1 W. E. DU ITS, LONDON ■i n « t"^ rrt T!? O r\ A TVfl AMSTERDP.iV! ! ON POTTERY AND PORCELAIN, OF THE RENAISSANCE AND MODERN PERIODS; WITH tmtoxual jdotices of caci) JBanxifa(tor|) ; PRECEDED BY AN INTRODUCTORY ESSAY ON THE VASA FICTILLA OF ENGLAND, OF THE ROMANO-BRITISH AND MEDIEVAL ERAS ; BY WILLIAM CHAFFERS, AUTHOR OF " HAI.L MARKS ON GOLD AND SILVER PLATE," " PRICED CATALOGUE OF COINS," "objects of ARCHiBOLOGICAL INTEREST AT THE NATIONAL EXHIBITION OF WORKS OF ART AT LEEDS IN 1868, ILLUSTRATED UV PHOTOGRAPHS," ETC. Cljivti Cfiition, rrlusrU anli consilirrablp augmentcD^ WITH 2200 POTTERS* MARKS AND ILLUSTRATIONS. LONDON : BICKERS & SON, LEICESTER SQUARE. 0 Clj.IOCCC.LXXII. DRYDEN press: J. DAVY AND SONS, 1 37, LONG ACRE. THE RIGHT OF TRANSLATION RESERVED. Entered at Stationers' Hall. PREFACE, HE origin of this work, which has been so favorably received by the public as to require a Third Edition, is to be traced to the issue of a litho- graphed folio sheet of "Marks and Monograms on Pottery and Porcelain," by the Author, about twelve years since, to supply a want then felt by amateurs, of a table by which the products of each manufactory might with certainty be traced to their source ; it was published at a low price, and was soon out of print. The numerous enquiries for this small instalment, induced him to issue a more com- prehensive work on the same subject, with short historical notices, still retaining the unassuming title originally adopted ; this appeared in 1863, consisting of 270 pages. A second edition followed in 1866, augmented to 570 pages, and now in 1870 behold a portly tome of 800 pages, which has with considerable difficulty been kept within the limit of a single volume. As an old scholar of Merchant Taylors (under the ancien regime), the Author may be excused quoting the motto then so constantly before his eyes, and so appropriate to this occasion : Concordia parvce res crescunt. Single handed, such a task would have been almost impos- IV PREFACE TO THE THIRD EDITION. sible, and he takes this opportunity of thanking his numerous correspondents for the interest they have taken in his labours : their names will be found in the body of the work, and their assistance duly acknowledged. A book without an Index has been generally allowed to be an abomination, and justly reprobated from time immemorial. This being essentially a book of reference, great care has been taken to make the Index as complete as possible ; every cipher and monogram, symbols, all the manufactories, names of places, potters, painters, &c., will be found alphabetically arranged, comprising more than 5,000 words referred to in the book. The illustrations have increased to 2200, and the greater portion of the letter-press has been rewritten, so as to embody the latest information on the various fabriques, and much new matter incroduced. The section of English pottery and porcelain has been materially enlarged, and, at the request of several subscribers, it is placed at the end of the book, so that it may be, if required, bound in two volumes. Foreign and English, (an extra title being printed for that purpose), especially desirable for those who wish to have their copies interleaved, which may be obtained of the printers. In conclusion, the Author begs thus publicly to thank the Messrs. Davy for the great care and patience bestowed by them in bringing the work through the press, in the creditable manner it has been produced, and for their urbanity and kind consideration on all occasions \ Ab ovo usque ad mala. W. CHAFFERS. ' 19, FUzroy Square, May i, 1870. WORKS OF REFERENCE. ■4- Antoine {Paul). "(Euvres completes de Bernard Palissy, avec des notes et une notice historique." Paris, 1844. Aubrey. "Natural History of Wiltshire," written about 1680, edited by J. Britton, F.S.A. London, 1847. Artis {E. T.) ''Durobrivae of Antoninus identified and illustrated." Arnoux. "Lectures on the Results of the Great Exhibition of 1851." (Ceramic Manufactures.) Arnoux. " Lectures on the Ceramic Manufacture delivered at the Societ}' of Arts." London, 1852. Arnoux. " Report on Pottery and Porcelain at the Paris Exhibition of 1867." Bancroft {Dr.) " Philosophy of Permanent Colours." Barbct de Jouy. " Les Delia Robbia." Paris, 1855. Beche {Sir Henry de la) and Trenham Reeks. " Catalogue of the Museum of Geology." London, 1855. Beausobre. " Einleitung in die Kenntniss der Politik, &c." Vol. i. pp. 210- 218. Riga, 1773. Bassa^io {J. B.) " Maioliche di Bassano." Bassano, Birch {Samuel), F.S.A. " History of Ancient Pottery." London, 1858. Beuter {Antonio), a Spanish author of the middle of the XVIth Century. Bohn {If. G.) "Appendix to the Bernal Catalogue." London, 1857. B on i;hi {Diego). " Intorno alle Maioliche di Castelli." Naples, 1856. Borlase. " Natural History of the County of Cornwall." Oxford, 1758. Brongniart. " Traitt^ des Arts Ce'ramiques." Paris, 18^4 and 1854. Bro?igniart and Riocreux. " Musi^e Cdramique de Sbvres." Paris, 1845. Boyer. " Manuel du Porcelainier, du Faiencier et du Potier de Terre." Paris, 1827. Broc de Seganges {L. du). " La Faience, les Faienciers et les Emailleurs de Nevers." Nevers, 1863. Binns {R. IV.), F.S.A. " A Century of Potting in the City of Worcester." London, 1865. CJuvdin. " Voyage en Perse." About the year 1650. Chaffers { William^ F.S.A, Catalogue of the Special Exhibition of Loans at the S. Kensington Museum." (Sevres Porcelain, European Pottery and Porcelain, and English Pottery and Porcelain.) London, 1862. vi WORKS OF REFERENCE. Cookworthy {W.) " Memoirs of," by his Grandson. London, 1854. Demmi7i {M. A.) " Guide de I'Amateur de Faiences et Porcelaines." (See Appendix.) Paris, 1863. Davillier {/. C.) " Histoire des Faiences Hispano-Moresques." Paris, 1861. Davillier {/. C.) " Histoire des Faiences et Porcelaines de Moustiers, Mar- seille et autres Fabriques Meridionales." Paris, 1863. Darcel {Alfred.^ " Notice des Faiences Italiennes, &c., Musee du Louvre." Paris, 1864. Denistoun. " Memoirs of the Dukes of Urbino." Duhamel du Monceau. " L'Art du Potier de Terre." Paris, 1773. JDelange {C.) Recueil de toutes les Pieces connues jusqu'a ce Jour de la Faience Frangaise dite de Henri II et Diane de Poictiers." Paris, 1861. Donovan {E.)^ F.L.S, "Excursions in South Wales and Monmouthshire in 1804 and Three preceding Years." London, 1805. Drake ( W. R), F.S.A. " Notes on Venetian Ceramics." London, 1868. Dossiers " Handmaid to the Arts." London, 1764. Engelhardt {A.M.) " F. F. Bottger, Erfinder des Sachs Porcellans." Leipzig, 1837. Fabro?ii {Dr.) " Storia degli Antichi Vasi Fittili Aretini." Arezzo, 1841. Faujas de St. Fond. " Travels in England and Scotland." Ferrihe Percy {Le Comte de Id). " Une Fabrique de Faience a Lyon." Paris, 1862. Fillon (Benjamin.) Les Faiences d'Oiron. (Une Lettre a M. Riocreux.)" Paris, 1862. Fillon {Benjamin^ ^' L'Art de Terre chez les Poitevins, suivi d'une Etude sur I'Anciennete de la Fabrication du Verre en Poitou." Niort, 1864. Frati {Luigi). " Un Pavimenti in Maiolicha nella Basilica Petroniniana di Bologna." Bologna, 1863. Frati {Luigi). " Di un' Insigne raccolta di Maioliche dipinte," &c. Bologna, 1844. Franks {A. W.) F.S.A. Brochure on the Manufacture of Porcelain at Chelsea. (Archaeological Institute Proceedings.) London, 1862. Garzoni {Tomaso). Article on Maiolica in the " Piazza Universale." 1585. 6^27/z>i;(/2£/^?/^r'.f " History of Lowestoft." London, 1790. Gioanetti { Vittorio Amedeo). " Discorso sulla Fabbrica di Porcellana stabilita in Vinovo." Turin, 1859. Graesse {Dr.) " Guide de 1' Amateur de Porcelaines et de Poteries, ou Col- lection des Marques de Fabriques," &c. Dresden, 1864. Greslou {Jules). "Recherches sur la Ceramique." Chartres, 1863. Grosley. " Tour to London." London, 1773. Hoff77ian {Dr.) Memoire sur la Porcelaine du Japon." Paris, 1856. Houdoy {\ Jules). " Recherches sur les Manufactures Lilloises de Porcelaine et de Faience " Lille, 1863. Julien {Stanislas). "Histoire de la Porcelaine Chinoise." Paris, 1856. WORKS OF REFERENCE. vii yacquemart and Le Blaiit. " Anciennes Faiences Frangaises." (" Gazette des Beaux- Arts" for May, 1859.) yacquemart and Le Blani. " Histoire de la Porcelaine." Paris, 1861. yacquemart {A.) Les Merveilles de la Ceramique." Paris, 1868-70. yeuntt {Llewellyn), F.S.A. " Life of Josiah Wedgwood." London, 1865. yewitt {Llewellyn), F.S.A. " Notices of English Potteries in the Art Journal. Ki7igsborough {Lord). Antiquities of Mexico." London, 183 1. Klemm {Dr. Gustave). " Die Koniglich Sachsische Porzellan sammlung im Japanischen Palais." Dresden, 1841. Klaproth. " Chemical History of the Fossils of Cornwall." ^787. Kugler {F.) " Beschreibung der Koniglichen Kunstkammer in Berlin vor- handenen Kunstammlung, &c." Labarte {Jules). " Introduction to the De Bruge Dumesnil Catalogue." Paris, 1847. Labarte {Jules). " Handbook of the Arts of the Middle Ages and Renais- sance." London, 1855. Lazari { Vicenzo). " Notizia delle Opere d'Arte e d'Antichita della Racolta Correr." Venezia, 1859. Lavoix {H.) " Les Azziministes." (" Gazette des Beaux-Arts," Vol. xii, p. 64.) Lejeal {Dr. A.) " Note sur une Marque de Faience Contest^e." Valenciennes, 1868. Lenormant ct De Witte. " Elite des Monuments Ce'ramographiques Mate- riaux pour I'lntelligence des Moeurs de I'Antiquite," &c. Lister {Dr. Martin). "Journey to Paris." London, 1699. LysoHs {Da?iiel). " Environs of London." London, 1795. Mareschal {M.A. A.) " Les Faiences Anciennes et Modernes, leur Marques, &c." Beauvais, 1868. Marryat {Joseph). " History of Pottery and Porcelain." Third Edition, edited by Mrs. Palliser. London, 1869. Mayer {Joseph\ F.S.A. " History of the Art of Pottery in Liverpool." Liverpool, 1855. Meteyard {Eliza). "Life of Josiah Wedgwood." London, 1865. " Malmesbury (Lord), Correspondence of." London, 1779. Milly {Comte de). " L'Art de la Porcelaine." Paris, 1771. Fasseri {Giambatista). "Histoire de Peintures sur Maioliques k Pesaro et les Environs." Translated by Delange. Paris, 1853. "Patents relating to Pottery and Porcelain." Published by the Patent Office. London, 1863. Parmetitier. " Archives de Ncvers, ou Inventaire Historique des Titres de la Ville." Preface by Duvivier. Paris, 1842. Prideaux. " Relics of William Cookworthy." 1853. Piccolpasso {Chevalier). "Li Tre Libri dell' Arte dell Vasaio." MS. of the XVIth Century in the South Kensington Museum. Vlll WORKS OF REFERENCE. Pungileo7ii {Lingi). Notizia delle Pitture in Maiolica fatte in Urbino." Piccolpasso. "Les Trois Libres de I'Art du Potier ecrits en 1548. Traduits en FranQais par M. Claudius Popelyn." Paris, 1841. Farkes. " Chemical Essays." Fiot {Eughie). " Histoire de la Porcelaine." Cabinet de 1' Amateur.") Paris, 1 86 1. Flot {Br.) " Natural History of Oxfordshire." Oxford, 1677. F/ot {Dr. '' Natural History of Staffordshire." London, 1686. Fottier {Andre). " Histoire de la Faience de Rouen " Rouen, 1869. Robinson (y. C), F.S.A. " Catalogue of the Soulages Collection." London, 1857. Robinson {y. C), F.S.A. "Catalogue of the Loan Exhibition." (Maiolica, Palissy, and Henri II. ware.) London, 1862. Raffaeli {Giuseppe). Memorie Istorische delle Maioliche lavorate in Castel Durante." Fermo, 1846. Reboulleau. " Peinture sur Porcelaine," &c. (Manuel Roret.) Paris, 1843. Rouquet. "Sentiment sur quelques CEuvrages de Peinture," &c. i754- Sommerard {Du). " Les Arts du Moyen Age." Sauzay. " Monographic de I'CEuvre de Bernard Palissy, dessinee par Delange et Borneman." Paris, 1862. "Intorno della Maiolica Savonese, ragionamento storico." Torino, 1856. Salvetat. " Lecons Ceramiques." Paris, Shaw {Dr, Simeon). " History of the Staffordshire Potteries." Hanley, 1829. Shaw {Dr. Simeon). " Chemistry of Porcelain, Pottery, and Glass." London, 1837. Smith {C. Roach), F.S.A. " Collectanea Antiqua." Smith (C Roach), F.S.A. " Illustrations of Rom.an London." Smith's " NoUekens and his Times " London, 1828. Tiidot {Fdmond). " Collection de Figurines en Argile, CEuvres Premieres de I'Art Gaulois." Paris, i860. Turgan. "Les Grandes Usines de France." Paris, 1840. Theophilus. " Diversarum Artium Schedula." Xth Century. Translated by M. le Comte FEscalopier. Paris, 1843. Tainturier. " Notice sur les Faiences du Seizieme Siecle dites Henri II." Paris, Villiers {M.A.) "Jean Baptiste Nini, ses Terres Cuites." Blois, 1862. Ward's " History of Stoke-upon-Trent." London, 1848. Warmont {Dr. A.) " Recherches Historiques sur les Faiences de Sinceny, Rouy et Ognes." Paris, 1864. Willemiii. " Monuments Fran^ais Inedits." The Text by Andre Pottier. Paris, 1839. Wedgwood {Josiah). " Catalogue of Antique Ornaments," &c., on Sale by him. London, 1777 and 1778. INTRODUCTION. THE VASA FICTILIA OF ENGLAND. PART I. F the hundreds of thousands who daily traverse the crowded streets of this great metropolis, how very few are aware that from twelve to fifteen feet beneath them lies concealed the ddbris of a Roman city, remains of buildings, tessclated pavements, domestic utensils, personal ornaments, household gods, and coins innumerable, actually remaining in that position which accident has placed them upwards of 1,500 years, and have been covered over in succeeding ages, their existence forgotten and unknown. Every generation has left some token of former habitation, however in- significant, and traces of the early British, Roman, Saxon, Norman, and early English races may be dis- covered by the attentive observer. The surface of the ground in densely populated cities is raised by traffic, pulling down and rebuilding houses, the consequent waste of old material, and a variety of other causes, about on an average, a foot in every century. Thus, the area comprised within the old B 2 ROMANO-BRITISH POTTERY. • Roman wall of London, has, beneath the present level, a series of strata of former occupiers of the soil. A section of a cutting, exhibiting these strata in a very marked manner, was sketched by the author in Cannon Street in the year 185 1, and is here given, showing the relative position of the Roman and early English pottery discovered in London. fig- I. ' O 12 9 6 3 O \ - r-.—\~r- .III I— , — ^ FEET A is the present level of the street with the remains of buildings, «&;c., which have accumulated since the great fire in 1666. B is the paved roadway in situ before the fire of London. c is the ground in which Norman and early English pottery is discovered. D. In this stratum we have a sort of transition between the Roman and Saxon, and towards the bottom a piece of Roman tesselated pavement. E. The Roman stratum is easily distinguished by the black soil, and it is more thickly embedded with remains than the others ; here may be seen the lustrous red ware, drinking cups, tiles, and all sorts of domestic and personal implements. F is the natural soil, a fine clay resting upon G the gravel. The earliest specimens of British pottery found in England are principally funereal, discovered in the burial places of the ancient Britons under mounds of earth called barrows, or heaps of stones called cairns ; these are the most primitive kinds of sepulchral interment. The barrows are mostly seen on elevated situations, either on downs or uncultivated spots, and the investi- EARLY BRITISH. SAMIAN WARE. 3 gation although interesting, yields in general little to repay the antiquary for his trouble, as they seldom contain more than the rude sun-dried urn, filled with the ashes of the dead, mixed with the charcoal of the funereal pile, cremation being universal at that early period. These urns are sometimes ornamented with chevrons, semicircles, and longitudinal lines cut or scratched on the vessel. We shall not enter into any lengthened description of these early British vessels, but proceed to give the reader an account of the more artistic productions of the Roman settlers in Britain, who brought with them improved methods of making and decorating pottery as well as other manufactures. The author's attention was directed some years since, by accidental circumstances, to the antiquities discovered in the city of London, in consequence of the numerous excavations made in the metropolis, for the construction of sewers, and in clearing the sites for the erection of some large buildings, especially the Royal Exchange, which afforded opportunities of saving from destruction many interesting relics of ancient art, and objects illustrative of the manners and customs of the Romans in Britain. His researches brought him in contact with others working in the same field, foremost among whom was I\Ir. C. Roach Smith, whose advice and assistance on all matters of antiquarian interest the writer is glad to have an opportunity of acknowledging. The illustrations, therefore, in this brief and imperfect sketch of the vasa Jictilia of England, will be supplied almost entirely from specimens discovered by the author in the metropolis. Evidence of Roman occupation is always manifested by the discovery of numerous fragments of vessels of a beautiful coralline red ware, commonly known as Samian. These are discovered from twelve to fifteen feet below the present level of London City, among undoubted Ro- man remains. 15 2 4 ROMANO-BRITISH POTTERY. From the quantity of this lustrous red ware which has been observed on the sites of Roman cities and villas, it has been conjectured that it is the identical Samian spoken of by Pliny and other authors as used by the Romans at their meals and for other domestic purposes. It is indeed expressly stated by Pliny that the ware made of Samian earth, and which came from the island of Samos, was much esteemed by them to eat their meals out of and display upon the board ; that it was in common use we have abundant authority, in fact we find it proverbial in the same manner as we at the present day make use of the simile " as brittle as glass." Plautus {Mencech, A. ii., Sc. 2.) M. Placide pulta." P. Metuis credo, ne fores Samise fient." Again the same author says {Bacck. A. ii., Sc. 2.) " Vide quaeso, ne quis tractet illam indiligens, Scis tu, ut confringi vas cito Samium solet" Pliny says that the Samian ware was transported into foreign countries, and that most nations under heaven used it at their tables. If such be the case, we may reasonably ask : what has become of the numerous vestiges which must necessarily have been deposited wherever the Romans dwelt, if this red ware we are now considering be not identical with 1 1 ? No other red ware, at all corresponding with the descriptions given by ancient authors, has been discovered. We are not disposed to say that the ware found in England was actually made at Samos, but it is a curious coincidence that the table ware used by the Romans in Italy, and that used by the Roman settlers in Britain, shpuld have been both of a red colour. Martial says, " Cui portat gaiidens ancilla paropside rubra Alecem." and Persius, Riibrum que amplexa catinu7n Cauda natat thynni, tumet alba fidelia vino." SAM IAN WARE. 5 The paropsis rubra, and riibriim catmum here men- tioned, both refer to dishes used by the Romans at their meals, such as Pliny speaks of as Samian. The former was a dish to hold vegetables (the paropsis leguminis of Suetonius) and the other to hold larger viands, such as in this instance, a large fish. The rubriim catinum is also termed by Lucilius, Samium catinum. " Et non pauper iiti, Samio, curtoque catino" The term Samian was probably applied to all vessels used at the table, much in the same way as in the present day C/mia is a term used indiscriminately for all descrip- tions of ware, whether porcelain or fayence, European or Oriental. Two of these Samian bowls are engraved in Monl/ati^o7iy (vol. v., pp. 124, 144), and are placed among the " Batterie de Cuisine." Speaking of the ware he says, C'est fort creux, et pent avoir servie a mettre des sausses ou de la bouillie." Tibullus alludes to these vessels, " At tibi laeta tnihant Samiae convivia testre, Fictatjue Cumana lubrica terra rota." Fig. 2 is a large and elegantly formed vase of the lustrous red ware, ornamented in relief with scrolls ; on the bottom of the interior is the potter's name, OF. VITAL., meaning Officina Vitalis. From the workshop of Vitalis. It was found in St. Martin's-le-Grand, Aug. 1845. A- 2. The most remarkable fact connected with this ware, is its uiuTorm colour wherever found, whether in France, 6 ROMANO-BRITISH POTTERY. Germany, or England, and this circumstance has caused considerable discussion as to the locality in which it was originally manufactured. M. Brongniart, {TraiM des Arts CSramiques) speaking of it, says : This resemblance in respect to the texture, the density, and above all the colour of this ware in every country, is a sort of enigma difficult to solve in a satisfactory manner, for when we consider the number of places at a great distance from each other, where it is discovered, and the difference of soil in each, the difficulty arises how the Roman potters ' could everywhere make a paste so exactly similar, with materials necessarily so different, for it cannot be supposed they would carry with them their paste for making these vessels. It may, however, be presumed that choosing a spot where they could procure a clay, colourless, and adapted to furnish a paste sufficiently dense, they gave it the nasturtium red colour, by introducing a proportion of red ochre. Fig. 3 is a perfect bowl of Roman red ware, found at Cologne ; design, a soldier in armour, with sword and shield, engaged in combat with a retiarius, holding on his left arm a net with a sword, and in his right hand a three- pronged spear. There is also a draped figure presenting a palm branch to an emperor seated on a curule chair. The subject of the retiarius armed with a net and three-pronged fork, fighting with a secutor, fig 3- SAMIAN WARE. POTTERS* NAMES. 