour of ,svres1 the claret-colour was evolved of which the glory belongs to the ,chelsea works alone4 ,on such splendid grounds as these were reserved panels for miniature paintings taken1 as the contemporary sale catalogues inform us1 from 8,busha10 8,burgam10 8,tenier10 and other foreign masters4 ,this style is exemplified by the sumptuous vases in the ,jones ,bequest at ,south ,kensington4 ,one pair with mazarine ground bears subjects from the set of the 8,four ,seasons0 painted by ,boucher for ,madame de ,pompadour in #agee4 ,other vases are painted with a domestic scene in peasant life1 and ,la ,cueillette de ,cerises after the same artist4 ,a pair of vases with a claret-coloured ground have mountain landscapes with cattle in the manner of ,berghem4 ,wonderful as such pieces are in the richness of their glaze and gilding and in the careful finish of the paintings1 the same defects are generally observable as in the later ,chelsea figures4 ,in the desire to cater for luxurious tastes1 richness of ornament has been carried to excess1 nor do the ungainly forms with their twisted rococo handles compare in attractiveness with the modest shapes of earlier times4 ,the vase figuring in ,plate #bd1 the middle one of a set of three in the ,schreiber ,collection1 suffers less than most from the defects of the period1 and well shows the richness of colour and gilding that were then attained4 ,the slightly uneven tone of the deep blue ground was doubtless regarded by the makers as a defect1 which they would gladly have overcome if they could2 but it is just this quality of variety which gives life to the surface1 and makes these ,chelsea glazes compare favourably with the almost too perfect ground colours of ,svres4 ,the late ,chelsea style is most pleasing in the wares made for less pretentious purposes4 ,no better illustration could be found than the tea- and coffee-service with claret-coloured ground bequeathed to the ,victoria and ,albert ,museum by ,miss ,emily ,thomson of ,dover4 ,the teapot is figured in ,plate #be4 ,every piece in the service is differently painted with a figure in the quaint dress which passed at the time for ,oriental4 ,these charming miniatures are evidently inspired by the chinoiseries of ,watteau1 which reflected the growing trade with the ,east under the auspices of the ,compagnie des ,indes2 a previous writer#b has plausibly suggested that this may be the actual 8equipage most inimitably enamelled in figures from the designs of ,watteau0 which was offered for sale at the last auction of ,sprimont's china held in ,christie's ,sale-room in ,february #aggj4 ,the sumptuous decoration of such a service need not be condemned when the surroundings in which it was intended to take its place are borne in mind2 its display would greatly enhance the elegance of a tea-party in an eighteenth-century drawing-room4 #b ,mr4 ,william ,burton1 in ,english ,porcelain4 99 99 99 99 99 ,it seems1 however1 that ,sprimont's costly porcelain was appreciated by too small a circle of patrons to ensure its success as a commercial venture4 ,after his works had passed in #aggj into the hands of ,william ,duesbury of ,,derby1 the style to which most of all ,chelsea owes its renown was soon abandoned4 ,in the china made during the ensuing