7 frequently occurs on the red pottery found in England. M. Brongniart mentions the discovery at Rheinzabern, a town in Alsace, (Taberna Rheni) of several hundreds of fragments, as well as some moulds of a lion's head, a wild boar, &c., and a vase with figures and animals, with a border of the usual pattern of festoons and tassels, and potters name, COBNERTVS. He also gives a plan of a kiln for the manufacture, as he supposes, of this red pottery at Heiligenberg, near Strasbourg, discovered by M. Schweighseuser, as well as sixteen moulds for making the vessels, but the patterns are not of the same character as the Samian, nor of so good a finish. The author had several of these terra cotta moulds in his possession, discovered at Cologne, which are now in the British Museum. The plan adopted by the Roman potters in Germany, where these moulds are discovered, was somewhat after this manner. Stamps with handles either of bronze or baked clay, were modelled in relief with patterns, devices, and potters' names, these were employed to impress an incuse pattern on the interior of a general mould of soft clay, capable of containing the vessel in one piece, the interior being first rounded smoothly into a perfect form by the lathe. The mould thus covered with the required pattern, was fired, and became perfectly hard for future use. The moist paste of which the vessel itself was to be made, was then pressed into the mould by hand, so as to obtain a perfect impression of all the minute details. The irregular surface of the interior was smoothed by being turned in the lathe, (for the lathe marks are always visible) while yet in a soft state, and before it was removed from the mould, thus preventing any injury which might otherwise happen to the ornamental vase by handling. Both the mould and vase inside it were then placed in the kiln and baked, the former having been already fired, would not shrink, but act as a seggar to 8 ROMANO-BRITISH POTTERY. protect it from smoke and regulate the heat, the latter would necessarily shrink during the baking, and be easily removed when finished. The moulds would then be kept for future use. Dr. Fabroni, in his work on the Aretine Vases, {Storia degli Antichi Vasi Fittili Aretini. Arezzo, 1840), gives a plate of some moulds for ornamenting the ware made at Arezzo, in one of which the bowl still re- mained, having been fired but not removed. The plain red paterae were simply turned in the lathe, and sometimes ornamented round the flat edge with ivy leaves laid on in slip of the same colour. In the annexed woodcut will be seen the potter's name VRSVLVS, impressed across the centre, which is the usual position in the red ware ; occasionally the name is found outside the vase. The names of the potters have so close an affinity , with each other, whether found in Italy, Germany, France, or England, that we may reasonably infer they had one common origin, but where that locality was has not yet been satisfactorily ascertained. In England no kilns for making it have been discovered, but in France and Germany kilns have been found, and moulds also, which fig- \- it had been supposed were used for the manufacture of this particular ware, but the evidence is not clear enough to affirm positively that it actually was so. The moulds hitherto dis- covered appear to be for the manufacture of a coar- ser description of pottery, and the ornaments certainly not of so high a finish, in fact they are just such imitations as we should expect to find in a distant colony. Mr. C. Roach Smith is of opinion that this elegant ware was made in Gaul and Germany, derived from the DESIGNS AND PATTERNS. 9 earlier and more artistic models of Italy, and finds among the names of the potters many which he considers of Gaulish origin, as Dagodubnus, Dagomarus, Divicatus, Cobnertus, Tasconus, &c., whilst others are derived from a mixture of races, but the greater part are obviously Roman, as Severus, Albanus, Cassius, Atilianus, Cen- sorinus, Domitianus, Felix, Vitalis, &c. Mr. C. Roach Smith, {Collectanea Aiitiqiia, vol. v. /. 157,) records the discovery of a monument erected to the memory of the daughter of a Romano-Gaulish potter, whose name occurs on a vessel of this red ware found in London. It represents in relief a young girl holding a mirror and a basket of fruit. Above her head is this inscription, D.M. AXVLA ciNTVGENi FiGVLi FiLiA. Axula the dauixhtcr of Cintugenus the potter. A long list of several hundred potters' names, including those formerly in the author's collection, is given in Mr. C. Roach Smith's Illustrations of Roinaii London, a work to which the reader is referred for more detailed information on this most interesting subject. fig 5- Fig. 5 is a large fragment of a Samian vase, 9^ in. diameter, enriched with elegant scrolls and festoons. Potter's mark, OF. RVFINI. Found in London. Some of the patterns with which this ware is decorated are exceeding beautiful and interesting, illustrating the Roman mythology, and the different games they were accustohied to celebrate ; gladiatorial combats ; conflicts between men and beasts in the arena ; hunting subjects, and field sports. On one fine fragment found in Lad lO ROMANO-BRITISH POTTERY. Lane, London, is represented in the first compartment a seated figure drinking from the small end of a horn, held above his head ; in the next are two male and female figures dancing, the one playing on the double pipe (tibiae pares), the other holding a tambourine (tympanum) over her head, another figure is beating time to the music with the castinets (crumata) in his hands, and an instrument called the scabellum under one foot ; another division exhibits two pigmies armed with spear, sword, and shield, attacking their inveterate enemies the cranes, who invaded their corn fields ; hounds and rabbits are introduced in another compartment. The patterns formed of the vine, its tendrils, leaves, and grapes, are tastefully grouped. On other vases are seen bas-reliefs of the heathen deities, Mars, Mercury Apollo, Vulcan, Venus, &c. ; some mo- delled from existing statues. The vase (fig. 6), represents the Venus de Medicis, repeated, as a border. Found at St. Mary-at-Hill, London, in 1845. fig. 6. In general the ornaments are moulded as before ex- plained, but in some few instances the figures in relief appear to have been cast in a mould and carefully finished previous to their being affixed to the surface of the vase. Mr. C. Roach Smith gives a sketch of a beautiful speci- men of this variety formerly in his collection. {Illustra- tions of Roman L ondon , / . 9 7 . ) Some fragments of vessels of precisely the same material, colour and glaze, have been discovered, having incuse patterns cut into the surface of the vase with great sharpness and skill, evidently by the lathe, as our cut DESIGNS AND PATTERNS. glass of the present day ; but no perfect example has yet been met with. The general forms of the Samian ware are bowls and dishes, or paterae, of various sizes and of considerable thickness, to bear the constant wear to which it was subjected in being repeatedly moved on and off the board at meals ; unlike the Athenian vases, which were for ornament only, and the chief excellence of which con- 7. sisted in their extreme lightness. Fig. 7 is a plain bowl of this red ware, nearly perfect, 9 inches in diameter. Potter's mark TITIVS enclosed in a circle. Found in Queen Street, City, 1850. Drinking cups of the red lustrous ware are never found in England. The small open bowls may perhaps have been occasionally used to drink out of, but they would be inconvenient for the purpose. An elegant poculum with two handles, or small amphora, for passing round a table from one to another of the guests, is annexed, fig. 8. It A'- 8. is the red ware, ornamented in relief with a peacock amid ivy leaves laid on in slip of the same coloured paste, 7 J in. high. Found at Cologne. The larofe ornamented bowls and plain paterae were used to place the viands and substantial part of the repast in, while the small plain Sa- mian cups of the same red ware, were those described by ancient authors as the 12 ROMANO-BRITISH POTTERY. salinum, or salt cellar, and the acetabulum, or vinegar cup, which were put on the board to dip the lettuce and viands into, or to hold occasionally pickles, sauces or - other condiments. The acetabulum was used as a measure, as we should say a tea cup full. The cyathus or ladle held one- twelfth of a sextarius or pint, the acetabulum one- eighth of a pint. The Romans divided the sextarius into twelve ^^•9- equal parts, called cyathi, therefore the cups were called sextan tes, quadrantes, trientes, &c., according to the number of cyathi they contained. Fig. 9, is an acetabulum of the Samian ware, with potter's mark, found in London, 1849. A circumstance connected with these cups may not be unworthy of notice, as it shows the antiquity of the thimble rig " of the present day. The use of the aceta- bulum for this purpose is distinctly mentioned ; they placed three of these cups on a three-legged table, and underneath each were put pebbles which were removed from one to the other by sleight of hand or abstracted altogether, to the great astonishment and amusement of the spectators, who found the stones under different cups from those which they expected. These persons were called acetabularii because they played with the acetabulum. Arctium, in Italy, is one of the towns mentioned by Pliny as celebrated for the finer description of earthen- ware. Dr. Fabroni has published a work descriptive of this ware. (Storia degli Antic hi Vasi Fittili Aretini. Arezzo, 1840), which is altogether distinct from the lustrous red ware called Samian, differing both in colour and execution ; the ware of Arezzo being of a darker red, and the reliefs, although as before noticed produced in the same manner, are of higher finish. The potter's names, too, are generally impressed in a sort of foot print, or else outside the vase. ARETINE WARE. 13 Figs. 10 and 11 represent a cup of Aretine manufac- ture, found in London in 1841, with the maker's name 10. Jig. II. impressed at the bottom ; it has a sort of engine-turned pattern round the top. Isidore of Seville speaks of a red ware as being the manufacture of Arctium ; the passage runs thus : " Aretina vasa, ex Aretio municipio Italiae, dicuntur ubi fiunt, sunt enim rubra. De quibus Sedulius — * Rubra quod appositum testa iniiiii>trat olus.' Samia vasa quidam putant ab oppido Samo Grajcia^ habere nomen, alii, dicunt cretam esse Italire, qure non longe a Roma nascitur qua: Samia appellat." — {Isidor^ 20 — 4.) Here Isidore is doubtless speaking of two red wares, and even in his time (7th century) there appears to have been a difference of opinion as to the locality of the Samian ware, the quotation from Sedulius would not solely apply to the Arezzo ware, but to any dish of red colour. The pattern round the top of the Aretine vases is evidently the ovolo, or egg and arrow decoration, similar to that depicted on Greek vases (vide Hainiltoji) but unlike the border on the Samian, which is formed of festoons of drapery, with a cord and tassel, pendent between each, appearing somewhat similar at the first glance, but the difference being easily detected upon close inspection. Figs. 12 and 13 represent a cup of red pottery of Arezzo. It exhibits the higher style of art employed in ornamenting this kind of ware in Roman Italy. The two views show the side and base of the cup ; 2\ inches 5 inches diameter. 14 ROMANO-BRITISH POTTERY. The Samian vessels we have just described are so very superior to those which follow, in texture, quality, glazing, fig' 13. and decoration, that we may liken them to fine porcelain, as compared with coarse earthenware ; they were of home manufacture, and although no kilns have been discovered in this country in which the red lustrous ware was manu- factured, yet on the other hand several have been ex- humed in which the more common description of vessels remained as placed by the Romano- British potters for baking, and the productions of each particular pottery may be recognised. Although these fictile vases are of common material, still a peculiar elegance of form may be observed in their outlines, and the ornamentation, though rude, has a good effect. Upon the banks of the Medway, near the village of Upchurch, there was, in the time of the occupation of Britain by the Romans, a very extensive pottery. Along the shore for many miles may be observed vast quantities of Roman ware in fragments, in fact the mud or clay when the tide is out is found to be completely filled with Roman pottery. The pottery is of a fine and hard texture, its colour is usually a blue black, produced by baking it in the smoke of vegetable substances. The or- naments are simple but diversified ; they appear to have been effected by means of a flat stick notched at the end, which was passed over the surface of the moist clay in UPCHURCH WARE. 15 parallel, zigzag, or crossed lines, leaving the pattern incuse. In some, the ornament consists 'of small dots or pellets encircling the vessel in squares, circles, and diamond patterns, which appear to have been stencilled on the surface, usually of a different colour to the body of the ware, but mostly white. Some of the vessels found here are of a red colour, bottle-shaped, having been sub- jected to a greater degree of heat in the burning. Fig. 14 is a globular vase of reddish paste with black glaze, the pattern is formed of stencilled dots. It was found in Queen Street, Cheapside, June, 1850, and is probably from the Upchurch manufactory. There is another description of ware which is, no doubt, of native manufacture, but scarce and seldom found entire ; it is of a light brown or ash coloured clay, with crinkled ornament in relief round the edges and un- glazed. Fig. 15 shews the usual form of this singular kind of pottery ; the pattern is made with a tool It was found in St. Martin's-le-Grand, October, 1845. A more ornamental kind of drinking cup was made at Castor in Northamptonshire. The discoveries of Mr. Artis in that neighbourhood revealed quantities of this ware in the kilns, as placed by the potters for baking. This gentleman traced the potteries to an extent of upwards of twenty miles on the banks of the Nen. (See Artis Durobrivcc of Antoniiuis identified a7id illustrated)} These vessels are ornamented in relief with hunting subjects, representations of fishes, scrolls, foliage, and i6 ROMANO-BRITISH POTTERY. human figures ; the mode of operation seems to have been by means of sharp and blunt skewer implements, and a slip of suitable consistency. These implements were of two kinds, one thick enough to carry sufficient slip for the head, neck, and body of animals, and another small enough to delineate the details, as the tongue, eye, lower jaws, legs, and tail. There appears to have been no retouching after the slip trailed from the implement. These vessels were glazed after the . figures were laid on, which are usually of a different colour to the body of the ware, as white on a light brown or chocolate ground. fig- 17. Figure 16 is a poculum of the Castor ware of white paste, dark brown glaze with a metalloid lustre, repre- senting hounds hunting a stag, laid on in slip after the vase was turned and then glazed ; a sort of engine-turned tool work is seen at the bottom. Height 4^ inches. Found in Cateaton Street, London, January, 1845. Another elegant drinking cup of the Castor ware is annexed, fig. 17. It is 8 inches high : yellowish brown paste. The glaze on the largest upper portion is black with the scroll ornament in slip of a white pipe clay ; it has two bands of tool work made before glazing. The stem of the vase has a red glaze. Found at Winchester CASTOR WARE. 17 Some others of a higher artistic order, with subjects from the heathen mythology have been found. One at Bedford Purlieus by Mr. Artis, had a representation of Hercules delivering Hesione from the monster. Another at Col- chester with a hunting subject, two gladiators and two men leading a bear. These all have their names written over their heads, and are wonderfully well done con- sidering they are laid on in slip with a sort of skewer and not moulded. A<- fi^r. ,9. •This kind of pottery has been occasionally discovered in Holland and Germany, where they were perhaps im- ported from England. Fig. 18 is introduced for com- parison, it was found on the banks of the Rhine, 4.^ inches high, of a white paste covered with a metalloid glaze, repesenting dogs chasing a deer, worked in slip or barbotinc in the way before mentioned. A drinking cup of another pattern, but of similar ware to that found at Castor, is here given, fig. 19. It is ^\ inches high, of a white body covered with a red glaze. The mode of ornamentation is pleasing, and appears as if obtained by overlapping cut pieces of clay before glazing. The usual form of the wine cups will be seen from the fore- going specimens, they are almost invariably smaller at the bottom than the top, and many, formerly in the author's possession, which are now in the British Museum, have short convivial words laid on in relief, as imple, rei'LE, 151 liE, VIVAS, AVE, DA viNUM, VITA, &c. ; they contain about c i8 ROMANO-BRITISH POTTERY. half a pint of liquid ; others again are so pointed as not to be able to stand on a table, but must when once filled be emptied of their contents. Fig. 20 is a vase or cup inches high, of grayish fig. 20. white body and black glaze. The pattern is formed of small bosses laid on in white slip, after turning and before glazing and firing. There are many other places in England where kilns for making pottery have been discovered. Mr. J. Conyers, an antiquary, met with some in digging foundations north- west of St. Paul's, in 1677 ; he states the depth to have been twenty-six feet, and gives sketches of the urns found in them, (Sloane MSS., 958, fol. 105) ; there were also lamps, bottles and urns of the coarser sort. Remains of extensive potteries have been found in the western district of the New Forest in Hampshire, {Archmlogia, vol. 35.) Fig. 21 is a drinking cup, 6 inches high, of red clay, covered with a blackish glaze, the red tint being seen through it ; the sides are compressed into seven concave compartments, and a pattern in bands produced by tool marks after turning on the lathe. Found in Lothbury, 1847. fig. 21. fig. 22. Fig. 22 is a small bottle, 6| inches high, of yellowish MORTARIA. I g white body, painted in black in the manner shown. From Castor, 1826. Fig. 23 is a small vase of unglazed brownish red pottery. Found in London. Among the culinary utensils used by the Romans in this country was a broad shallow vessel termed a mor- tarium ; it had on the bottom of the interior, sharp, angular pebbles embedded in the ware, for the purpose of triturating vegetable substances, or bruising them with liquids, being provided with a spout to pour off the mixture, when rubbed to the required consistency ; it had a broad rim which turned over outwards about half way, apparently for the purpose of concentrating the heat round the vessel when placed upon the fire ; on this rim is generally found the name of the potter. These mortaria are exceedingly numerous, not only in London, but in otlier parts of England, wherever Roman buildings have been discovered ; at Headington, near Oxford, Mr. Llewellyn Jewitt found fragments of at least two hundred of them. They vary in size from 7 inches to nearly 2 feet in diameter, and are about 5 inches deep ; most of them when found, give evidence of great wear, having generally a hole rubbed through the bottom. Fig. 24 is a mortarium, loj inches diameter, of light brown ware, unglazed; the potter's mark, ALBINVS, may be observed stamped upon the rim. It was found in Smithfield, in April, 1844. Mortaria are sometimes found of the red lustrous ware, called Samian ; these are provided with spouts of lions' heads, or masks, through which the liquor was poured, 20 ROMANO-BRITISH POTTERY. and the grains of hard stone forced into the paste inside it as usual, for the purpose of trituration. fig- 25- fig. z6. fig- 27. Fig. 25 is of this red ware, and bears the potter's name VLIGGI, M., or Mania ; made by the hand of the potter Uliggus. It was found in London. The next cut, fie- 26, is a fragment of a vessel of uncommon external form, of the red lustrous ware, for heating liquids, with a broad projecting belt turned downwards to concentrate the heat round the bottom of the pan. Found in London. Large amphorae have been discovered capable of holding ten or twelve gal- lons, mostly in fragments ; they were in general use for storing wine, oil, or other liquids. Two of them were found perfect in an excavation in Alder- manbury, one of which came into the author's possession, and is now in the Jermyn Street Mu- seum. It is 2 ft. 9 in. high, its largest diameter 2 feet. It is of very thick light-brown clay, and un- glazed, the form as an- nexed, (fig. 27). These large vessels were frequently used to contain funereal deposits, the upper part being cut off and fitted on again as a cover ; glass cinerary urns, filled with charred bones collected from the funeral pyre, are found AMPHORA. within them. In the Charles' Museum at Maidstone, are two of these, discovered in a walled cemetery at Lockham Wood, and others were recently exhumed at Colchester, containing similar deposits, now in the Museum at Colchester Castle. Smaller amphorae are common amongst remains of Roman domestic vessels, found in the metropolis, some of elegant forms. Fig. 28 was found in digging the foundation of London Bridge. It is 17 inches high, and unglazed. 28. Fig. 29, another amphora-formed vessel of a light red ware, was found in Cannon Street, London ; and fig. 30, also of a red body, painted with a zig-zag band round the upper part, is from Old Broad Street. Fig. 31 is a small flattened amphora, used to carry at the side, suspended by the handles round the neck ; it is unglazed, with red markings round the sides. Found in Moorgate Street in 1835. The lamps found in England are seldom of bronze, but almost invariably of terra cotta, with small projections at the sides instead of handles ; they were usually placed 22 ROMANO-BRITISH POTTERY. upon flat earthenware trays, with upright ridges and handles, into which they fitted, and were thus carried fig' 30- ^ ^ fig-i^' about. These lamps are, with few exceptions, of a rude character, being mostly without ornaments or potters' names. Figs. 32 and 33 are specimens of the ordinary lamp, the former found in Queen Street, Cheapside, the fig. 32. fig- 33- latter in Lad Lane in 1842. Fig. 34 has a hole through 34- its centre for placing on a point. It is of black glaze, ornamented with red bands. Found in London. Sometimes they are found with two or more burners ; these larger lamps were suspended from the top of a high tripod or stand, with a very long stem. Fig. 35 has eight burners, and is provided with three small loops on the inner circle, it was suspended by small bronze chains. ,It is of a reddish clay, 7 J inches diameter. Discovered at Cologne. LAMPS. 23 Tiles were made of a red clay, very compact and well fired, and moreover extremely durable, for those made upwards of 1500 years since are as firm at the present day as when first made. Bonding tiles were used to bind the courses of stone firmly together, and in the walls of Roman buildings we usually find several courses of Kentish rag, or other stone, and then a double row of these bonding tiles. They were also used to form the arches over doors and windows. One of these tiles in the author's possession, measures 15-ro inches in length, lOro inches in breadth, and ItV of an inch in thickness. They are generally marked with semi-circles at one of their ends. The hypocaust tiles are square, and were used for constructing the pillars which supported the floor above the hypocaust /c- 36. and between which the flames of the furnace permeated. They are frequently stamped with the name of the legion or cohort which was at the time stationed at Londinium. Fig. 36 is a hypocaust tile, in- scribed P. PR. BR. It was taken from a Roman building 24 ROMANO-BRITISH POTTERY. in Queen Street, Cheapside, in 1850. Size inches square. Flue tiles are of various dimensions, but usually qua- drilateral, long, and hollow, with lateral apertures for the heated air to pass through. They were placed one upon another along the inner sides of the walls to convey hot air from the hypocaust to distant rooms. They are generally ornamented with incuse patterns of geometrical figures, and diagonal or wavy lines; the object of which was to make the cement adhere more firmly. 37. Fig. 37 was discovered in London, in August, 1846. Large quantities of tubular draining-tiles have been dis- covered in and about London, fitting into each other, and cemented, as at the present day. Roof-tiles were made with longitudinal edges, turned upwards ; these, when placed side by side, were fastened together by semi- cylindrical tiles, larger at the lower end, which overlapped the narrow end of that placed next to it. Cinerary urns are more frequently found without the city walls ; the usual form is like that annexed. Fig. 38 contained bones, charcoal, and wood ashes. Another vase found with this, by the author, in Wells Street, Jewin Street, a few yards from the circular bastion of the old Roman wall, (which may still be seen in Cripplegate church-yard), contained about seventy silver denarii, 38. ranging from the Emperor Galba to the Empress Faustina Senior. They were all well preserved ; those of the early Emperors were slightly worn from circu- lation, but the latter coins of Antoninus Pius and Faustina seemed fresh from the die ; from which circumstance we may TERRA COTTA FIGURES. infer that they were buried in the reign of Faustina, a.d. 140. — Vide British Archcsological J ournal, v. \\. p, 272. The next illustration, (fig. 39) is a Roman terra cotta figure of a boy on horseback ; another, found by the author, was a rattle in form of a helmeted head. Clay statuettes are also discovered of heathen deities, but the penates are usually of bronze. Another terra cotta figure fig- 39. A"- 40. of a child (No. 40), is of much better work than the pre- ceding : the drapery hangs in graceful folds round the upper part of the figure. This was found also in the metropolis. THE VASA FICTILIA OF ENGLAND. PART II. ROM the seventh to the fifteenth century, a period of nearly eight hundred years, but few examples of pottery that can with certainty be appro- priated, have been handed down to us, and when they do occasionally appear in the excavations in and about the metropolis, there are so few distinctive characteristics about them that it is almost vain our attempting to identify them with any particular century within this wide range. We will, however, endeavour to clear up a portion of the mystery which has hitherto enveloped these mediaeval earthenware vessels. It must be remarked that we are to consider them merely in regard to their utility and domestic oeconomy, and not to their elegance of form, or fineness of material, for in those respects they present a lamentable decline from the Greek and Roman periods, when even vessels of the coarsest clay had a pleasing effect. We do not therefore speak of them as works of art, but as of homely manufacture and domestic use, which, from their fragile nature and comparative insigni- ficance as to value, have in few instances withstood the shock of time, or been thought worthy of preservation. These fictile vessels are extremely rare, and it is a matter MEDI/EVAL EARTHENWARE VESSELS. 27 of considerable difficulty to appropriate them to their particular era. It is only by comparison that we are likely to arrive at any satisfactory result. As a reference to the Norman and early English manuscripts will materially assist us in our enquiries, a few of the more striking forms of Norman earthen cups are selected from various manuscripts,* which by com- parison with many of those hereafter engraved, will enable us to identify them as belonging to that period. A^' 4'. » 2 3 456 A point that requires investigation is the glazing on these vessels, and when it is probable this mode of application, either as a means of decoration or utility, was revived, if it were ever entirely lost ? The green glaze appears to have been intended more for use than orna- ment, as it seldom covers the entire surface of the vessel, but only round the inside of the lip and upper portion of the exterior, where the liquids would come in immediate contact, or might be spilt over ; this could not result from accident or decay. Imperfections or blemishes in the ware are generally covered over with a spot of glaze. It is surprising, the great depth at which these fictile vessels with a light green mottled glaze have been found in excavations ; in some instances they have been discovered mixed with Roman remains. Fig. 44 is a water pitcher, with mottled green glaze on the upper * Strulfs " Ilord.i Ang." ?0 MEDIAEVAL EARTHENWARE VESSELS. part ; it is ten inches high, and was discovered at a depth of twelve or fourteen feet, in Queen Street, Cheapside, in August 1842. Vessels of similar form are represented ^S- 45- in an illuminated manuscript of the eleventh century {Cotton MSS., Nero, C. iv), where servants are taking pitchers from the cupboard, filling them with water, and carrying it to the Saviour to be changed into wine, at the marriage at Cana. Mr. Wellbeloved, in his Eburacu7n, says, that with undoubted remains of Roman earthenware he frequently found fragments and entire vessels of a coarse sort, generally of a yellowish white clay, with a strong glaze of various shades of green, and adduces several instances ; he states, that at Carlisle, fifteen feet below the surface, and beneath several fragments of Samian ware, were discovered two ancient pitchers, which inclined him to regard them as the work of Roman potters. Without admitting these pitchers to be Roman, these circumstances tend to prove the great antiquity of the particular sort of glazing in question, and that it was used much earlier than has been supposed. An Etruscan or Roman lagena, here given (fig. 45), with one handle, is MEDIAEVAL EARTHENWARE VESSELS. 31 evidence in favour of that opinion. The mouth of this jug is pinched at the sides into the shape of a leaf, forming a spout for the liquor to be poured off in a small stream ; the front is ornamented by lines (cut with some sharp instrument), representing a fish, the fins of which are coloured with a green glaze, as also the lip and the wavy pattern which runs down from the top to the bottom ; the ground is of a black glaze. A Roman cinerary urn, found in Queen Street, Cheapside, in 1842, had on the inner surface of the mouth a green glaze, and a spot or two on the exterior, as though some had been accidentally spilt ; and a Roman lamp, the inner part of which is evenly and brilliantly glazed of a green colour, the outside having been so originally, but now partially rubbed off. To the latter two it may be urged, that this appearance was the result of vitrification, caused by intense heat ; and such may perhaps have been the fact : but the jug is more conclusive, as it is very improbable (even supposing it to have been subjected to a great heat) that it should be coloured in a pattern. Fig. 46 is a very early spe- A'- 46. cimen of a pilgrim's bottle, par- taking much of the form of the short and flat Roman amphora, No. 31, before given. It is of cream-coloured ware, unglazed, 10 inches high. The two sides of this bottle are separately turned and joined together in the line of the two handles. Found in Cannon Street, 1851. Fig. 47 is a tall early English jug of the Norman form ; it is of light-coloured clay, partially covered with a yellow glaze, quite perfect, and of large capacity, being i6j inches high. Cannon Street, 1853- Fig. 48, a jug, 8 inches high ; cream colour body, 32 MEDIEVAL EARTHENWARE VESSELS. upper part covered with transparent glaze spotted with black. Found at London Wall, 1844. A jug of this fig- 47. form was discovered in Friday Street, with pennies of Henry III. and Ed- ward I. Its date may therefore be assigned to the latter part of the thir- teenth century. {See C. R. Smith! s Ca- talogue of London Antiquities, p. 1 14.) Fig. 49, a costril, 10 inches high, with two projections on each side, pierced for passing a cord or strap, for suspension, like a pilgrim's bottle. Red body, glazed in a marbled pattern with white and red. Found in Landon, August, 1850. The gourd, pumpkin, cocoa-nut, and other fruits with a hard rind or shell, were undoubtedly the most primitive vessels, being naturally formed ready for use ; and most of the forms of the fictile ware are derivable from this source. It would be an interesting task to pursue this fig. 48. fig. 49. subject further. We should probably find, that in those countries where a particular fruit was most abundant, the fictile vessels would partake of its figure and ornamen- MEDIEVAL EARTHENWARE VESSELS. 33 source. It would be an interesting task to pursue this subject further. We should probably find, that in those countries where a particular fruit was most abundant, the fictile vessels would partake of its figure and ornamen- tation. The gourd and cocoa-nut were in common use in England ; there are frequent allusions to them, A standing gilt nutt " is mentioned in the will of Sir Thomas Lyttleton, a.d. 1480; and in various inventories of Wolsey, Queen Elizabeth, etc. In Chaucer {Caiiterbury Tales), the manciple says to the cook : " I have here in xny gourd a draught of win." In the Comptes Royaux de France," 1391, we read " Pour ij seaux et j coiirge ferrez, pour porter I'eaue es chambres de Madame Ysabel et Madame lohanne de France xj.;" and in the inventory of Margaret of Austria, 1524, ** Deux grosses pommes et ung concombre de tcrre cuyte, paincts." The annexed cut represents a gourd-shaped bottle of brown earth, unglazed ; 5o- l)erhaps a costril, used by travellers to carry liquids; it isslightly flat- tened on one of its sides to prevent it rolling, but cannot be placed in an upright position. The pomegranate and pine-apple were favourite ob- jects of imitation for cups, many of which, from their expensive workmanship, have withstood the general wreck consequent upon the change of fashion. The following is a description of one presented to Queen Elizabeth A cuppe of silver guilt, shutting and opening in the middest, pomegranade fashion, the handle being a wheat eare." In like manner, other natural productions, such as horns of beasts, eggs of ostriches, shells, &c., were formed into drinking cups, and were the types of earthen- ware vessels, which partook more or less of their form. D 34 MEDIAEVAL EARTHENWARE VESSELS. From the recent examination of Saxon graves, much valuable information has been gained for the historian and antiquary with regard to the manners and customs of that people. The earthen vessels which have been dis- covered are generally of a very rude character, with some few exceptions ; but this is not the case with the glass cups, which possess a degree of elegance in their form and design. The late Mr. Rolfe of Sandwich had one in his possession, discovered in a Saxon grave near Ramsgate ;* and a similar specimen was found by Mr. Dennet, in the Isle of Wight.f One peculiarity of these glasses is, that they cannot be placed upright upon the table, but must be held in the hand until emptied of their contents ; they seem to partake of the character of the horn, in their elongated and pointed form. The descriptive notices of earthenware vessels by which they can be identified, or from which we can ascertain the name of any particular form, are very scanty. Earthen bowls and dishes were, no doubt, common ; but we rarely meet with notices of them ; for, by reason of their comparative insignificance, they were seldom enumerated or described in inventories. Bowls are frequently alluded to without mentioning the material of which they were made. Earthen pitchers and pots were in very general use amongst all classes during the middle ages. In the payments of the executors of Eleanor, wife of Edward I., in the thirteenth century, is the following entry : — " Item, Julianae La Potere, pro ccc. picheriis viiji". v\dy And in the same document we have a record of the payment : Item Johanni Le Squeler,\ pro M'^ et D. discis, tot platellis, tot salseriis, et cccc. chiphis. xlij^." Some earthenware vessels have been discovered in * " Archaeological Album," by Thos. Wright, Esq., p. 207. f " Transactions of the British Archaeological Association at the Winchester Congress, p. 152." X The squeler was a seller of esqtieles, from the French word ecuelle, a porringer, dish, or basin. Hence, the department in large establishments where these vessels were kept and cleaned was termed a sqwelery (scullery). MEDL^VAL EARTHENWARE VESSELS. 35 England, which, although of a rude character, have certain peculiarities enabling us to appropriate them to their approximate date. The glazed earthenware pitcher, fig. 51, was found in making an excavation at Lewes. It is in the form of a mounted knight, and is 10 inches A'- 51- high, by iij inches long. Its capacity is about a quart, and has evidently been used to contain liquids, which could be introduced at the crupper of the horse and dis- charged through the mouth, while a hole at the top of the rider's head served as a vent. The figure has a flow- ing beard, long toed chausscs and prycke spur of the early part of the thirteenth century, for which abundant authorities will be found from Henry III. to the earlier part of Edward I. The vessel was originally covered with a coarse green glaze, much of which has been worn away by use. The horse's legs were probably never longer than they are now. It is in the possession of Mr. W. Figg, of Lewes.