period1 in which the ,chelsea and ,derby works were carried on conjointly under the same proprietor1 the ,chelsea element in the decoration is small1 and it may be inferred that the new manner which appears had already been in vogue at ,derby4 ,at what date the ,derby factory was founded1 and the nature of its earliest productions1 is obscure1 but to it belongs the credit for a style of decoration unsurpassed among 8useful0 wares for its suitability to the purpose for which the china was made4 ,many and varied are the dainty borders1 executed sometimes in gold alone1 sometimes in bright enamel colours laid on with a sparing and discriminating hand4 ,the scrollwork and contorted forms of the rococo period entirely disappear1 to be revived only in imitative work of a later time1 when they had lost all vitality and meaning1 and were no longer in keeping with the spirit of the age4 ,restraint verging at times on over-formality is the keynote of the new era1 in which for people of culture in all parts of ,europe the newly-found vases and sculptures of ancient ,greece and ,rome were the admired models4 ,,plate #bc ,jar1 with ,cover1 ,chelsea1 about #agee1 copied from ,japanese ,kakiyemon ware4 ,height1 #ab in4 ,schreiber ,collection4 ,no4 #bcg4 ,see p4 #hj4 ,mark inside the neck and on the cover3 an anchor in red4 ,illustration ,illustration ,the effect of the change was decidedly in favour of porcelain as a material2 the chastened decoration which it brought with it allowed the charming qualities of paste and glaze to be seen once more to full advantage1 and nowhere in ,european porcelain is the result more happily shown than in the best work of ,derby4 ,the ornamental vases of this period fell into the danger as time went on of losing originality and liveliness1 as conformity with classical models became more rigorous1 but those dating from its earliest days offer a welcome contrast to their ,chelsea predecessors4 ,one of the finest forms made by ,duesbury is exemplified by the vase in the ,jones ,bequest shown in ,plate #bf4 ,on either side of the body is an oval medallion with a miniature painting4 ,one of these panels represents the incident of ,celadon and ,amelia overtaken by the storm1 from ,thomson's poem ,the ,seasons1 the source of many a subject in the somewhat theatrical figure-paintings of the time4 ,on the reverse side is a river-scene with a rider watering his horse in the foreground1 and a castle-keep on a hill in the distance4 ,the terminal female figures forming the handles are in unglazed biscuit porcelain1 offering a pleasant contrast to the glancing surface of the body4 ,the gadroons on the neck1 the frieze with a grotesque mask between two lions1 and the flowers in natural colours on a gold groundwork1 seem when analysed rather incongruous elements1 but the effect of the whole though brilliant is yet harmonious4 ,the bleu de roi1 which is the ground colour on the neck and foot1 is of a lighter tone than the ,svres colour which it was intended to imitate4 ,it is possible that this vase may be the actual one advertised in the sale-catalogue for #ith ,may #aggc1 as 8,a most capital large therm vase1 richly painted in compartments with figures of ,celadon and ,armelia sic1 ornamented with fine blue and richly