* The next illustration, fig. 52, represents a curious early English jug of the fourteenth century, found in an excava- tion in Cateaton Street, in 1 84 1, belonging to Mr. A. C. Kirkman.f It is also of earthenware, entirely covered with a coarse green glaze, its capacity is equivalent to about a quarter of a pint. Under the lip is a face, the ♦ ** Brit. Arch. Association Journal," vol. ii., p. 343- t Ibid., vol. iii., p. 63^ D 2 36 MEDIEVAL EARTHENWARE VESSELS. resemblance of which to the heads represented on the EngHsh coins of the three first Edwards is too obvious to escape attention, and when it was shown to Sir Samuel Meyrick, he at once pointed out the reverse curls of the beard as the fashion in the time of Edward II., and referred to the effigy of that King figured in Stothard's Monu- mental Effigies, in corroboration of this opinion. In the Salisbury Museum is a vessel of greenish glaze, in the form of a mounted knight, with pear-shaped shield, cylindrical helmet and prick spur, of the end of the twelfth century ; and in the Scarborough Museum are several rude vessels of the same date, in forms of animals. Specimens of fictile vessels of ^ the Mediaeval period are extremely rare, and although the fabrication of such as have hitherto been brought to light is rude and coarse, they possess a high degree of interest, from the circumstance of their repre- senting, for the most part, something the artist was accustomed to see and imitate to the best of his ability. This is evidently the case with these two specimens. In the fourteenth, fifteenth, and sixteenth centuries, jugs were very commonly ornamented with heads beneath the lips or spouts ; we have given an illustration of one of the fourteenth century, and the Bellarmines of the sixteenth will presently be spoken of; an allusion to a similar vessel from an inventory of the Duke of Burgundy, in 1467, is here quoted, which was sufficiently valued to be mounted in silver and gilt. Ung hault goblet de terre, ouvre et chiquete a ung visaige d'un heremite, garny au dessus et au dessoubs d'argent dore, et le couvercle aussi d'argent dore." A very interesting discovery was made at Lincoln of some terra cotta moulds which had been used by a potter of the fourteenth century for impressing these ornamental heads on the glazed jugs of the time. They were found with numerous fragments of pottery near the remains of a kiln. From the head dresses and disposition of the hair and beard they evidently belong to the reign of MEDIAEVAL EARTHENWARE VESSELS. 37 Edward III. The mode in which these heads were applied is shown by an impressed fragment of glazed ware found with them ; they are in the collection of Mr. Arthur Trollope at Lincoln. In the Manners and Household Expeitses of Sir John Howard, 1466, there occurs the following entry: " Wateken bocher of Stoke, delyverd of my mony to on of the poteres of Horkesley ivi-. v\d. to pay hemselfe and is felawes for xi dosen potes." The Hotiselwld Book of the Earl of Northumberland, in 151 2, gives us a pretty correct idea of the manner of living at the beginning of the sixteenth century, which for such a noble family, astonishes us at the humble and unostentatious display made at the table ; hence, it appears that treeny or wooden trenchers and pots of earth, were commonly used at the tables of the dependants. The former were not easily to be broken ; but the case was different with the earthen pots, which, from their fragile nature, were, it seems, a continual source of expense ; it was therefore ordered, that — " Whereas erthyn potts be bought, that Icddcr potte be bought for them for serving of lyveries and meall) s in my lord's hous." Estienne Perlin, in his Description dcs Royaulmcs d' Anglctcrre et d' Ecosse, published in Paris, in 155S, says : — The English drink beer, not out of glasses, but from earthen pots, the covers and handles made of silver for the rich. The middle classes mount theirs in tin ; the poorer sort use beer pots made of wood." Harrison,* who wrote about the year 1579, gives us an account of the earthen pots which were in use in his time; he says — " As for drinke, it is usually filled in pots, goblets, jugs, bols of silver in noblemen's houses, also in fine Venice glasses of all forms, and for want of these elsewhere in pots of earth of sundrie colours and moulds, whereof many are garnished with silver, or at the least- wise in pewter." * Description of England," Book II, cap. 6. 38 MEDIEVAL EARTHENWARE VESSELS. In the books of the Drapers' Company* there is a description of an election feast in the year 1522, where, after describing the order in which they sate, and other matters, goes on to inform us, that — " At the said high board, were salvers of bread, pears, and filberds, placed upon the tables before they sat down ; as also green pots of ale and wine, with ashen cups set before them at every mess ; but they had gilt cups for red wine and ipocras." The green pots here mentioned were doubtless earthen- ware pitchers, ornamented with a green glaze ; for we read in the Losely MSS. {Kempe, p. 300), that in the sixteenth century " the gentlemen of the Temple drank out of green earthen pots made from a white clay found at Farnham Park." An English costril, or flat round bottle, of the time of Henry VIII., with four loops, made of a fine description of pottery, and covered with a bright green glaze, was found in London, and formed part of Mr. Roach Smith's collection now in the British Museum. It is ornamented in relief on one side with the Royal arms (England and France quarterly) within a double rose, surrounded with the garter and surmounted by a crown ; the supporters are a dragon and a greyhound, and the inscription, " dne SALVUM FAC REGEM REGINAM ET REGNUM." On the reverse side of the bottle are four medallions, one contains a heart and three daisies with the motto leal," another the monogram I.H.S.," and the others radiated orna- ments. From the mottoes and supporters it is clearly of the reign of Henry VIII. Pepys, in his Diary, (29th October, 1663) — being present at the Lord-Mayor's dinner — says : I sat at the merchant strangers' table, where ten good dishes to a mess, with plenty of wine of all sorts ; but it was very unpleasing that we had no napkins nor change of tren- chers, and drunk out of earthen pitchers and wooden dishes (cups)." * Herbert, vol. i. p. 442. MEDIEVAL EARTHENWARE VESSELS. 39 From these quotations it appears probable that pitchers and large pots were usually made of earth and leather ; while the cups or dishes, out of which the liquor was drunk, were of ash ; or sometimes, among the more opulent, from cups or tankards of silver. " His cupboard's head six earthen pitchers graced. Beneath them was his trusty tankard placed." — DryderCs Juvenal. In the orders and regulations for the royal household of Edward IV,* The orders for the picher house " are — " The butler for the mouthe delyverythe nightly, at the buttery barre for the kynge for all 7iyght ; with the ale in 7iew ashen aippcs, and two other for the watche, which of ryghte should be delyvered againe at the cupborde in the mornynge, with the pottes to serve men of worshippe in the halle ; when other men of worshippe bring to this office theyre old soyled cuppes of ay she, to have new." And again, in the Expenses of Sir John Howard,! in the fifteenth century : " Item, paid to a nother turytere for ijV. drynkng bolles, viiji"." We have before observed, that although earthenware is frequently found and was made in England at a very early period in the form of pitchers, jugs, and occasionally drinking cups, yet it does not appear to have been applied to the fabrication of plates. The Romans had their pateree as well as bowls for use at their tables, usually of the fine red ware called Samian, but we rarely find them among the debris of table ware of the middle ages. Thin plates of such earthenware as the jugs were made of previous to the sixteenth century, would be liable to break with the least violence, and some more durable material would be selected, as metal or wood, and we accordingly find the latter in vogue for ordinary purposes. In the houses of the nobility these were of gold or silver as now ; but trenchers of wood were in general use among all classes. In the Dictionary of Johft de * " Liber Niger," page 78. t " Manners and Expenses of England," page 527. 40 MEDIAEVAL EARTHENWARE VESSELS. Garlandia, a.d, 1080, they are described Rotundalia, gallice taillieurs (trencheurs) et dicuntur a rotunditate." These plates were so called because they contained the tranche or slice of bread on which the meat was placed by the ecuyev trenchant^ or carver, and passed to the guests. Instructions are given in the Menagier de Paris, 1393, and in the Boke of Kervying as to the manner of cutting the bread, the latter says, what the duty of the butler and panter is : Ye must have three pantry knives, one to square trencher loaves, another to be a chippere, the third shall be sharp to smooth trenchers; then chyppe your sovereign's bread hot, and all other bread let it be a day old, household bread three days old, trencher bread four days old." In the same book much stress is laid upon the cutting of bread into trencher's or slices, in the placing of which the estimation of the guest was to be borne in mind, a person of high degree had five, another of lower station four, and so on. The price of these wooden trenchers was about four shillings the hundred. In the Household Expenses of Sir John Harrington, 1467 : " Paid to a turnere for iijV platters, price the C iiiji"," and in the " Privy Purse Expenses of Henry VIII 1532 : Item paied to one of the marshalls of the kinges halle for xxviij dosen cases of trenchars delivered to the pantry xlvj^ viijV." The fruit trenchers were also of wood, carved or painted with ornaments and foliage, containing devices and rhyming sentences ; they were usually fitted in a case which contained a set of six. 1589. There be also another like epigrams that were usually sent for new years gifts, or to be printed, or put upon banketting dishes of sugar plates — we call them poesies, and do paint them now a-dayes upon the back sides of our fruit trenchers of wood."* About the end of the fifteenth or beginning of the sixteenth century vessels of pewter almost superseded * " Alt of English Poesy." MEDIEVAL EARTHENWARE VESSELS. 41 the use of treen or wood for the ordinary use of the household. There were two sorts, the common pewter and the counterfeit vessels, the latter being plated or washed with silver " a fa^on d'argent." England furnished the best pewter, and the reason why it attained such celebrity was the establishment of a company in 1474, which had the power, granted in 1534, of inspecting and stamping all articles manufactured in England in a similiar manner to gold and silver plate. Harrison in his Description of England, 1570, says — " Our countriemen in time past, imploied the use of pewter only upon dishes, pots, and a few other trifles for service here at home, whereas now they are growne into such exquisite cunning, that they can in manner imitate by infusion anie forme or fashion of cup, dish, salte, bowl or goblet, which is made by Goldsmith's craft, though they be never so curious, exquisite and artificially forged. Such furniture of household of this metal as we commonly call by the name of vessel, is sold usuallie by the garnish which doeth containe xij platters, xij dishes, (cups) 1 2 saucers, and those are either of silver fashion or else with brode or narrow brims, and bought by the pound which is now valued at six or seven pence, or peradventure at eight pence." The crusky7i, or cruske, — called also cruce, creuse, and croise, — was a drinking cup of earth. Roquefort thus gives the signification of the old French word '* Creusequin. Coupe, gobelet, vaisseau servant a boire." The cruskyn of earth is frequently mentioned in inven- tories of the fourteenth century ; thus, in the Kalendar of the Exchquer, 1324, — Un crusekyn de terre garni d'argent, a covercle souz dorrez od iiij escuchions as costes de divers armes du pris, viij^."* " Un cruskyn de terre blank hernoissez d'argent endorrez ove covercle embatell, enaymellez dedeins ove j babewyn pois ij lb."f In a ♦ " Kal. Exch." vol. iii, 128. f 3I9- 42 MEDIAEVAL EARTHENWARE VESSELS. manuscript in the possession of Sir Thomas PhilHpps, we have also a Httle cruskyn of earth, with the foot and cover gilt and enamelled ; and a pot of silver, au guyse d'un cruskynr The same word is still used in Ireland to denote a small pot or cup, thus — " a cruiskeen of whiskey." In O'Brien's Irish Dictionary, the word is rendered a small pot or pitcher," een being the Irish diminutive ; hence a small cruisk or cruske. The final syllable was omitted subsequently, and it was called a cruce. They had sucked such a juice Out of the good ale cruce, Wherein they found no dregges, That neyther of them his hed Could carry home to his bed For lack of better legges." — The Unluckie Firmentie, The modern French word cruche, comprises all earthen- ware pitchers and jugs. The crock was larger than the cruce. It is spelt crokke in Piers Ploughman;^ and Chaucer thus uses the word :f " And when that dronken was all in the crouke'^ The godet was, according to Cotman, " an earthen bole, a stone cup or jug " ; it seems to have been a small earthenware cup or tankard. The calix of a flower is called in the French language, godet. The name occurs in several inventories of the fourteenth century. Among the stores for the king's ship. The George, in 1345, is an entry for nine godettes, called " flegghes," vs. \\]d. ; and a large godett for the king, xij^.J It was in succeeding times called a goddard. Stowe speaking of " Mount Goddard-street, in Ivie-lane," says " it was so called of the tippling there ; and the Goddards mounting from the tappe to the table, from the table to the mouth, and sometimes over the head. Gayton§ mentions — * ♦* Vision," line 13516. t " Reeves' Tale," line 4166. X Sir H. Nicolas' " History of the British Navy," vol. ii. 173. S ♦* Festivous Notes on Don Quixote." MEDIAEVAL EARTHENWARE VESSELS. 43 " A goddard or anniversary spice bowl Drank off by the gossips." Florio (p. 80) has " a wooden godet or tankard and the following quotation {tejnp. Henry VI.) shows it par- took of the form of the wooden mazer : Also ij litil masers called godardes covered, and another litil maser uncovered."* The costrel was a closed portable vessel or flask of earth or of wood, having projections on either side, with holes, through which a cord or leathern strap passed, for the purpose of suspending it from the neck of the person who carried it. It is spelt cos tret in AIS. Lansd. 560, fol. 45 ; also, in Richard Coeur de Lioii.\ " Now steward, I warn thee, Buy us vessel great plent(5, Dishes, cuppes and saucers, Bowls, trays and platters. Vats, tuns and costret^ fi?- 53- It- is derived from the old French word costerety from its being carried by the side ; and was probably a measure or allowance of beer carried by a traveller, or given to a working man for the day. Fig. 53 is a very early specimen of such a vessel ; it has been originally covered with a bright red glaze, variegated with white streaks, and on each side are two projections, and holes for sus- pension, by means of a leather strap or cord ; it holds a pint, and is eleven inches high. The other cut (fig. 54) represents a variety not quite so early ; the upper part is covered with a green glaze ; it also con- tains a pint. These were carried by pil- grims, travellers, and shepherds, pendent by their side along with the scrip : ' Kal. Exch." vol. ii, p. 251. f E^is, *' Met. Rom." 300. 44 MEDIEVAL EARTHENWARE VESSELS. A bolle and a bagge He bar by his syde, And hundred of ampulles* On his hat seten." — Piers Ploughjnan. Sometimes it was carried at the end of the bourdon, fiS'S^' or staff, which had a crook to receive it. The wooden barrel which the labourer carries with him when he goes to work, is called at the present day in the Craven dialect a costril. Th^jttdde spoken of by Chaucer, was a sort of jug, which held about a quart or more : With bred and chese and good ale in a jubbe. Sufficing right ynow as for a day."f Again : " A jubbe of Malvesie." % The juste, according to Roquefort, was a vase, pot, or a sort of measure for wine : — these vessels were of earth ; but more frequently of silver ; sometimes of gold. In the Kalendar of the Exchequer, temp. Henry IV: Item, j autre joust d' argent enorrez ove les scochons des diverses armes ove botons de curall et cristall ove une covercle rouge sur le sumet."§ And in an inventory of Charles V. of France, a.d. 1379, under the head of " Golden vessels," we have — Six grandes justes a un email rond de France cxxviij marcs :" Oriental porcelain was known in Europe at a very early period : the first positive mention we have of it, occurs in an inventory of effects of the Queen of Charles Le Bel, King of France, who died 1370 : Item, un pot a eau de pierre de porcelaine, a un couvercle d'argent et * The ampulles were small oblong vessels of glass, carried by pilgrims in the middle ages ; sewn to the hat and other parts of their dress, in token of having visited some particular shrine. f Chaucer, line 3628. % Chaucer, line 13000. § "Kal. Exch." ii, 86. MEDIEVAL EARTHENWARE VESSELS. 45 borde d'argent dor^, pesant j marc, iiij ounces, xvij estel- lins, prisie xiiij fr. d'or." Among the original letters edited by Sir Henry Ellis,* we read of a present of " iij potts of erthe payntid callyd porcelandy It is also distinctly spoken of in 1587, as a present to Queen Elizabeth, mounted in silver and gold ; " Item, one cup of grene pursselyne, the foote, shanke, and cover, silver guilte, chased like droppes." Item, one cup of pursselyne th'one side paynted red, the foote and cover silver guilte." " Item, one porrynger of white porselyn, garnished with golde, the cover of golde, with a lyon on the toppe thereof, 38 oz." It was, doubtless, at this time much esteemed, on account of its scarcity ; and this may be inferred from Shakespeare's allusion to it,f — " Your honours have seen such dishes ; they are not chi7ia dishes, but very good dishes." It did not at this time come direct from the East Indies, but from Venice. "China mettall " is described in Minsheu's Spanish Dialogues, as " the fine dishes of earth, painted, such as are brought from Venice." China ware was not generally imported until 1631, when the East India ships made it an article of commerce, shortly after which, a heavy duty was laid upon it by Cromwell, — viz., twenty shillings on every dozen under a quart, and sixty shillings on those of a quart and upwards. Ben JonsonJ says: "Ay, sir! his wife was the rich Chinawoman, that the courtiers visited so often." In his time the China trade had not been long opened, and " China houses " were much resorted to, for the purpose of purchasing the ware for presents ; they are also fre- quently mentioned by writers of the time as places of assignation. The following vessels, from an inventory of the jewels, etc., in the Castle of Edinburgh, 1578, were probably China ware. The Anglo-Saxon word Lame or Laim, * Vol. ii. p. 242. t '* Measure for Measure," act ii, sc. 2. X " Silent Woman," act i, sc. i. 46 MEDIEVAL EARTHENWARE VESSELS. signifying loam, mtid, or clay, " Twa flaconis of layme anamalit with blew and quheit, and ane all blew." And in another account of the Queen of Scots' moveables " under vesshelis of glasse," 1562 : Item, a figure of ane doig maid in quhite laym" " i basing and lair with aips, wormes, and serpents." " One lawer with a cowp and a cover of copper enamellit." The Bellarmine, or long-beard, here represented, was a description of jug of stone ware, which being of peculiar ornament and form has misled many, from its antique appearance. One was engraved a short time since in the Illustrated London News, and attributed to the Saxon era. This vessel, which from the reasons below stated, we have called the Bellarmine, was a stone pot or jug, with a wide spreading belly, and a narrow neck ; on the top of which was represented a rudely-executed face, with a long flowing beard, and a handle behind. The belly in front was ornamented with a device, or coat of arms of some town in Holland, or Germany ; sometimes only a crest ; of a mottled brown colour, glazed all over, and being of stout substance and hard texture, it was exceed- ingly durable. fig- 55- fig- 56. These vessels were in general use in the sixteenth and seventeenth centuries at public houses and inns, to serve ale to the customers. The largest, or galonier," twelve inches high, contains eight pints ; the next or " Pottle- MEDIiTlVAL EARTHENWARE VESSELS. 47 pot," about nine inches and a half high, holds four pints ; another eight inches and a half high, a quart ; and the smallest, six inches in height, one pint. Fig. 55 (a pottle- pot) bears a shield quartered, with the arms of Cleves, March, Ravensburgh, and Mceurs. One of these vessels bears the date 1 589, struck upon it above a coat of arms ; another, which was in the possession of the late Mr. Kempe, had a venerable bearded visage, and underneath, a shield (which bore on a pale three mascles) was the date 1594. An interesting fact connected with this was its being found on the sight of the Old Boar's Head Tavern, in Eastcheap. Some have the arms of Amster- dam, — gules, on a pale, or, a pale sable, charged with three saltires, argent, — others of Prussia, Germany, etc. They are frequently alluded to in old plays ; and the following description can leave no doubt as to its identity, and will justify us in christening it anew, as we have done. It occurs in the Ordinary, act iii, scene 3 : "Thou thing. Thy belly looks like to some strutting hill, O'crshadowed with thy rough beard like a wootl : Or like a larger jug, that some men call A Bt/iarfnifiCy but we a Conscience ; Whereon the lewder hand of pagan workman Over the proud ambitious head hath carved An idol large, with beard episcopal, Making the vessel look like tyrant Eglon." Another passage in the same play again alludes to this jug ; where a man, after having partaken rather too freely of its contents the night before, is advised thus in the following couplet : " First to breakfast, then to dine. Is to conquer Bellarmine." Meaning, that the effects of the previous evening's pota- tions and excesses are not dissipated until after a break- fast and a good dinner. In Epsom Wells, (act iv. sc. i), Clodpate, after pushing about the cups of true English ale, says : " Uds bud, my 48 MEDIEVAL EARTHENWARE VESSELS. head begins to turn round ; but let's into the house. 'Tis dark, we'll have one Bellarmine there, arid then Bonus Nocius." This jug was so named after the celebrated Cardinal Robert Bellarmin, who about that time made himself so conspicuous by his zealous opposition to the reformed religion. He was born a.d 1542, and died 162 1. He was sent into the Low Countries to oppose the progress of the Reformers, and he consequently received his share of hatred and derision from the Protestants, and there were few men of talent who did not enter the lists against him. The controversy was maintained with great vigour, and its rancour was manifested by satrical allusions, like this of the bottle. His biographer Fuligati says, he was very short of stature and hair-featured," and that his soul was conspicuous in every feature of his face." If we can in any way rely upon the portraits of him thus handed down to posterity, he must indeed have been exceedingly hard-featured.* Ben Jonson, in Bartholomew Fair, (act iv, sc. 3), says of a man who was overcome with liquor : '* He hash wrashled so long with the bottle here, that the man with the beard hash almosht streek up hish heelsh ; " and to the same vessel he also compares a host in the New Inn : Who's at the best, some round grown thing a jug, Fac'd with a beard, that fills out to the guests." In the Gipsies Metamorphosed, the same author gives the following humorous derivation of the form of these stone jugs. In the Induction, one of the gipsies thus apostrophizes the audience : " Gaze upon this brave spark struck out of Flintshire, upon Justice Jug's daughter, * A similar instance may be cited in the well-known " Bourdaloue " or oval vase de nuit, made of fayence, painted with an eye at the bottom, or. other device, usually surrounded with some free legend. L. Bourdaloue was a Jesuit preacher, born 1632, died 1704, who was sent into Languedoc to convert the unfortunate protestants after the revocation of the Edict of Nantes, and being the confidant of many, and mixed up with all the secret intrigues of the time, this vessel, of an abject and secret use, was maliciously designated by the name of Bourdaloue. MEDIEVAL EARTHENWARE VESSELS. 49 then sheriff of the county, who running away with a kins- man of our captain's, and her father pursuing her to the marches, he great with justice, she great with jugHng, they were both for the time turned stone, upon the sight of each other here in Chester : till at last (see the wonder), a jug of the town ale reconciling them, the memorial of both their gravities, — his in beard, and her s in belly, — hath remained ever since preserved in picture upon the most stone jugs of the kingdom." Cartwright also, in the Lady Errant, mentions them : The greater sort they say Are Hke stone potSj wilh beards that do reach dowfiy Even to their knees." Bulwer, in the Artificial Changeling, 1653, speaks of a " formall doctor," that " the fashion of his beard was just for all the world like those upon your Flemish jugs, bearing in guise the forme of a broome, narrow above and broad beneath." These passages, which have hitherto appeared obscure to the commentators, are henceforth easily explained. We find in Lansdowne MSS. (108, fol. 60), a letter, relating to them, (which, as it seems a curious document, is here quoted at length,) from a person of the name of Simpson, praying he may be allowed the sole importa- tion of stone drinking pots ; it is addressed to Queen Elizabeth. The sewte of William Simpson, marchaunt. — Whereas one Garnet Tynes, a straunger livinge in Aeon, in the parte beyond the seas, being none of her ma"" subjecte, doth buy uppe all the pottes made at Culloin, called Drinking stone pottes and he onelie transporteth them into this realm of England, and selleth them : It may please your ma''*" to graunte unto the sayd Simpson full power and onelie license to provyde, transport, and bring into this realm the same or such like drinking pottes ; and the said Simpson will put in good suretie that it shall not be prejudiciall to anie of }'our ma^'" subjects, but that E 50 MEDIEVAL EARTHENWARE VESSELS. he will serve them as plentifullie, and sell them at as reasonable price as the other hath sold them from tyme to tyme. Item. "He will be bound to double her ma^'^' custome by the year, whenever it hath been at the most. Item. ''He will as in him lieth, drawe the making of such like potte into some decayed town within this realm, wherebie manie a hundred poore men may be sett a work. " Note. That no Englishman doth transport any potte into this realm, but only the said Garnet Tines ; who also serveth all the Lowe Countries and other places with pottes." From the quantities which have been found among the debris of the great fire of London, and throughout England, it is evident they were in very general use, which their durability and small cost would tend to insure. Simpson was not successful in his suit, for we find about thirty years later, another application for the same purpose was made by Thomas Rous and Abraham Cullyn, to whom letters patent were granted on the 24th of October, 1626. The preamble to it is interesting, and runs thus : " Whereas we have been given to understand by our loving subjects, Thomas Rous or Ruis and Abraham Cullyn, of the City of London, Marchants, that hereto- fore and at this present, this our Kingdom of England, and other our dominions, are and have been served with stone pottes, stone jugges, and stone bottells out of foreign partes, from beyond the seas, and they have like- wise shewed unto us, that by their industry and charge, not onely the materials but also the art and manufacture may be found out and performed, never formerly used within this our Kingdom of England by any, which profitable invention they have already attempted and in some good measure proceeded in, and hope to perfect ; by which many poore and unprofitable people may be MEDI/EVAL EARTHENWARE VESSELS. 51 sett on worke and put to labour and good employment. We therefore grant our Royal priviledge for the sole making of the stone pottes, stone juggs and stone bottells, for the terme of fourteene yeares for a reward for their invencion, and they have voluntarily offered unto us for the same a yearly rent of five pounds towards our revenue, soe long as they have benefitte by this our grant, neyther doe they desire by virtue of such grant to hinder the importacion of these commodities by others from foreign parts." This was evidently the first exclusive permission to make stone pots and jugs in England. Judging from their names they were both foreigners — Rous or Ruis and Cullyn ; the latter probably was a native of Cologne, and took his name from the city. These vessels differed from the Bellarmines above described with their full flowing: bearded heads, but were of a sort of mottled grey or brown, with plain necks, and were called " cullings." J. Conyers, the antiquary, speak- ing of a discovery in St. Paul's Church Yard (before alluded to), says he picked up some pots like ciilliiigs. (Wre7is Pareiitalia.) The tyg was a cup of coarse earthenware coated with a dark chocolate-coloured glaze, sometimes decorated with buff-coloured ornaments ; they were of various forms, with two or more handles, so that they could be passed round a table for three or four persons to drink out of, each person taking hold of a different handle brought his mouth to another part of the rim to that previously used. Many of them are dated, varying from 1600 to 1680. They are still called by this name in Staffordshire. The word fyg is of Saxon derivation, signifying an utensil made of earth for conveying drink to the mouth. The maker of drink cups was named tygcl zuyrthaii, a worker of tygs. The word tile is derived from tygel ; and tygel wyrl/iaji, or tilewright, has given the name to a numerous race in Staffordshire. 52 MEDIEVAL EARTHENWARE VESSELS. To give our readers some idea of the various ramifica- tions of a single piece of earthenware before it arrives at completion, we may note that at the present day to produce the commonest painted bowl, used by the poorest peasant wife to contain the breakfast for her rustic hus- band, the clays of Dorset and Devonshire, the flints of Kent, the granite of Cornwall, the lead of Montgomery, the manganese of Warwickshire, and the soda of Cheshire must be conveyed from those respective districts, and by the ingenious processes, the results of unnumbered ex- periments, be made to combine with other substances apparently as heterogeneous, obtained from other nations. (Shaw). A single piece of ware, such as a common enamelled tea pot, mug, jug, &c. passes through at least fourteen different hands before it is finished, viz. — The Slip- maker, who makes the clay ; the Temperer or Beater of the clay ; the Thrower, who forms the ware, the Ball- maker and Carrier ; the Attendant upon the drying of it ; the Turner, who does away its roughness ; the Spout-maker ; the Handler, who puts on the handle and spout ; the First or Biscuit Fireman ; the person who immerses or dips it into the lead fluid ; the Second or gloss Fireman ; the Dresser or Sorter in the warehouse ; the Enameller or painter ; the Muffle or enamel Fireman. Several more are required to the completion of each piece of ware, but are in inferior capacities, such as the turner of the wheel, turner of the lathe, &c. MARKS AND MONOGRAMS MAIOLICA. II K Ceramic art was patronized here by the princely house of Urbino for two hundred years, and it arrived at great perfection under Duke Frederic de Montefeltro in 1444, his son Guidobaldo, and Francesco Maria della Rovere, Guidobaldo II, and Francesco Maria II, who died 1631, with whom died also the art of making pottery in Urbino. Before proceeding to the Marks of the various manufactories, it may be found useful to know the Italian terms given to the forms of the vessels, and to the peculiar decorations upon them, as cjescribed by many writers, and their equivalents in the English language. Picolpasso of Castel Durante in his manuscript, {DM Arte dell Vasaio)* gives a description of most of them, accompanied by drawings of the patterns ; these examples which belong to the year 1548, must not be taken as types of all the early Italian Maiolica, but rather of its decadence. Scudclla or Tazza, a flat cup or bowl with high stem and foot. Ongarescha or piadcnc, a cup mounted on a low foot. Tagiieri, a flat plate or trencher. Canestrella, a fruit basket, made in a mould or pierced. * This interesting manuscript is preserved in the Library of the South Kensington Museum. 54 MAIOLICA — ITALY. Bacile, a deep bowl plate. Tondino, a plate with a wide rim and a deep cavity in the centre (cavetto). Coppa amatoria, a bowl or cup, on the bottom of which is painted a female bust. Albarello, a drug pot of cylindrical form, the sides slightly concave to enable a person to hold it more conveniently. Vasi di Spezieria, pharmacy vases. A maiolica service much in fashion in the XVIth Century as a present to a lady in her confinement, consisted of four ' pieces fitting one above the other ; it was painted inside and out with the birth of some deity or an accouchement ; the lowest piece was called the scudella to receive broth, eggs, or other viands ; this was covered by the taglieri or trencher to hold the bread, above this the ongarescha was inverted, and within its foot was placed the saliera or salt cellar, and its cover, coperchio. The patterns and decorations were : Trofei, trophies, composed of weapons and musical instru- ments ; these were made principally in the State of Urbino, at the price of an escu ducat the hundred. Rabesche, arabesques, or Oriental designs copied from damascened metal work, executed principally on white ground. Made more frequently at Genoa and Venice, at the latter the price was one florin the hundred, at Genoa 4 livres, which was considered a high price. Cerquate, oak leaves, employed in compliment to the Delia Rovere family then reigning at Urbino, such as branches of oak with leaves and acorns interlaced, with a central cartouche enclosing a bust, &c. ; some at 10 carlini the hundred, others an escu ducat the hundred. Groteschi, grotesques or chimerae with bodies terminating in foliage, on coloured ground. The price in Urbino 2 florins the hundred, at Venice 8 livres. Foglie, leaves, groups of leaves, coloured on white ground, sometimes in cameo on coloured ground. Made mostly at Venice and Genoa, price 3 livres the hundred. Fiori, flowers, roses, tulips, &c., among which are birds MAIOLICA — ITALY. 55 perched or flying, in cameo on blue ground. Made at Venice, price 5 livres the hundred. Frutti, fruit, of the same character and price. Foglie da dttzena, leaves by the dozen, a common sort of decoration of flowers and foliage covering the surface of the plate. Half-a-florin the hundred, at Venice 2 livres. Paesi, landscapes. Those made at Castel Durante, Genoa, and Venice cost 6 livres the hundred. Porcellana, porcelain, executed in slight blue outline with scrolls and flowers in color upon white ground. Cost 2 livres the hundred. Tirata, interlaced ornaments in colour on white ground, similar to the last. Cost 2 livres the hundred. Sopra diafico, white upon white, palmette ornaments of opaque white enamel upon milky white ground. Cost a half escu the hundred. Sopra azurro, the same decoration on blue ground. Quartiere, quartered ; this common decoration consists of large rays dividing the plate into compartments of coloured designs, in the centre of which are sometimes busts, &c. Cost 20 bolognins or 2 to 3 livres the hundred. Caiidclicri, candelabra, very similar to grotcschi. In the example given by Piccolpasso, it appears painted on white ground, with an ornament composed of male or female figures or busts, with bodies and arms of branches and foliage symmetrically interlacing each other. These cost 2 florins the hundred, at Venice 8 livres. SgraJJiato, incised ware with the outlines of the subject cut or scratched on the surface. In some extracts* from a book of expenses (Unkotspuch) of Wilibald Imhoff, of Nuremberg, from 1564, to 1577, preserved among the archives of that city, we find in his account for the year 1565, that this wealthy and ostentatious patrician obtained his artistic maiolica direct from Venice. Forty pieces of white maiolica painted with arms, and other maiolicas, cost 1 1 florins. Dcmmin*s Guide dc V Amateur de Faicuct', &c. p. 258. 56 MAIOLICA URBINO. In 1567, an Urbino maiolica jug and cover, 4 florins. A large cistern for water, in the form of a ship, which cost 9 florins. Two basins of white fayence with ewers, 4 florins the pair. It will be seen by the comparative value of money, that these objects of art were dearly paid for, even at that time ; for 20 francs for a cistern or large basin then, represents in our time at least 300, and what some writers say about the low price of maiolica when it was originally made, refers only to the common articles of commerce. URBINO. In Urbino, or its immediate neighbourhood, at a place called Fermignano, existed at the latter part of the fifteenth century a manufactory of maiolica. Pungileone cites a certain potter of Urbino, named Giovanni di Donino Garducci, in the year 1477, and a member of the same family, Francesco Gar- ducci, who in 1 50 1 received the commands of the Cardinal of Carpaccio to make various vases. Ascanio del fu Guido is also mentioned as working in 1 502 ; but the works of all these ^ have disappeared, or are attributed to other fabriques, and it is not until 1530 that we can identify any of the artists named by Pungileone : Frederigo di Giannantonio, Nicolo di Gabriele ; Gian Maria Mariani, who worked in 1530; Simone di Antonio Mariani in 1542, to whom M. V. Lazari attributes a plate in the Museum of Padua, signed S. A.; Luca del fu Bartholomeo in 1544; Cesare Cari of Faenza, who painted in 1536 and 1551 in the botega of Guido Merlino. The workshop of Guido Durantino was celebrated in the beginning of the sixteenth century, for the Constable de Montmorency, an amateur of works of art, commanded in 1535 a service, of which several pieces bearing his arms are still extant, one of which is in the British Museum, and others from the same atelier are mentioned below. About the same time flourished the distinguished " Francesco Xanto Avelli da Rovigo," whose works are so well known and MAIOLTCA — URBINO. 