finished with chased and burnished gold40 ,the style of ,derby porcelain was not greatly modified while the works were in the hands of the ,duesbury family1 but after they were leased in #ahaa to ,robert ,bloor a change came about4 ,little can be said from an artistic point of view in praise of the output of later years4 ,effective 8,japan patterns0 based on ,imari originals were adopted for tea- and dinner-services1 but generally over-decoration and vulgarity of form and colour were faults for which technical improvements do not avail to compensate4 99 99 99 99 99 ,the porcelain made during the eighteenth century at the 8,,worcester ,tonquin ,manufacture10 founded by ,dr4 ,john ,wall and others in #agea1 has a more ,english character than that of the other leading china works in this country4 ,unambitious in its aims and businesslike in its methods1 it contented itself for a long time with producing little but wares for useful purposes4 ,these are characterised by a certain homeliness in the decoration and pleasing simplicity of form4 ,the thoroughly practical nature of the undertaking is borne out by the somewhat doubtful distinction it enjoys of being the pioneer in the use of printing for the decoration of porcelain1 or at all events the first factory to make extensive use of this process4 ,while in its early days ,worcester drew its inspiration from ,oriental china1 the ,eastern designs were taken rather as suggestions for patterns than as models to be closely copied1 as was frequently the case at ,chelsea4 ,the same practice held good even in later years1 when after the engagement of workmen from ,chelsea in #agfh1 more pretentious wares were attempted4 ,the celebrated 8scale-blue0 and 8powder-blue0 vases1 with birds or flowers of brilliant hues in reserved panels1 were doubtless suggested by the bleu de roi of ,svres1 but they bear little resemblance to their prototype1 and1 even in their most splendid form they seldom err beyond the limits of sobriety and good taste4 ,this character of the ,worcester wares is well illustrated by the little vase from the ,schreiber ,collection chosen as the subject of the drawing reproduced in ,plate #bg4 ,the pattern is a very free adaptation of a ,japanese design1 in which the chrysanthemum and the wattled fence motive1 appearing here as a wheat-sheaf1 can be recognised2 combined with this is a turquoise border1 edged with gilt rococo scrolls1 betraying some trace of ,french suggestion1 but the whole is so informally treated that no incongruity is felt1 and the general impression received is one of delightful freshness and simplicity4 ,the vase is typical of ,worcester at its best4 ,,plate #bd ,vase from a set of three1 ,chelsea1 about #agfj1 with gilt relief decoration on a mazarine-blue ground4 ,height1 #aa in4 ,schreiber ,collection4 ,no4 #bda4 ,see p4 #ha4 ,unmarked4 ,illustration ,the change in management in #aghc1 when ,thomas ,flight and his sons took over the control of the works1 did not at first bring with it a serious deterioration in the quality of the china4 ,a new decorative style was adopted in compliance with the fashion of the day1 but the same quiet tastefulness was the keynote of the decoration4 ,the sober designs in dark blue and gold almost equal those of ,derby in