57 appreciated ; he usually painted after the designs and en- gravings of Raphael, not always adhering strictly to the same grouping of the originals. He also borrowed subjects from Virgil and Ovid, Ariosto, &c. Of the same school was Nicolo di Gabriele, or Nicolo da Urbino. Another celebrated painter of maiolica of the middle of the sixteenth century, was Orazio Fontana, originally of Castel Durante, whose family name appears to have been Pellipario, Fontana being a surname taken in consequence of the pro- fession of several members of the family. The first whose name occurs is Nicolo Pellipario, who was alive in 1540, and had a son Guido, named in a notarial document as early as 1520; the latter had three sons, Orazio, Camillo, and Nicolo. Guido the father survived Orazio, and his name is found on the plateau in the Fountaine Coll. (see page 62), which states that it was made in Urbino, in the shop of Maestro Guido Fontana, vase maker. Orazio remained with his father up to the year 1565, when he separated and set up a botega on his own account in the Borgo San Polo. He died in 1571. Camillo, his brother, appears to have been invited to Ferrara by Duke Alfonso H. in 1567, to assist in resuscitating the maiolica manufacture of that city, founded by Alfonso I. many years before. Of Nicolo, the third son, little is known, except that his name is incidentally mentioned in a document dated 1 5 70. EXAMPLES. A salt cellar of triangular form, on dolphin's head and feet, painted with rich ornaments of cupids and negroes' heads, inscribed fra xanto, &c., dated 1532 ; was purchased at the Bernal Sale by the British Museum for £61. A superb dish in vivid colours, Pompey and Cleopatra, cupids, &c., and armorial bearings ; at the back a description and FRA XANTO A DA ROViGO p URBINO, 1533," now in the kS'. Ke7isingto7i Musetwi ; sold at the Bemal Sale for ^50. A fine dish ; subject, Olympus with Apollo in the centre, above, a choir of amorini ; is in the vS. Kensington Museimi. 58 MAIOLICA— URBINO. A plateau ; subject, a pasticcio from the marriage of Alex- ander and Roxana, by Raffaelle, signed by Xanto, and dated 1533 ; is also in 6". Kensington Museum (Bernal's). ;^50. A fine basin and ewer, painted with grotesques and camoes on white ground, elegant handles, of Urbino fabrique, best period, c. 1550; (Soltykoff Coll.) £12^6. Two plates, signed by Xanto : Hero and Leander and Metabus, with metallic lustre; (Soltykoff Coll.) ; ^116. each. A fine Urbino vase, oviform with high handle, ornamented with a sphinx and masks, the body painted in bright colours with the Brazen Serpent, circa 1550, was purchased at the Bernal Sale by ^-^r. A. Barker {or £220. Another, similar, with subject of a Metamorphosis, was bought by him at the same sale for ^200. A fine dish in the Bernal Coll. ; subject. Pan playing upon the pipes and two kneeling figures bearing shields, with a beautiful arabesque border, was (although broken) bought for the British Mtiseum for £62. An Urbino plateau ; subject, Moses striking the rock, with arabesque border on white ; (Soulages) is in the S. Kensing- ton Museum ; cost ^100. Two others of Leda and the swan, and Roman soldiers attacking a bridge, (Soulages) in the same Collection, cost ^50. each ; and two Urbino vases, painted with Mythological subjects, cost ^55. each. We must not omit to mention (although no mark is to be found upon it) a very beautiful and unique specimen of painting on maiolica, the well-known oviform vase, the handles and foot of it being restored in silver. Round the body is a continuous frieze of nude figures fighting, on a black back- ground, after Giulio Romano, the shoulder and neck painted with arabesques, &c. en grisaille on blue ground, gadroon ornaments at bottom. This exquisite vase has been attributed to Orazio Fontana, but is unlike any of his known works. (There is another, similar, but of inferior merit, in the Brunswick Museum.) It was formerly the property of Mr. Gray, of Harringer House, at whose death it passed into the Stowe MAIOLICA URBINO. 59 Collection for ^35. At the Stowe sale it was purchased for 51 guineas only, by Mr. Mark Philips, Warwickshire, and would at the present time probably realize ten times that amount. In the Montferrand Coll., No. 55, there was a very inter- esting dish, representing the celebrated group of the Laocoon. The antiquity of this painting is evident from the fact, that the right arm of the High Priest is wanting ; it is a copy of the group, as it was actually discovered in 1506, in the vine- yard of Felix de Fredis, near the gate of St. Jean de Lateran. It is believed, that the arm now seen on this antique group was added by Michael Angelo. Urbino. Francesco Xanto Avelli da Rovigo in Urbino. Inscribed on a plate ; • /J X.A».T^" subject, Pyramus and Thisbe. In the .y Vyiino, Museum of Art, S. Kensington. Bernal Coll. Urbino. Francesco Xanto Rovigense. Inscribed on a plate in the Museum of OU : 3 Kensington. I ^ -7/-\ Urbino. By Xanto; on a plate, subject ^ y* the Sword of Damocles. In the Collec- tion of Mr. H. G. Bohn. Urbino. By Xanto, on a tazza with arabesques, dark blue and white {sopra azicrro) I ^ j Urbino. The letter X. for Xantho is ^V^i I^J at the end of an inscription on a plateau, ^ f dated 1540, painted in lustre colours with the Rape of Helen, marked in blue, but the letter N is in red lustre, which proves that he sent his plates to be lustred either to Vinccntio or Censio, at Gubbio, or to Nocera, which- ever the letter may signify. Louvre Coll. ^ s y Urbino. Tazza with mythological sub- ^^^r^ ject, bearing the mark of Xanto. 6o MAIOLICA — URBINO. jT^ — ' Urbino. By Xanto. On a dish, with portrait of Laura, on blue ground. Urbino. Francesco A vello Rovigense pinxit. On a plate, representing the Fall of Daedalus, finely lustred. In Mr. Am- hurst T. Amhurst's Coll. Urbino. By Xanto. On a plate, dated F. X. A. R. p. IN URBINO 1 53 1. Bemal Coll. An old man, cupid, and female with a lute ; in the centre a coat of arms, with Hercules ; cost ^7. FRANCESCO XANTO Urbino. On a plate; subject, ^neas AVELLi DA rovigo. ^nd Auchises. Bernal Coll., now in the URBINO PINSE 1 531. . . 1 A/r /- British Museum ; cost £ 14. ) ^ 2_ Urbino. The signature of Xanto on 'p^'^y.^^xt A r/ ^ ^^^P lustred plate; subject, Hero and Leander. In the Louvre. The same 7^0xv\ao> jA)r occurs on a richly lustred plate, painted t>\1lO^>)K vjith Astolfo on Pegasus, attacking the ' harpies. Urbino. Xanto occasionally painted i^"^ front of his plates on some part of the subject, various large Greek characters in white enamel. The most complete example here given is from a plate signed by the artist, representing Joseph and X J Potiphar s wife. On the bed curtains •j^N^^^ are the accompanying monograms. In the late Mr. Evans Lombe's Coll. Urbino. On a plate dated 1537; p J 0 > subject. The Rape of Helen ; belonging to Mr. Addington. In these inscriptions the Greek alpha and omega may be traced more or less perfect ; and the tcpsilon traversed by a Sigma. MAIOLICA —URBINO. 6i rr^<- ^ Urbino. On a plate; belonging to /^^-^ J5 M. Salomon de Rothschild. Urbino. On a, plate ; subject, The £( jl^ \ — ^^^^ Flight of Xerxes ; signed by Xanto. In Mr. Fortnum's Coll. M. Jacquemart finds these ciphers or Greek characters on portions of a service bearing the arms of Gonzaga und Este, which he considers were made for John Francis II., Marquis of Mantua, and his wife, Isabella, daughter of Hercules I., Duke of Ferrara, married 1490; and says they were fabricated at the end of the XVth or beginning of the XVIth Cen- tury, by Biagio of Faenza, at Ferrara. This potter was in possession of a manufactory at Chateau Neuf in 1501 and in 1506, and refers the pieces to that early date. We quite agree with M. Jacquemart that these inexplicable ciphers were not adopted by Xanto, as some have supposed ; but they are evidently of his time, and not so early as M. Jacquemart places them. They are found on pieces dated 1537, as this in the margin, and we have given above another instance bearing Xanto's mark of an X. on the back. We are therefore inclined to retain tlrese ciphers as belonging to Urbino rather than Ferrara, until we have more certain data to authorise the alteration. \ L A A/f^ Urbino. This mark occurs on the |t\ bof(^^4V M i^^^j, ^ beautifully painted plate. The 6\tiio OviY^ date is on a stone in front ; subject. The •Ktiq Judgment of Paris, with Mercury and '5 3 2. Cupid, and a victory flying above. Urbino. On a dish ; subject, David h f ' '^'^^ Goliath, after Raphael, attributed to J ^ Qj^^ Qf Fontana family, or rather to 0 1 CiiOi 0 ^^^^ workshop of Fontana. (Louvre.) The ^ivr^\r\o ^'^"^^ name is on a plate painted with the *7n\y6^Mo - ^^3'i'C3e or Fates, seated, spinning. In the ^ Soane Museum. 62 MAIOLICA — URBINO. NELLA-BOTEGA DI GVIDO DVRANTINO IN VRBINO 1535. FATTO IN URBINO IN BOTEGA DI Mo GUIDO DA CASTEL DURANTE FRANCESCO DVRANTINO VASARO 1553. ^1551 FATE IN BOTEGA DI GVIDO MERLIGNO VASARO DA VRBINO IN SAN POLO ADJ. 30 DI MARZIO 154.2. FATE IN BOTEGA DI GUIDO DI NERLIGNO. FATTO IN BOTEGA DI Mo GVIDO FONTANA VASARO IN VRBINO. Urbino. Dish, with Jupiter and Se- mele. Bernal Coll., now in the British Museum ; cost ^7. 5s. Urbino. This inscription occurs on a very fine plate in the possession of Baron Sellieres, representing the Muses, from a painting by Perrino del Vaga, which is considered a veritable chef d'oeuvre of art, and may be considered as a prototype of the Fontana artists. Urbino. On a cistern, painted with subjects after Giulio Romano. Narford Coll. Urbino. This inscription and date is on a plateau ; subject, Judith and Holo- fernes (Campana Coll.) Louvre. Urbino. On a dish, with the signs of the zodiac round the rim. Signed at the back. M. Demmin erroneously states that this was made at Bologna, arising from his mistaking the word Botega for Bologna. Urbino. On a large dish; Mark An- tony and Naval Engagement. Brunswick Museum. Urbino. Guido Fontana, son of Ni- coli Pellipario, and brother of Orazio. On a plateau, in Mr. Andrew Fountaine's Coll. Urbino. This interesting mark with the date 1543, may probably be referred to Guido Fontana. It occurs on a plate of Urbino character. (Burn MSS.) MAIOLICA — URBINO. 63 Urbino. On the triangular plinth of FATEiNBOTEGADi ovKovm vase, painted with the Tri- Mo ORAZIO FONTANA umph of AmphitHte. In the Collec- . IN oRBiNO. ^i^^ Qf M le Baron Sellieres, formerly exhibited in the Sevres Museum. FATEiNBOTEGA U RBiNO. By the Celebrated Orazio DI ORAZIO FONTANA. -t- • 1 Fontana. This mark was on a vase for- merly in the Strawberry Hill Coll., with serpent handles, and a subject painted after Giulio Romano. The pair then sold for £110. Mr. A. Barker has a similar vase by Orazio Fontana, and another is in the Sevres Museum. K . Q ■ F Urbino. These labels with O. F. and the date 15 19 are on the front of an 8 inch maiolica plate, painted with the armed bust of Pompey and four labels on the border, two of which are here 0 *F*"V^ given. The three letters at the bottom are inscribed on the back in blue ''Poiipco. o. F. v." (Burn MSS.) There is a decided assimilation to the succeeding mark given by Passeri, Orazio Fontana Urbinate. If this be the correct reading, it follows, either that Nicolo Pellipario must have had two sons, Guido and Orazio, who both settled at Urbino before 1520, and adopted the surname Fontana ; or the more celebrated Orazio must have come with his uncle about the year 15 19, a much earlier date than is generally assigned, the period in which he is considered to have flourished at Urbino, by Passeri and others, being between 1540 and 1560, and he died in 1571. Urbino. The initials of Orazio Fon- tana, Urbino, fecit. This mark is given by Passeri. Urbino. The monogram of Orazio Fontana This mark occurs on a fine plate, representing the Rape of a Sabine Woman. Saracini Coll. 64 MAIOLICA URBINO. Vo>\ (b 'J one Urbino. The monogram of Orazio Fontana, accompanied by the date 1544, on the back of a plate ; painted with the Chase of the Calydonian Boar. From the Bernal Coll., now in the British Museum; ^8. 5s. Urbino. Orazio Fontana. This mark is attributed by Mr. J. C. Robinson to this artist. It occurs on a magnificent plate, in the Louvre ; subject the Mas- sacre of the Innocents. Urbino. Orazio Fontana; so attributed by Mr. J. C. Robinson. This mark is on a plate, painted with St. Paul preaching at Athens, in the Narford Coll. Urbino. Orazio Fontana. This mark, similar to the preceding, is found on a tazza, painted with David and Goliath, in the Narford Coll. Urbino, 1542. On a highly coloured plate, painted with St. Jerome plucking a thorn out of a lion's foot, inscribed on the back with description on the subject and " Urbino, 1542." Collection of the Marchese d'Azeglio. Urbino. On a plate. No. 345, Cam- pana Collection ; subject, Joshua com- manding the sun to stand still, painted in the manner of Fontana. The abridged name of some artist unknown. Urbino. On a plate ; subject, David and Goliath, dated 1533. The descrip- tion and signature on the back. Louvre Coll. MAIOLICA URBINO. 65 Urbino. This curious inscription which does not bear any allusion to the subject painted on the front, representing St. Mark, before whom a priest is kneeling, is on the back of a plate. Similar inscrip- tions relating to contemporary events are occasionally met with. A piece in the S. Kensington Museum, representing a female, wounded, leaning against a buckler, before her two weeping figures, is inscribed on the reverse, " Di TUA DiscoRDiA ITALIA, IL PREMio HOR iiAi." This is dated 1536, and probably refers to the same event that is recorded above. Urbino. Square Urbino maiolica plaque, height 10 in. by 7 J in. wide, painted in blue camaieu with the Temp- tation, Eve offering to Adam the for- bidden fruit, copied from Marc Antonio's print after Raffaele. In front is a tablet, and date 1523. On the reverse a weaver's shuttle and distaff, probably a rebus of the painter. It is beautifully painted, and the finest specimen known to exist. In the Collection of Mr. R. Napier. Urbino. This mark is on a vase; subject, the Israelites gathering Manna in the Wilderness ; of good design, but feeble in colouring. De Bruge Coll. Italy. Unknown master (^Andrea di Bono?) Painted about 1 500. The mark occurs on a plate ; subject, Horatius Codes defending the Bridge. Bernal Coll., now in the S. Kensington Museum ; cost £6. 15s. Urbino. A crescent and the initials E.F.B., dated 1594, is on the stem of E F B ewer, beautifully painted with yellow JjSh scrolls on blue ground, and a pelican, encircled with the following inscription, " ymasqve de bvona CANA." In the possession of M. de Rothschild, of Paris. F FATTO IN VRBINO 1587 T. R. F. A. D. B. 66 MAIOLICA — URBINO. _ Urbino. The mark of an unknown G JJ master of the XVIth Century. Urbino. The initials of an unknown ^ T ^ 1 master on the back of a large maiolica ^ r^*,!^ dish, raised centre, with Charity and a ^ ^ border of arabesques and cupids, i8 in. \J D \r ^ (Burn MSS.) ' Urbino. These initials are on an oval tazza, the subjects painted in two medal- lions, surrounded by strap-work, — Moses striking the Rock, and the Two Spies. Circa 1580. Montferrand Coll., now in the Museum of Art, S. Kensington ; cost ^5. Urbino. Battista. Franco. Urbini. B F. V. F. Fece. The mark of one of the most celebrated painters on maiolica ware. Urbino. The monogram of Nicolo da Urbino. On the back of a plate, doTvVbino painted with Mount Parnassus, after Raffaele, in the Sauvageot Coll., Louvre. M. Darcel attributes this mark to Nicolo di Gabriele, of whom we have before spoken as working about 1530 at Urbino, who has also signed a plate " A Sacrifice of Diana," Nicolo di V." In the British Museum. Urbino. Another mark of Nicolo da Urbino, bearing date 152 1. On a plate representing Charles V. In the posses- sion of M. de Basilewski. Urbino. These marks occur on a maiolica plate of XVIth Century. In the possession of Mr. Fortnum. (Burn MSS.) Urbino. This mark and date are on the back of a plate which came from Paris and was purchased by Mr. J. Webb. (Burn MSS.) MAIOLICA — URBINO. 67 '^r) V'rGinoneUcu Urbino. This inscription and date ^SotU^ cU ^^7zc^c^7 are on the back of a very fine plateau, painted with the Storming of Goleta, engraved in Marryat. It has the mark of Fra. Xanto Avelli. IvtlD'XKXKI VRBINl !606 ALFONSO PATANAZZI VRBINl F£. ALFONSO PATANAZZI FE VRBINl IN BOTEGA DI lOS BATISTA BOCCIONE. 1607. F.R Urbino. The mark of Alfonzo Pata- nazzi. On a large dish, painted with the subject of Romulus receiving the Sabine Women. In the Museum of Art. S. Kensington ; cost £12. Urbino. The same artist. So signed at length on a plate mentioned by Passeri. Urbino. Alphonso Patanazzi made this at Urbino, in the manufactory or workshop of Johannes Baptista Boccione, 1607. The initials of Alphonso VRBINl EX FIGLINA FRANCISCI PATANATII. 1608. VINCENZIO PATANAZZI DA VRBINO DI ETA D ANNI TREDECI DEL 1620, VINCENTIO PATANAZZI DE ANNI DODECI. Urbino. Patanazzi. Urbino. Patanazzi. Coll. Urbino. The mark of Francesco On a plate in the Delsettc Francesco Patanazzi. On a large maiolica cistern. Narford Coll. Urbino. On a plate mentioned by Passeri, painted by Vincenzio Patanazzi, at the age of thirteen. Urbino. Vincenzio Patanazzi, aged twelve. Mentioned by Passeri. Urbino. On a plate, painted with arabesques, mentioned by M. Riocreux. Another mark of the same painter and date is on a bowl in the Museum of Art, S. Kensington. On the border are six oval sunk pools in the manner of Palissy, painted cn grisaille with amorini ; cost ^49. gironimo vrbin FECCIE 1583. F 2 68 MAIOLICA URBINO. FATTO IN URBINO. Urbino. Marked on the back of a plate ; subject, Diana and Actaeon. In the possession of the Marchese d' Azeglio. Urbino. On a large vase, painted with an historical subject. Soulages Coll. f I 1 Urbino. On a maiolica plate of old ^Jk^ white maiolica, at Falcke's sale, No. 2880, marked in blue. (Burn MSS.) Urbino. The arms of the Duke of Urbino. The initials of the inscription may be read, Guido. Ubaldo. Urbino. Dux. Presented to Frater Andrea, of Volterra. Passed quotes two plates of this service ; subjects, Coriolanus, and The Deluge. Two more are in Paris ; and another, of Mutius Scaevola, is in the Geological Museum. Urbino. This mark is on a plate, — subject, Diana and Actaeon, — mentioned by Delange, attributed by some to Luca Cambiasi, a painter of Genoa, by others to Girolamo Lanfranco of Pesaro. G.V.V.D. MVNVS F. ANDREA E VOLATERRANO. CO Urbino. A mark on a maiolica plate ; subject, Diana and Actaeon. In the Campana Coll. Urbino. On the back of a plate, painted with St. Luke on horseback. Urbino. This mark occurs on the front of a large Urbino dish, painted with The Martyrdom of St. Lawrence ; the description and date, 1531, is on the back. It was sold at Lord North wick's sale for 295 guineas. MAIOLICA — URBINO. 69 TESAVRVS Urbino. This curious inscription is CARBONES ERANT ^^^^ ^ ^^'S^ ^^^^ middle of the XVIth Century, and a representation of a mine, with several lumps of coal and a hatchet. It relates either to a scarcity of coal at the time, or more probably it records the successful use of that mineral as a substitute for wood in heating the kiln. On the front of the dish is painted a Roman Sacrifice. Urbino. The mark of a painter, on ^ \ a highly-coloured dish ; subject, a Lion • J * ) I \ \ * Hunt, after Marc Antonio. It has been suggested that the initials stand for Fran- cesco Lanfranco Rovigense. Berney Coll. The same letter, in conjunction with the signature of Maestro Giorgio, dated 1529, are on a plate — subject, Jupiter and Semele. Addington Coll^ Urbino. On a plate ; subject, Hector ^'^y / • "D and Achilles in the River Xanthus, well I Urbmo-n Berney Coll. Urbino ? Denistoun {Memoirs of tlie F M DOIZ F Dukes of Urbhw, iii, 391) observes that he saw "at Urbino, in 1845, a feeble plate in colour and design, signed F. M. Doiz Fiamengo fecit, a proof that it was no despised production of the time." The mark in the margin was on the front, at the base of a specimen in the Gowen Sale, No. 1 12, but the name sounds very much like one of the Delft artists. (Burn MSS.) \ r /\ Urbino ? This may probably be the ' I y monogram of Cesare Cari, of Faenza, who painted in the botega of Guido Merlino, from 15 36 to 1551 (see page 56) Urbino. Fayence with stanniferous ^a(nup>'^(/f[o. GuBBio. Maestro Giorgio, 1520, with a merchant's mark. On a lustrous plate, painted with Aurora in a biga, and two winged attendants on the water. Mr. A. Barker's Coll. GuBBio. Maestro Giorgio, 1520. On a flat plate, richly lustred gold ground, painted in the centre with a shield of arms of three fleurs-de-lis in chief and three crowns, supported by three cupids, candelabra, trophies, &c. GuBBio. This curious inscription is M' Giorgio [520.^^^*^^^"^^ ^^^^ ^ P^^^^ of maiolica, in 2 di Otobre B.D.S.R. Possession of M. Dutuit, of Rouen, r TT I' differing: materially from those we are 171 Ugubio ^ J / 11 . accustomed to refer to Gubbio. i he design is the Judgment of Paris, finished with great care in sober colours ; the metallic lustre is subor- dinate to the rest; quoted by M. Jacquemart. The letters preceding the name of the place refer probably to the appel- lation of his manufactory Botega di S. R. but for the present we must leave the two last to be hereafter deci- phered. GuBBio. On a plate, with a half figure oDr^O^^ ]^^^ centre, ruby lustre, ^Vl,atY: OtO; belonging to M. Leroy Ladurie, of Paris. MAIOLICA — GUBBIO. 7 7 GuBBio. Another mark of Maestro Giorgio, dated 1537. ' GuBBio. Maestro Giorgio, 1525. On 2, 3- plate, painted with " The Stream of . . Life," from an early print by Robetta. o Narford Coll. It was purchased at the ^ Bernal sale for £ 142. Formerly in Passeri's possession. GuBBio. Maestro Gioro^io, I s 26. On \> 3 0 ^ plate ; subject, an Amorino swinging on the branch of a tree, painted e7i grisaille, 'Da U-O^IuJKIo I'ichly lustred with ruby and gold colours. ^ Soulages Coll. GuBBio. Maestro Giorgio. On a lus- tred plate, representing The Death of t^l/^ Dido, from an engraving by Marc An- \f%i tonio. In Mr. Amhurst T. Amhurst's ^ Coll. + GuBBio. This mark occurs on a plate ^/m^^-^ having on the border four medallions, •'.Nl'' 6* ^^^'^ which bear these initials ; in the centre the Virgin between two angels. These letters have been considered to be the initials of Maria Gloriosa, but M. Darcel reads them Maestro Giorgio, and says the plate is identical with one in the Louvre, executed by the same hand, lustred and signed by that artist. In the S. Kensington Museum. I ^ /I I GuBBio. This mark is on a plate ; N r f * subject, Abraham visited by the angels, y \^ in metallic lustre ; attributed to Maestro •fttpi-%rlj^ Gillio. Louvre Coll. GuBBio. The name illegible, but in the style of Maestro Giorgio. From Passcri ; attributed to Maestro Gillio. 74 MAIOLICA — GUBBIO. GuBBio. This inscription, hastily and %^ incorrectly drawn, has been attributed to ijSiflP'^j^^ Maestro Giorgio Andreoli, as well as to ^ Cencio ; subject, Two Hunters with dog and hare, border of trophies, in metallic lustre. Sauvageot Coll. GuBBio. The letter N. and 1539 on a plate ; subject, Diana and Actaeon, with metallic lustre. Campana Coll. Louvre. N GiiBBio. School of Maestro Giorgio. Mr. J. C. Robinson attributes this to Vincentio or Maestro Centio ; some have given it to Nocera, a branch of the Gubbio manufacture. It occurs on a plate, with the head of John the Baptist in a charger. Soulages Coll. The same letter is on a lustred plate, with an Amorino holding a bow ; in the S. Kensington Museum. ^^i^ GuBBio. The painter of the Giorgio f S'A O school signing himself N., as in the pre- ceding example. Nocera (Via Flaminia), a branch of 1 ■ the Gubbio manufactory. The pieces are usually marked N. The mark of N G, as in the margin, is in metallic lustre on the back of a plate. No. 83 in the Campana Coll. a' -Y ^ ^ i Gubbio. This signature of Perestino, jj & considerably reduced here, is on a square h bas-relief, representing the Virgin and ! » Child, painted in metallic lustre ; the name on the reverse in red lustre. (Campana Coll., Louvre.) The semicircle above is not a C, as Mr. A. Darcel supposes, but the handle of the tablet. The idea that this letter is the initial of Cencio or Vincentio MAIOLICA GUBBIO. 75 Andreoli, and the word underneath is a surname given him from his expertness and celerity in working, is too visionary. It is not prestinol' but without a doubt Perestino. GuBBio. Probably Maestro Perestino. On a vase in the Campana Coll. Attri- buted in the catalocfue to Maestro «_> Gior^fio. ISS7 . ^(Ll 2^ oot" VxcLfll^ GuBBio. Maestro Perestino or Prestino. ^^/C' ^ Sii^ned on a plate, painted in ruby and ; O ^ /" gold lustre, with Venus and Cupid. In a r^xa^lvo pYCftlM possession of Mr. I. Falcke. GuBBio. The mark, probably, of Maestro Perestino. It is on a plateau, painted from a lost work of Raphael ; the subject is the Redemption of Solo- mon and the establishment of the Throne of David. King David is seated on a throne, like that of Solomon, spoken. of in the tenth chapter of Kings, verse i8; on a lion tripod table before him is the flaming chafing dish ; a golden cup, holding the five shekels of silver ; a priest holds the infant Solomon on the table, and enquires of Queen Bathsheba, who stands by his side, " Is this thy son ?" 8cc. (Numbers, xviii. 15.) There are two attendants, one on the King, the other on the Queen. In the background is the type of the future temple ; and in the distance is seen the tabernacle and the hill of the Lord, with two trees, on which are hanging " the two sons of Rizpah, the daughter of Aiah, whom she bare unto Saul, and the five sons of Michal, the daughter of Saul ; and they hanged them in the hill before the Lord " (II Samuel, xxi. 8.) In the I)racon Hall Coll. GuBBio. This mark occurs on a piece in the Campana Coll. : a forked L and a sort of naked branch. 76 MAIOLICA GUBBIO. GuBBTO. This monogram is on a fine plate, having the Torrigiano arms, and foliage, trophies, &c. Sold at Mr. Galli- ardi's sale for ^104. f^f GuBBio. This monogram is on a lus- J/\^\^ tred plate ; subject, Abraham and the ^ 5"4- l Angels. Campana Coll. ^ GuBBio. This mark has been attri- buted to Maestro Censio (Vincentio), son of Giorgio Andreoli, but the mark is in direct contradiction to the assertion. Passeri says that Giorgio was assisted in his manufacture of maiolica by his brothers ; it is more likely to be the mono- gram of Salimbene, who, we are told, was one of them. One was in the possession of M. Sauvageot, of Paris ; another in the Campana Collection. GuBBio. This mark occurs on a plate ^ — subject, Hercules and Cerberus ; in / V the Campana Coll., Louvre. Another, without date, is in the Museum of Art, S. Kensington ; the latter being rather indelicate in composi- tion. Such is also the case with the plate bearing the same mark, having above the letters F R, dated 1535, given by Greslou. GuBBio. On a bowl ; subject, The Virgin and Child, painted in lustre colours. Narford Coll. GuBBio. Marked on the back of a plate, of yellow ground, with trophies, shaded in blue ; in the centre is a shield of arms of two storks, dated 1540. Mr. A. Barker s Coll. GuBBio. Marked in lustre colour on the back of a plate ; subject, Cupid with sword and shield, blue border and scrolls. MAIOLICA — GUBBIO. 77 M.A.I.M. GABRIEL DA GUBBIO. D GuBBio. These letters are on a plate, dark blue ground, with male and female heads in costume of the beginning of the XVIth Century, within wreaths, tro- phies, &c. (Bernal Coll.) S. Kensington Museum ; /,26. los. GuBBio. A plate of the XVIth Cen- tury, having in the centre the bust of a warrior, inscribed as in the margin ; on the border four coats of arms of yellow ground, and beneath Y. A. E. In the Coll. of M. Meusnier, of Paris. GuBBio. This mark appears on a vase having, in relief, the Virgin and Child, and also on a vase painted with orna- ments in metallic lustre, and a large initial letter L, both in the Campana Coll. GuBBio. On a portrait plate, with arabesques, as practised by Giorgio An- dreoli, but of inferior merit. Campana Coll. GuBBio. Perhaps the mark of Maestro Cencio. In occurs on a plate in the De Monville Coll. ; also on a plate, in relief. No. 71 in the Campana Coll. GuBHio. Umbria. Manufacturers of maiolica, Messrs. Carocci, Fabbri and Co., exhibiting specimens of lustred co- lours in imitation of that of the XVth and XVIth Centuries, in yellow, ruby, and other metallic lustres, at the Inter- national Exhibition, 1862 ; marked in centre on the back. M. Pietro Gay, the director, is the artist who personally attends to this lustre, for which he obtained the medal. 78 MAIOLICA — PESARO. PESARO. We are indebted for all we know of this fabrique to Glam- battista Passeri, who has striven to do all honour to his native country ; and as his history was not written until nearly two centuries after its establishment, we must make allowances for his amour propre. Many of the pieces of ancient style with yellow metallic lustre, formerly attributed to Pesaro, are now by common consent referred to Deruta. Passeri quotes a certain jfoannis a Bocalibus of Forli, who in 1396, established himself at Pesaro. In 1462, mention is made of the loan of a large sum for the enlargement of a manufactory of vessels. The borrowers, Ventura di M°. Simone, of Siena, and Matteo di Ramiere, of Cagli, bought in the following year a considerable quantity of sand "du lac de Perouse," which entered into the composition of fayence. To this date Passeri places the introduction of the manufacture of maiolica. In i486, an edict was passed in favour of Pesaro by Jean Sforza, forbidding the introduction from other fabriques of any but common vessels for oil and water ; to the same effect were two other edicts of 1508 and 1532, and another by Guido Ubaldo in 1552; in this last the potters of Pesaro, M°. Ber- nardino Gagliardino, M°. Girolamo Lanfranchi, and M°. Ri- naldo, vasari et Boccalari," engage to supply the town and country with vases, and pieces painted with historical subjects, under certain conditions. The Gironimo vase maker, who signs a plate in the margin (p. 80), is probably the Girolamo Lafranchi here mentioned ; his son Giacomo succeeded him, who in 1569 invented the application of gold to maiolica fixed by fire. In the Montferrand Coll., No. 162, there was a plate repre- senting the Martyrdom of St. Maurice, the Tribune of a Roman Legion ; on the border were the arms of Cardinal Giustiniani ; it was heightened with gold, and the work of Giacomo Lanfranco, 1569. MAIOLICA PESARO. 79 There was, in the Coll. of M. Mathieu Meusnier, Paris, (now dispersed) a fine Italian faience plate, with reflet metal- lique ; in the centre a man on horseback in armour, praying, in the manner of Albert Durer, and on the border a number of square tablets linked together like a chain, each tablet containing a letter, thus : — iomarechomadoadio. XVIth Century. Passeri does honour to Guido Ubaldo II. della Rovere, who became Duke of Urbino in 1538, for his patronage of the fabrique of Pesaro. On the death of Guido Ubaldo in 1572, the pottery began to decline, and when Passeri returned to Pesaro, in the year 1718, there was only one potter who made ordinary vessels. Some years after, in 1757, he sent a painter from Urbania and re-commenced the manufacture on an im- proved plan ; some of these later pieces are noticed below. I— 1^ Pesaro. On a plate, dated 1542. The letters stand for the words "In Pesaro." ^ • Two others, with similar marks, both dated 1520, were in the Bernal Coll., one with St. Bartholo- mew, now in the British Museum, cost ^41. Pesaro. On the back of a dish, circa FATO IN PESARO. 1 • . A 11 1 a 1535 ; subject, Apollo and Argus. Ber- nal Coll. ; cost £6. I OS. A similar inscription is on another dish, of Picus and Circe, also from the Bernal Coll. ; cost/^i i. Both in the British Museum. The greater part of the early maiolica is not marked. One piece, of a man on Dc Pisauro cd Chamilh. horseback, in gold and red metallic lustre, is quoted by M. Jacquemart. QccvoTicc/jU^ieO/dv' Pesaro. The mark of Girolamo, of cu4ii^ Cdtt£UC^ti}Zi. Gabice, 1542, mentioned by Passeri, la(a6ote V? . Marseilles, as is also the decoration. In ' ' ' the possession of Mr. Fortnum. An ecuelle, with green and gold leaves and scrolls, has the letters C C and Pesaro without a date. CASTEL DURANTE. M. Giuseppe Raffaeli {]\Idmoires Historiques sur Ics Famices de Castcl Durajitc) mentions the existence in 1361, of a certain Giovanni dai Bistuggi, or John of Biscuits, that is, the earthenware after having received one baking, before it was enamelled and painted, which was more than seventy years before its supposed invention by Lucca della Robbia. He also speaks of a certain Maestro Gentile, who furnished the Ducal palace with vessels in 1363. The most ancient dated piece is the beautiful bowl which belonged to Mr. H. T. Hope, dated 12th Sept., 1508. At a later period, a potter named Guido di Savino worked at Castel Durante, who, according to Piccolpasso, transported to Antwerp the knowledge of the manufacture of Italian maiolica. It was also from Castel Durante, that a family of the name of Gatti, in 1530, introduced it into Corfu, and in 1545 that M°. Francesco del Vasaro established himself in Venice. Piccolpasso, a potter of this place, in his interesting book describes all the various wares and patterns, illustrated by drawings in pen and ink, as well as its manufacture, processes utensils, &c. About 1623 it was created a city, and took the name of Urbania after Pope Urban VIII. 82 MAIOLICA — CASTEL DURANTE. In 1722 Urbania was the only fadrique v^hich existed in the Duchy of Urbino, where articles of utility only were made ; but Cardinal Stoppani brought painters from other places, and endeavoured to put fresh life into the trade of Urbania. The arabesques, with grotesque heads, frequently on blue ground, are boldly drawn ; cornucopiae, &c. designed and shaded with light blue, touched with yellow and orange, brown and green, mostly on a large scale of pattern. For the names of the designs and forms of the vases, see page 54. A plate of Castel Durante maiolica, painted with Mars, Vulcan and Venus, circa 1530 (Bernal Coll.), is in the S. Kensington Museum ; cost ^44. 150^ obi ix'^tjelx^" Castel Durante. This inscription •^i».+a.^ut (a^fHtbura:^ is on the bottom of a large and very fine ^(Si>ca 7yut«a bowl, surrounded externally by blue ^ scrolls on white ; inside are painted the arms of Pope Julius II., supported by Cupids, with arabes- ques, &c. on deep blue ground. This important piece was made on the 12th of September, 1508, and painted by Gio- vanni Maria, of Urbino ? In the Collection of the late Mr. H. T. Hope. J - Castel Durante. On a plate ; sub- 0^1. . ject, a King distributing wine and bread (5/^^' some soldiers, in front are four vases, ICtHl'C ^ larger one filled with loaves. In the Marquis d'Azeglio's Collection. Castel Durante. Sebastiano Mar- forio, in whose workshop this piece was made on the nth of October, 15 19, at D'MARFORio. Castel Durante. Inscribed on a large a di XI octobri round vase, with scrolls, chimerae, ara- iN cIstel'dvra. besques, &c. Bernal Coll., now in the British Museum ; ^23. One similar in the S. Kensington Museum. Castel Durante. On a dish ; sub- IN castel durante . T-.. , , - . 1 U 11 j^^g ject, Dido and Ascamus. Bernal Coll. ; ^13. Also on one in the Campana NELLA BOTEGA D'SEBASTIANO MAIOLICA CASTEL DURANTE. 83 APRESO A URBINO MIGLIE 7. 1555. A DE SEI D'lMAGGIO 1550. AFARO IN STVDI DURANTIAS. FRANCESCO DURANTINO VASARO. 1553. FATTO IN BOTEGA DI PICCOLPASSO. Coll., dated 1525; subject, the Rape of Ganymede; and on another ; subject, Marsyas. Sauvageot Coll. IN cASTELLo DURANTi. Castel Durante. An inscHption on a pharmacy vase. In Castel Durante near Urbino. Castel Durante. Inscribed on a pharmacy vase in the Marryat Coll. Castel Durante. Inscribed on a (Afa-^oinUradurrcnrih''^^^ ^he Hotel de Cluny. Made of ^ af)rff9a(aciJa c)ur6ino\ ^ the earth of Castel Durante, near the city of Urbino. Castel Durante. Francesco Duran- tino, vase maker. On a cistern ; subject after Giulio Romano. Castel Durante. The Chevalier Piccolpasso, director of a botega for making pottery, circa 1550, wrote a trea- tise on the art of making and decorating maiolica, whilst this manufactory was under the patronage of Guidobaldo II. The manuscript has been secured by Mr. J. C. Robinson for the library of the Museum of Art, S. Kensington. It is illustrated with pen and ink sketches of the mode of manu- facturing the maiolica, and patterns of the ware made at Castel Durante. A translation, with copies of the drawings, has recently been published in Paris. M. Delange, in his trans- lation of Passeri's work, speaks of a vase inscribed with Piccolpasso's name. Castel Durante. These marks are on a plate of this manufacture ; subject, the Rape of Helen. From the Bernal Coll., now in the British Museum ; cost £6. Castel Durante. On a pharmacy vase (Albarello) painted with trophies and grotesques, &c., and the bust of a man. The name on a cartouche at back, on a blue ground. Louvre G. 244. IN CASTELLO DURANTO, 1541. 84 MAIOLICA — CASTEL DURANTE. 91 f Castel Durante. This painter must fJ'JnUVfo'R.Qiwt^otti have been engaged here in the XVI Ith JVWi/ttl (J^frama Century, for the name of the place was changed to Urbania in 1635, in compli- ment to Pope Urban VIII. It is on a plate; subject, The Triumph of Flora, &c. Campana Coll. fatta in urbania Castel Durante. On a piece of NELLA BOTEGA DEL siGNOR maiolica, the mark given by M. Jacque- pietro papi, 1667. mart. Castel Durante. These seven mono- grams or merchants' marks occur on pharmacy vases. They probably belong to the druggists for whom the vases were made, and not the painters or makers. The last of them is on a fine cylin- drical pharmacy vase, with a large oval medallion of warriors in classical cci- tume, and scroll border ; at bottom is a negro's head, and at the top the an- nexed mark, probably a pontifical cipher of Pope Julius II. On the back is the ^ early date of 1501. Bernal Coll., now jL^ in the British Museum. Mr. H. G. ^f^^^ Bohn, in his Monograms, which form a supplement to the priced catalogue of the Bernal sale, has ascribed this mark to P. Incha Agricola, and adduces as evi- dence of the existence of a painter of that name, No. 1949 in the collection ; but he has doubtless been mis-led by the erroneous reading of the inscription on that specimen given by the compiler of the catalogue (who was not au fait with the subject) — which is really the name of the place where it was made — thus P, Inchafaggmolo. This absurd error has been perpetuated by M. Jules Greslou, Recherches sur la Ciramique, p. 196. MAIOLICA CASTEL DURANTE. FAENZA. 85 GIOVANNI PERUZZI Castel Durante. On a picture of a DiPiNSE, 1693. landscape, mentioned by Mr. Marryat. Castle Durante. On a maiolica pharmacy vase; subject, St. Martin divi- ding his cloak. Marked in blue at the back. This is probably an owner s mark. G ^ Castel Durante. Piccolpasso in a UtClo ^ClCKl^tO manuscript (now in the library of the S. Kensington Museum) written in 1548, speaks of a certain Guido di Savino, of Castel Durante, who had carried to Antwerp the art of making fayence. This Savino has been confounded by M. A. Demmin with a certain Guido Salvaggio through his misreading of an inscription on a plate in the Louvre " Guidon Salvaggio," which instead of being the signature of a painter is only the description of the subject depicted, viz. — a character of Ariosto's Guido the Savage shipwrecked in the Isle des fcmmcs. Perugia. The name of this ancient JVu/nc^^*'Dur-HO>IQILBM'XE£BT ii"^ Gothic characters, surrounded SISNCTMICBTMILIS- by garlands in blue, on white TECiTTIEl?FM^0'i7.7J ground, dated 1475. In the Musee de Cluny. One of the earliest dated pieces known. Faenza. On the rim of a maiolica plate; in the centre is represented Christ \^^ZSf tomb, with emblems of the passion. The name of Don Giorgio, 1485, is pro- bably that of Maestro Giorgio, before he went to Gubbio and was ennobled. In the Sevres Museum. NIC0PA([|^OI?5iNI Faenza. The annexed inscription /'mixI'7'7 occurs on an oblong escalloped tile in /VViltl77 ^j^^ Sevres Museum. At the top is J19I4-C)I 9^EKAI0 n Nicolaus Orsini;" at the bottom " i477- * In our former editions we were enabled to give the Catalogue number of every specimen referred to in the Museum of Art at South Kensington, but a repetition of these numbers would now only mislead our readers, for they have all been changed and we are consequently compelled to omit them. As we have so frequently occasion, throughout the work, to refer to specimens in this unequalled collection, the change is much to be regretted, and ought, if possible, to be avoided in every Public Museum. 