their suitability for the embellishment of table wares4 ,it is not till the beginning of the nineteenth century that a noticeable decline sets in1 but from that time forward the ,worcester wares1 whether made in the original factory or by the rival firm of ,chamberlains1 become increasingly lacking in interest4 ,all artistic qualities are smothered in overloaded decoration1 ungainly shapes1 and unrestrained lavishment of gilding4 99 99 99 99 99 ,it was a ,quaker apothecary of ,,plymouth1 ,william ,cookworthy by name1 whose discovery of deposits of kaolin and china clay in the neighbouring ,duchy enabled him in #agfh to obtain a patent for the first ,english factory of true porcelain of the ,chinese type4 ,the serious difficulties with which he had to contend led to the removal of the establishment two years later to ,,bristol1 where it was placed under the management of ,richard ,champion4 ,in #aggc the patent rights were transferred entirely to the latter1 and for eight years he continued in the face of many discouragements to carry on the manufacture2 special interest attaches to it on account of ,champion's personal relations with ,edmund ,burke1 at that time ,member of ,parliament for ,bristol4 ,forms and decoration were borrowed more from ,meissen and ,svres than from ,oriental types1 nor were they as a rule literal copies1 but rather adaptations from the originals4 ,while the harmonious blending of the enamels with the glaze1 which is so pleasing a feature of soft-paste china1 was necessarily absent from the ,bristol productions1 great brilliancy of colouring was obtained without involving garishness of effect1 as may be seen from ,plate #bh1 drawn from a vase in the ,schreiber ,collection4 ,the fanciful birds are not original creations of the ,bristol painter1 but reflect the type commonly seen on early pieces of ,vincennes and ,svres2 the quiet dignity of the shape1 on the other hand1 is thoroughly characteristic of the best ,english work4 99 99 99 99 99 ,the minor ,english factories of the eighteenth century1 such as those of ,,longton ,,hall1 in ,staffordshire1 ,,lowestoft1 and ,,caughley1 were either of too short a duration to arrive at any high level of technical attainment1 or were devoted almost entirely to the manufacture of commonplace wares for ordinary domestic uses4 ,the great extension of the porcelain industry in this country1 which signalised the opening of the nineteenth century1 was not productive of any noteworthy results from an artistic point of view4 ,at the short-lived ,welsh factories of ,,nantgarw and ,,swansea1 it is true1 a glassy paste was invented which was shown to be capable of beautiful effects1 but the numerous ,,staffordshire firms and the famous ,,rockingham works at ,swinton in ,yorkshire fell under the ban of the same artistic decadence that has been noticed in speaking of ,derby and ,worcester2 they saved themselves from financial disasters by following the demands instead of guiding the taste of a severely commercial age4 ,those who are in search of what is beautiful or vital in ,english porcelain will be content to confine their attentions to the eighteenth century4 ,,plate #b ,jar1 ,chinese1 early ,ming dynasty1 with decoration in slightly raised outline filled in with coloured glazes1 the rim fitted in ,persia with a chased brass mount4 ,height1 #ab in4 ,no4 #agdh-ahib4 ,see p4 #g4 ,unmarked4 ,illustration ,,index ,abbas ,,ii41 ,shah of ,persia1 #ac ,acier1 #fh1 #gh sop's ,fables1 #hj ,agrable ,leon1 ,l'1 #gi ,albrechtsburg1 fortress1 #ff ,amelia1 ,celadon and1 #hd ,american ,colonies1 #eh ,angoulme1 duc d'1 #fb ,anne of ,austria1 #di ,anreiter1 ,carl ,wendelin1 #dd ,ansbach1 #ga 8,antiques1 ,the ,hundred10 #ba1 #bb ,ao ,kutani ware1 #cd ,apollo ,belvedere1 #de ,apple-green1 #bd ,arab traders1 #af ,arabic inscriptions1 #ab ,archaistic ,chinese porcelain1 #be ,arita1 #ca ,artemisia leaf1 #ae ,augsburg1 #ac ,augustus1 ,emperor1 #eh ,augustus the ,strong1 ,elector of ,saxony1 #ag1 #fe1 #fi1 #gf ,austria1 ,anne of1 #di ,bachelier1 #ee1 #fj ,baligny1 tienne1 #ah ,baroque style1 #ff1 #fg ,bastelli1 ,franz1 #gj ,bavaria1 ,elector of1 #gj ,beethoven1 #fh ,brain1 #ej ,berghem1 #ha ,berlin1 #fe1 #ga ,beyer1 ,wilhelm1 #gj ,biscuit porcelain1 ,svres1 #fj ,blanc de ,chine1 #ag ,blmont1 ,barthlmy de1 #gh ,bleu de roi1 #ef1 #ei1 #hj1 #hd1 #he ,bloor1 ,robert1 #hd ,blue1 mazarine1 #ha powdered1 #bj1 #he scale1 #he 8,blue and white10 #aj1 #ab ,bohemian glass1 #ff ,boileau1 #eg ,bondy1 rue1 #fb ,bttger1 ,johann ,friedrich1 #fe ,boucher1 ,franois1 #ec1 #ee1 #eg1 #gi1 #ha ,bouillat fils1 #eg ,bourbon1 ,louis-,henri de1 #eb ,bourg-la-,reine1 #ed ,bow1 #ai1 #dc1 #ge1 #gh ,bowes ,collection1 #cb ,brighton ,museum1 #cb ,bristol1 #gg1 #hf ,bronze1 imitation of1 #c ,brown1 ,mr4 ,montague ,yeats1 #dc ,buddhist designs1 #h1 #i1 #ab1 #ae ,buen ,retiro1 #de1 #ea ,burghley ,house1 #ac ,burke1 ,edmund1 #hg ,burma1 #af ,bushell1 ,dr41 #e ,callot1 #ff ,capodimonte1 #de ,carl ,eugen1 ,duke of ,wrttemberg1 #ga ,carp motive1 #bb ,catherine ,,ii41 ,empress of ,russia1 #eh ,catrice1 #ef ,caughley1 #hg ,cecil family1 #ac ,celadon and ,amelia1 #hd ,celadon ware1 #e1 #ae1 #af1 #bc ,chabry1 #eg ,chamberlains1 ,worcester1 #hf ,champion1 ,richard1 #hg ,champlev enamel1 #g ,chantilly1 #eb1 #ee ,charles ,,iii41 ,king of the ,sicilies1 #de ,chekiang1 province1 #e ,chelsea1 #ai1 #cc1 #ed1 #ge1 #gg1 #hc1 #he ,chng ,t1 emperor1 #ab ,chia ,ching1 emperor1 #ab1 #ad ,chicaneau1 ,pierre1 #ej ,ch'ien ,lung1 emperor1 #be1 #bf1 #bg ,chihli1 province1 #e ,ch'ing1 symbol1 #ae ,ch'ing dynasty1 #ai ,ching-t-chn1 #f1 #ag1 #ai1 #bd ,chinoiseries1 #hb ,christian1 ,margrave1 #ga ,christie's sale-room1 #hb ,chn-chou1 #d ,cirou1 ,ciquaire1 #eb ,clair-de-lune glaze1 #bd ,claret-colour1 #ha1 #hb ,classical style1 #df1 #eg1 #fb1 #fh1 #fi1 #gj1 #hc ,claude1 #ga ,clignancourt1 #fb ,clive1 ,kitty1 #gf ,cobalt-blue1 introduction of1 #aj ,comedy1 ,italian1 #gj ,companies1 trading1 #af1 #bg1 #hb ,cond1 prince de1 #eb ,conway1 ,general1 #gi ,cookworthy1 ,william1 #hf ,cope ,bequest1 #be ,copenhagen1 #ga ,coral-red1 #bc ,corean lion1 #cd ,cornflower-sprig pattern1 #fb ,cosmo ,,ii41 ,grand ,duke of ,tuscany1 #db ,cozzi1 ,geminiano1 #dd ,cueillette de ,cerises1 ,la1 #ha ,cuenca tiles1 #g ,cumberland1 ,duke of1 #ge ,czarsko ,selo1 #fj ,damascus1 mosque at1 #aa ware1 #ad ,dauphin1 #fa ,de ,fulvy1 ,orry1 #ee1 #ef ,demigrand feu1 #ba ,denmark1 #eh1 #ga ,derby1 #cc1 #hb1 #hh ,deshima1 #cb ,de ,stal1 baron1 #ei ,doccia1 #dd ,dragon ,gate1 #bb ,dresden1 collection1 #ag ,steinbckerei1 #ff ,dubois1 brothers1 #ee ,jean ,ren1 #ef ,duesbury1 ,william1 #hb1 #hd ,duplessis1 #ee ,dutch merchants1 #ah1 #cb1 #ff1 #hj 8,eggshell0 china1 #be ,egypt1 #d1 #i ,elizabeth1 ,queen1 #ac ,elizabethan silver1 #ac 8,emblems of ,happy ,augury10 #h ,empire1 ,french1 #fa ,enamel1 champlev1 #f ,engravings1 designs copied from1 #gg1 #gh ,eu1 comte d'1 #ed ,faence1 #di1 #ej ,falconet1 #fj ,famille noire1 #bc rose1 #be1 #gf verte1 #ad1 #ba1 #bd1 #eb1 #hj ,fanciullacci1 ,pietro1 #de ,fng huang1 #ab1 #bf ,ferdinand ,i41 of ,tuscany1 #db1 #de ,,iv41 of the ,two ,sicilies1 #df ,fernex1 #ef ,ftes ,vntiennes1 #gi ,figures1 ,bow1 #gf ,chelsea1 #gg1 #gi ,chinese1 #bd ,frankenthal1 #ga ,hchst1 #fi ,ludwigsburg1 #gj ,meissen1 #fg1 #gf1 #gh ,mennecy1 #ed ,nymphenburg1 #gf ,svres1 #ei ,fitzhenry1 ,mr4 ,j4 ,h41 #ea1 #ec1 #ed1 #fb1 #ga 8,five colour0 decoration1 #ad1 #ba1 #bf ,fleur-de-lys mark1 #ea ,flight1 ,thomas1 #hf ,florence1 #dj1 #dd1 #di1 #fj ,flowers1 artificial1 #ef ,fontaine1 #fj ,forget-me-not decoration1 #fi ,francesco de' ,medici1 #da1 #db1 #dc ,frankenthal1 #ga ,frederick ,,vi41 ,king of ,denmark1 #ga the ,great1 #ga ,fu1 character1 #aa1 #ac ,fuchien1 province1 #ag1 #ea ,fulda1 #gf ,fulvy1 ,orry de1 #ee1 #ef ,fungus1 sacred1 #ab1 #ac1 #af ,george ,,ii41 king1 #ge ,gilding1 ,svres privilege1 #fb ,ginori1 ,marchese ,carlo1 #dd ,glass1 #dj1 #ff ,goethe1 #fh ,gold1 experiments for making1 #fe pink derived from1 #bd leaf1 decoration in1 #ff ,gombroon1 #af ,gorodayiu ,go ,shonsui1 #ca ,gotha1 #gj ,gouyn1 ,charles1 #gh ,grain-jars1 #af ,granby1 ,marquis of1 #gg ,greece1 sports of ancient1 #fa ,greek pottery1 #d1 #hc ,griffith1 ,mr4 ,henry1 #db ,gros bleu1 #ef ,gustavus ,,iii41 ,king of ,sweden1 #eh ,hampton ,court1 #hj ,han dynasty1 #c1 #f 8,happy ,augury1 ,emblems of10 #h ,hard paste1 #fa1 #fb1 #fe1 #hf ,haydn1 #fh ,hellot1 #ee ,herculaneum1 #df1 #fi ,herold1 #ff ,hewelcke1 #dd ,hirato1 #cd ,hizen1 province1 #ac1 #ca1 #cd ,hchst1 #fi ,honan1 province1 #d1 #i ,houston1 ,richard1 #gg ,hsan ,t1 emperor1 #aj1 #ab1 #bf1 #cd 8,hundred ,antiques10 #bj1 #bb ,hung ,wu1 emperor1 #f ,imari1 #cc1 #hd ,india1 #af china1 #bg ,companies1 #af1 #ag1 #ah1 #bg1 #hj1 #hb ,iron-red1 #bc ,italian comedy1 #gj ,jade1 imitation of1 #e1 #ae 8,japan patterns10 #cc1 #hj1 #hd ,jaune jonquille1 #ef ,jones ,collection1 #af1 #ah1 #eg1 #fj1 #fa1 #fh1 #ha1 #hd ,kaga1 province1 #cd ,kaki1 signature1 #cb ,kakiyemon1 #ca1 #ea1 #eb1 #fg1 #gf1 #hj ,kndler1 ,johann ,joachim1 #fg1 #gf1 #gh ,k'ang ,hsi1 emperor1 #ad1 #af1 #ai1 #bg ,kauffmann1 ,angelica1 #fh ,kiangsi1 province1 #f1 #bd 8,kingfisher blue10 #bd ,kishiu1 province1 #cd ,kutani1 #cd ,lang ,t'ing-tso1 #bd ,lear1 ,king1 #gf ,leda1 #ef ,leghorn1 #de ,le ,guay1 #fj ,levasseur1 #ag ,ling chih1 #ab1 #ac1 #af ,london silver marks1 #ac ,longton ,hall1 #ha1 #hg ,louis ,,xiv41 king1 #ah1 #ej ,,xv41 king1 #ee1 #eg1 #fa ,,xvi41 king1 #af1 #eh1 #fa1 #fh ,henri de ,bourbon1 #eb ,philippe1 duc d',orlans1 #ec ,lowestoft1 #hg ,ludwigsburg1 #gj ,lung-ch'an1 #e ,lung ,mn1 #bb ,madrid1 #de ,mainz1 ,elector of1 #fi ,maiolica1 ,italian1 #ci1 #da1 #dc ,manchu ,tartars1 #ai ,marcolini1 ,count ,camillo1 #fh ,margrave of ,ansbach1 #ga ,maria ,amelia1 ,princess of ,saxony1 #de ,marmontel1 #ei ,martabani ware1 #af ,mary ,,ii41 ,queen1 #hj ,max ,josef ,,iii41 ,elector of ,bavaria1 #gj ,mazarine blue1 #ha ,medici porcelain1 #da ,mdicis1 vase1 #ed ,meissen1 #ai1 #cc1 #dd1 #de1 #ec1 #ef1 #fj1 #ff1 #fi1 #ga1 #gh1 #hj ,melchior1 ,johann ,peter1 #fi ,mennecy1 #ec ,mikawaji1 #cd ,minden1 battle of1 #gg ,ming dynasty1 #f1 #af1 #ai1 #bf1 #ce ,mohammedan porcelain1 #ab 8,monkey ,musicians1 ,the10 #gh ,moors in ,spain1 #dj ,mori1 ,i quattro1 #de ,morin1 #fj ,munich1 #gj 8,music ,lesson1 ,the10 #gh ,nabeshima1 #cc ,nagasaki1 #cb ,nantgarw1 #hg ,naples1 #de1 #df1 #gj ,napoleon1 #fa ,naranji1 #ad ,neudeck1 #gj ,neue ,palais service1 #ga ,neutralite arme1 #ei ,new ,college1 ,oxford1 #e ,nishihama park1 #ce ,noire1 famille1 #bc ,normandy1 #di ,nourrice1 figure1 #gh ,nymphenburg1 #gj1 #gf ,okawaji1 #cc ,orlans1 duc d'1 #ec ,ormuz1 ,straits of1 #af ,orrock ,collection1 #bj ,oxford1 ,new ,college1 #e ,painting on porcelain1 origin of1 #i ,palatine1 ,elector1 #ga ,pa ,pao1 #ae ,paris1 #ah1 #ej1 #ec factories1 #fb ,p4,b41 silversmith1 #ah 8,peach-bloom0 glaze1 #bd ,persia1 #d1 #g1 #i1 #aa1 #ac1 #ae1 #af ,philip ,,ii41 ,king of ,spain1 #da ,phnix1 #ab1 #bf ,pine1 peach1 and bamboo1 #aa ,pisa1 #db1 #di ,plum-blossom motive1 #ae1 #ag1 #ai1 #be ,plymouth1 #hf ,poirel de ,grandval1 #di ,po ,ku1 #ba ,poland1 ,king of1 #fe ,pomegranate motive1 #aa1 #be ,pompadour1 rose1 #ef1 #ha 8,porcellana1 alla10 #dj ,poterat1 ,edme1 #di ,potsdam1 #ga ,powdered blue1 #bj1 #he 8,precious ,things1 ,eight10 #ae ,printing on porcelain1 #he ,prometheus1 group1 #ei ,prussia1 ,king of1 #fe ,pygmalion1 group1 #ei1 #fj ,quebec1 capture of1 #gg ,red1 overglaze1 #bc ,regnier1 #ei ,republic1 ,third1 #fb ,revolution1 ,french1 #fj ,reynolds1 ,sir ,joshua1 #gg ,rhineland1 #ci ,rhinoceros-horn cup1 #ae ,rice-dishes1 #af ,ringler1 #gj ,risanpei1 #ca ,robinson1 ,sir ,charles1 #ac ,rockingham ,works1 #hh ,rococo style1 #ec1 #eg1 #fg1 #fh1 #ga1 #ha1 #hf ,roman art1 #fi ,rome1 #gj1 #hc ,rose1 famille1 #be1 #gf ,pompadour1 #ef1 #ha ,roubiliac1 #gh1 #gi ,rouen1 #di1 #ej ,russia1 ,empress of1 #eh ,st4 ,cloud1 #ag1 #ai1 #ej ,st4 ,sever1 ,rouen1 #di ,salt-glazed 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#dc ,yorkshire1 #hh ,yung ,chng1 emperor1 #ab1 #bd1 #bg ,,the ,,end ,printed by ,r4 ,r4 ,,clark1 ,,limited1 ,edinburgh4 ,transcriber's ,notes ,punctuation1 hyphenation1 and spelling of ,english words were made consistent when a predominant preference was found in this book2 otherwise they were not changed4 ,the spelling and accent marks of non-,english words have not been changed4 ,simple typographical errors were corrected2 ambiguous hyphens at the ends of lines were retained4 ,although the 8,list of ,plates in ,colour0 on page xi is in numerical sequence1 the images themselves are not in sequence in the original book2 both sequences have been kept in this e,book4 ,the descriptions of some plates include illustrations of the marks found on them1 followed by the illustrations of the porcelain4 ,in the ,plain ,text version of this e,book1 such plates are represented by two 8,illustration0 tags1 and the very first 8,illustration0 tag represents the book's cover4 ,in the original book1 chapter headings occur twice3 once as a hemi-title and once just above the text of the chapter4 ,in this e,book1 the second occurrences have been removed4