88 MAIOLICA FAENZA. The 4th day of June," and between are the Orsini arms, supported by Cupids. It is extremely interesting, being of so early a date. Faenza. Ardrea di -Bono. This flltSREfiL&l B0H0 ^ame is written on a scroll in the centre of a circular maiolica plaque, dated 1491, bearing a shield with a lion rampant, and a small shield round its neck, enclosing a fleur-de-lis. Formerly in the Montferrand Coll., now in the S. Kensington Museum ; cost £2. 17s. 9d. Faenza. This curious mark was on a maiolica plate in Mr. Bernal's Col- lection, but was not catalogued with the others at the sale in 1855. Faenza. A very early plate, with the ^Ti-^^ ^ Virgin and Child, painted on dark blue JuICTLIG^MTA has on the back this mark in blue. Fountaine Coll., Narford. -j.^--. r* A-r»"i\Tr? a. Faenza. This mark is on the back cupid and arabesques, in yellow on dark blue ; in the centre Christ bound. Early XVIth Century. Mr. Henderson s Coll. Faenza. On a plate, subject, Samson pulling down the pillars of the Temple ; the back covered with coloured orna- ments. Marryat Coll. Faenza. The letter F of different jp^ p* forms probably indicates the Faenza manufacture. It occurs on plates, with ornamented backs, in blue or yellow, of circles, foliage, imbrications, &c. Faenza. This mark is on a repoussi dish, with festoons of different colours, ornamented in arabesques. Mentioned by Delange. -^>/o■^■p^p/ M AIOLIC A — FAENZ A. 89 FATA. IN. FAENZA. IN. CAXA. PIROTA. Faenza. This inscription reads FA TE, IN. FAEnza. lOXEF. In, CAsa. PI ROTE, 1525. Made in Faenza at the workshop of Pirote. The word loxef, which is also repeated on the interior of the plate, designates the subject, which is JosepJis Cup. In the possession of Baron Gus- tave de Rothschild. Faenza. On a plate painted in blue camaieu, amorino in the centre, border of dragons and trophies. Barker Coll. Faenza. This inscription is given by M. V. Lazari, from the reverse of a plate in the Bologna Museum, representing the Coronation of Charles V. Faenza. On a plate, with portrait of Laura, and arabesque border. This mark was formerly attributed to Pesaro. Faenza. On a plate, with arabesques painted on blue ground. Faenza. niart. On a plate cited by Brong- Faenza. On a large plateau, painted with the Judgment of Paris, surrounded by a border of arabesques on blue ground, dated 1527. Faenza. This unknown mark of the wing of a bird is on a maiolica tazza, inscribed, " Nerone che fa barare la matre." Faenza. An unknown mark on a maiolica plate; subject, a woman bathing. 90 MAIOLICA — FAENZA. Faenza. On a large dish ; in centre, St. Francis, encircled with rich arabes- ques on orange ground, white borders, painted in blue and yellow palmettes. These letters are on the back. Soltykoff Coll. MCCCCC^y2?V Faenza. On a large dish, represent- ing Christ rising from the Tomb, on each side are the Maries, coloured on deep blue ground. On the tomb is inscribed, ^~^c^W^-\^^ymi:iit^ ' Cesar o Roman Imperatore Augusto," the date 1535 and s.p.q.r. The por- trait annexed is on the lower part, and is introduced here to show the curious characters which surround it. Soltykoff Coll. Faenza. This monogram is on the back of a bowl, with interlaced knots of blue and orange ; in front is a medal- lion of a rosette, surrounded by yellow flutings, edged with blue, in brilliant colours; circa 1520. Uzielli Coll. Faenza. Marked in blue, surrounded by rings, on the back of a very rare plate, with deep blue background, and allego- rical subject of a Centaur bound to a pillar by three cupids, with emblems of love, war, music, &c. It is now mounted in an inlaid marble frame of flowers and fruits. Barker Coll. Faenza. This letter, B with a paraphe is on the back of a plate, with flowers, &c. On the front are arabesques and scrolls (sopra azurro) en grisaille^ in the centre a Cherub, and dated 1520. Probably the mark of Baldesaro, of Faenza. Faenza. Maiolica plate of the XVIth Century, sopra bianco border, boy and wolf in the centre ; marked in front. Collection of Marchese d'Azeglio. MAIOLICA FAENZA. 91 MILLE CINQUE CENTO TRENTASEI A DI TRI DI LUIE BALDESARA MANARA FAENTIN FACIEBAT. Faenza. On a fine plate, represent- ing a Fete in honour of Neptune, cor- rectly drawn and elegant in style, with the arms of Sforza and Farnese ; in the Campana Coll. Faenza. On a maiolica dish of uncer- tain manufacture, with a diapered border, and a figure in the centre. Faenza. Painted by Baldesara Ma- nara in 1536. This inscription is on the back of a circular plaque ; subject, a Standard Bearer of the Duke of Ferrara. British Museum. Faenza. The sicrnature of Baldesara o Manara on the back of a plate, circa 1540; subject, Pyramus and Thisbe. In the Collection of the Marquis d'Azeglio. t with /a7i (Faenza) ; subject, Time drawn Coll. Faenza ? This singular mark, which is here much reduced from the size of the original, is found in the field of an Italian maiolica plate of the latter part of the XVIth Century. In the British Museum. At the top is a ladder, sur- mounted by a cross, and below a hand pointing upwards. The letters require elucidation. (Burn MSS.) Faenza. Plate, painted probably by ^A^D^C^iC Baldesara Manara, the initials of his J J J J name appearing with the date 1534. ^-p* There are several pieces of this service -T^^^TInL ApJ extant ; one is in the Geological Museum, W/' ^ J ermyn Street; another, formerly Bernal's, in the British Museum, cost ^13. 2s. 6d. ; y J3 ^ ^^^^ ^ third is mentioned by Delange. Another, similar, bu by stags. Fortnum 92 MAIOLICA — FAENZA. Faenza. This monogram is on the back of a fine plate in the British Mu- seum, ornamented in blue and orange ; on the front is a Landscape, with a diapered border, and figures playing on viols. The mark is much reduced in size. Formerly in the Bernal Coll., where it was sold for ^43. is. Faenza. A mark of the same painter, On the back of a square plaque, well painted with The Resurrection of Christ, en grisaille, heightened with blue and yellow, after Albert Durer; circa 1520. Mentioned by Passeri. This piece was in the Pourtales Coll., and sold in Paris for ^126. in 1865. Faenza. On a plate, painted with Boys and Animals on blue ground, ara- besque borders, brilliant colours. Per- haps Baldesara. Faenza. On a plate, painted by Nicolo da Fano ; subject, Apollo and FATO NELLA BOTEGA DI ,^ ^ .... ^. MAESTRO vERGiLLio Marsyas. Maestro Vergillio is men- DA FAENZA tioncd by Passeri. Probably the same as NICOLO DA FANO. Nicolo da Urbino, whose monogram is given on page 66. Faenza. These initials are on the front of a large plaque, date about 1530, painted in rich deep blue, with green, yellow and brown; subject, Christ bearing the cross, and numerous figures, called Lo Spasimo di Sicilia," after Raffaelle. Museum of Art, S. Kensington; cost ^57. 4s. 3 Faenza. A mark by the same painter. On a plate ; subject, St. Jerome, painted with a rich deep blue, like the preceding. In the Narford Coll. A beautiful plate, subject, Dido stabbing herself — with the same initials, is in MAIOLICA — FAENZA. VERONA. 93 Mr. Barker's Coll. ; and another — subject, The Holy Family, is in Mr. S. Addington's possession. Faenza. On a plate, with cavaliers ; signed at the back. In Mr. A. Foun- taine's Coll., Narford. Faenza. On a dish, dated 1525 ; subject, Diana and Actaeon, with a border of monsters, cupids and scrolls. Narford Coll. Faenza. The monogram A M R above the word Faenza, is on a maiolica dish of the XVIth Century. (Burn MSS.) Faenza. " Giovano Brama dj Palerma, 1546, in Faenza." This inscription of a painter's name appears on a superb plate, now in the Museum of Sigmaringen ; subject, the Descent from the Cross. Faenza. The first is on a maiolica plate, with s. p. q. r. The second on a tazza cited by Brongniart, dated 1548. They are doubtless both marks of the same painter. Faenza. Both probably the same mark, one being reversed. The first is ^ on a plate, with raised border and ara- besques on a deep blue ground. The second on a metallic lustre portrait plate, " Pulisena." Uzielli Coll. VERONA Is mentioned by Piccolpasso as having considerable fabriqucs of maiolica in his time (about 1540), but this is the only piece we have been able to identify. 94 MAIOLICA VERONA. DERUTA. I^/T-^ Verona. The subject of this unique j^T ^ plate, from the manufactory of Verona, Odtl^^enava ^ Alexander liberating the Wife and yiO^\i)\iaviJ^ilhjhL Family of Darius ; it bears a shield of ^A^tt^A arms, supported by flying amorini or, on ff '^t, a fess ar., a lion ^ passant, with a sceptre Ifi vC^QMcV' in his paw, in chief an eagle displayed sa., the base paly ^2/. The interesting inscription on the reverse informs us that it was painted by Franco Giovanni Ba- tista, signed in contraction and somewhat injured. The late Mr. Berney, to whom the plate belonged, thought it an original design by Batista Franco, which would confirm the statement of ^2.^^x,KunstlerLexicon,\h'aX this artist did not die till 1580. DERUTA. The lustred maiolfca of yellow lustre, edged with blue, which was formerly attributed to Pesaro, has been recently classed among the wares made at the manufactory of Deruta, near Perugia, from the circumstance of a plate in the Pour- tales Coll., subject, one of Ovid's Metamorphoses (No. 242), signed by El Frate, of Deruta, 1541, being similarly deco- rated with the yellow lustre. The plate in the Hotel de Cluny, representing Diana and Actaion, after Mantegna, designed in blue, heightened with yellow lustre, marked with a C having a paraphe, is also attributed to this fabrique. The earliest dated specimen, if this attribution be correct, is a relief of St. Sebastian within a niche, the saints painted in blue ; the arcade of this peculiar yellow lustre on the plinth is inscribed "a. di. 14. di. lvglio. 1501." The 14 July, 1501. Deruta. These initials occur on a dish painted in metallic lustre, with the arms of Montefeltro. In the Coll. of the Comte de Niewerkerke. MAIOLICA DERUTA. 95 FATTA IN DIRVTA 1525. •I? jT Deruta. This mark is on a dish of blue camaieUy with metalHc lustre ; sub- 1 ject, Diana at the Bath, finely designed ; XVIth Century. Musee de Cluny. Deruta or Castel di Deruta. On a plate, painted with arabesques on blue ground. Narford Coll. Deruta. D with a parapJie, painted with a subject from the Orlando Furioso. Mrs. Palisser's Coll. Deruta. D with a paraphe, and the initials G. S. On a plate; subject, Two Lovers seated under a tree. Museum of Art, S. Kensington. ^^^^ Deruta. The initials, probably, of / \ / Giorgio Vasajo, whose name occurs on a I T \/ piece of ware belonging to Count Bag- lioni, of Perugia. Deruta. On a plate in the possession of Sio-nor Raff, de Minicis, of Fermo. JC'^ Deruta. Inscription on the back of a plate ; subject. The Nuptials of Alex- ander and Roxana. In the possession of Mr. A. Barker. Deruta. On the reverse of a plate, • I I painted in front with a Roman triumphal \ VJ fJl M ^^^^ procession, on the pedestal of the arch 1 ^ > A_ is written ant. lafreri. This name is ^ ^ I considered to be that of the engraver or editor of the print from which this subject is copied, and has nothing to do with the painting on the maiolica. M. A. Jacquemart says there was an artist of this name established at Rome, from 1550 to 1575, celebrated as editor of engravings. Several of Mark Antonio's engravings are signed by " Anto- nms Lafreri Romcr Exciid. others have ''Ant. Lafreriiis Scqua7i7is Ry Campana Coll., Louvre. IN DERUTA EL FRATE PENSE J 96 MAIOLICA DERUTA. FABRIANO. Deruta. a tazza in the Coll. of Mme. la Comtesse de Cambis, repre- senting Apollo and Daphne, with other incidents in the life of the God, bearing the painter s name, Francesco of Urbino. Deruta. The mark of Frate on a fj^tTiit^ V^"^^^ '^ subject, Rodomont carrying off Gvv-/^ 1^ Ct*r{^ Isabella, from the "Orlando Furioso " '^^^^t? ofAriosto. Louvre Coll. FRANCESCO URBINI IN DERUTA. 1537! On a plate in the Pourtales Coll., painted with one of Ovid's Metamor- phoses, designed and shaded with blue, . cJ( ^^^■u/iz heightened with yellow metallic lustre. This and another in the Louvre, G. 575, " Birth of Adonis," also lustred, enables us to place many other pieces, unsigned, to Deruta. Deruta. An inscription on a large dish, under a painting of the Holy Family. In the Museum of Art, S. Ken- sington. 10, silvestro. D'AGFLOTRINCI DA DERVTA fati° in bagniorea I69I, i5 FABRICA DI MAJOLICA FINI DI GREGORIO CASTELLI in DERUTA, 1771, Deruta. A mark on two pharmacy vases, with portraits. Deruta. This mark of a recent manufactory of fayence (niaiolica fina) is on a plate in possession of M. Paul Ges- nault, of Paris. FABRIANO. FABRIANO, This manufactory is revealed to us by 1527, a magnificent tazza which was sent to the X Paris Exhibition in 1867 by M. Spitzer. MAIOLICA — FABRIANO. RIMINI. 97 The inside of the tazza is painted with a composition after Raffaelle. In a saintly crowd the Virgin and St. Anne are ascending the steps of a temple, advancing towards our Saviour, who is seated under the portico. It is of a grand style and well painted. Underneath is written " Fabriano, 1527.'* Beneath is a cross, which cannot be attributed to Xanto. Here we see the States of the Church in possession of a fabrique rivalling the most important in Italy in its artistic talent. {Les Merveilles de la Cdramique, by Jacquemart.) RIMINI. Piccolpasso mentions the fabriques of maiolica here, but nothing is known of their early history, and the only records are the reverses of the pieces here given. M. Darcel observes a peculiarity in the landscapes, the trees being more natural, the trunks being in brown shaded black, not altogether black as in the Urbino ware; the foliage is of a less glaring green, and hangs below the branches ; the enamel has a more bril- liant glaze. The dates on the pieces are 1535, one is quoted as late as 1635. IN RIMINO 1535- FATO IN ARIMINENSIS I40E r Rimini. On a plate ; subject, The Fall of Phaeton. British Museum. Rimini. On the back of a plate ; sub- ject. The Expulsion of Adam and Eve from Paradise. Hotel de Cluny ; and on another, without date, mentioned by Delange Rimini. Delange. On a plate mentioned by Rimini. This mark in blue is on a bowl (No. 96) in the Louvre, which M. Darcel attributes to Rimini, from comparison with other signed pieces, H 98 MAIOLICA — FORLI. The subject is God appearing to Noah, N O E refers to this ; the Z and dead branch of a tree may probably be the painter's rebus, Zaffarino, Zampillo, or some such name. FORLI. According to Passeri, this place had fabriqties of maiolica in the XlVth Century. He speaks of a document of the year 1396, in which this passage occurs : Pedrinus loannis a bocalibus de Forlivio olim et nunc habitator Pensauri." John of the potteries, formerly of Forli, now at Pesaro ; and Piccolpasso, in the XVIth Century, speaks of the painted maiolica of Forli. Its contiguity to Faenza exercised a great influence on the decoration of the ware, and the patterns, both on the obverses and reverses, being similar, many of the pieces of this fabrique are attributed to Faenza. In the S. Kensington Museum is a kite-shaped plaque of the XVth Century, with the arms of the family of Ordelaffi, of Forli. ..Tr.^T.Tr Forli. On a plate; subject, The FATA IN FORLI ,/r 1 tit r U • Murder of the Innocents, after Baccio 1542. Bandinelli ; Campana Coll., Louvre. FATA IN FORLI. FoRLi. A plate ; subject, Croesus, in- scribed AURUM. siTis. AURUM. BiBE. ; Cam- pana Coll. Another; David and Goliah, circa 1530; in the Museum of Art, S. Kensington. Forli. Leucadius Solombrinus, of LEOCHADIUS ^ . . . ^ soLOBRiNvs Forh, pamted m 1555. On a very fine picsiT plate, of the Marriage of Alexander and FOROLivioMECE Roxaua. From the Dellesette Coll., now M.D.L.V. . , . r T%/r A 1 m the possession of Mr. A. Barker. Sr-f^l^^J^^^Q^^^^ FoRLL On a fine plate; subject, ry o ^ 1 Christ among the Doctors, painted in (9 ^ fffoj^^j^ j?^ blue, relieved with white, the edge filled ZI^I^ — I^^^T T^ with trophies of musical instruments. S. Kensington Museum, which, with another unimportant piece, cost ^80. It reads " In la botega di Maestro Jeronimo da Forli." MAIOLICA VITERBO. RAVENNA. TRAVISIO. 99 RAVENA. A plate by the same artist, the centre painted in blue camaieu, with a crowded composition of uncertain signification surrounded with a border of trophies on dark blue ground, and medallions with busts and inscriptions, is in the pos- session of Mr. S. Addington. And another fine specimen, a plate, painted with David and Goliah and similar border, dated June 1507, belongs to the Marchese D'Azeglio, formerly in the Collection of Mr. Hailstone, of Horton Hall. FoRLi. This mark is on a maiolica plate, finely painted ; quoted by M. A. Jacquemart. ViTERBO. A maiolica dish, dated 1 544 ; subject, Diana and Actaeon, with a bor- der of arms and trophies ; a man at the bottom is holding this scroll. Museum of Art, S. Kensington. Ravenna. A most interesting maiolica tazza of the commencement of the XV Ith Century, has lately come into the pos- session of M. Chas. Davillier, with the name of the place inscribed upon it in large characters. Inside is painted Amphion supported on the waves by three dolphins playing on the lyre. From a painting of the XVth Century. Ravenna ? This mark occurs on a maiolica jug, square spout and one handle, ornamented with Cupids and scrolls, on a dark blue ground ; coat of arms in front. Mr. J. Henderson's Coll. Travisio. This inscription is at the bottom of a deep plate or bowl, sur- rounded by arabesques, on blue ground ; on the interior is painted The Sermon on the Mount, with the disciples asleep. The legend surrounds a portrait, sup- ported by Cupids. In Mr. Addington's Coll. TOO MAIOLICA PISA. CAFFAGIOLO. PISA. The city of Pisa was, about the middle of the XVIth Century the centre of a considerable trade in the exportation of Italian fayence into Spain, and especially Valencia, in ex- change for the golden metallic lustre ware of that country. Antonio Beuter, about 1550, praises the fayence of Pisa with those of Pesaro and Castelli, but we have only the specimen here noticed, which can with certainty be attributed to it. In the beginning of the XVIth Century, a Florentine artist carried into Spain the art of maiolica, and many bas reliefs are attributed to him by M. C. Davillier, som.e of which decorate the facade of the church of Santa Paula at Seville. This artist is Niculoso Francesco, of Pisa, whose works are in the style of the Delia Robbias. Pisa. A large vase, of fine form, with P I S A. serpent handles, covered with arabesques on white ground, like the maiolica of Urbino. The word " Pisa" is written on a cartouche under one of the handles. Baron Alphonse de Rothschild's Coll. CAFFAGIOLO. This manufactory was of early origin, and although it is not mentioned by Piccolpasso, its existence is revealed by the inscriptions on numerous plates ; the name spelt in various ways is frequently given at length, accompanied by the cipher of a large P with a paraphe or bar through the lower part of the stem, and the upper loop of the letter curved over the stem in form of an S ; sometimes the pieces bear the cipher only. The most ancient dated pieces are two plates belonging to M. le Baron G. de Rothschild, one dated 1507, the other 1509, both decorated with grotesques in the style of Faenza, and remarkable for the red colour displayed in its tints. Among the ornaments of this ware are frequently tablets MAIOLICA CAFFAGIOLO. lOI bearing the letters s. p. q. r. and s. p. q. f. (Florentinus) and on several the mottoes Sernper and Glovis and the arms of Pope Leo X., who assumed the tiara in 15 13. The motto Semper " was adopted by Pietro de Medici in 1470, meaning that every action of his life should be done with the love of God. It was continued by Lorenzo the Magnificent, The motto and device of a triangle* enclosing the six letters " Glovis," was adopted by Giuliano de Medici, third son of Lorenzo, in 15 16, which, read backwards, form " Si volge," It ttcriis, meaning that fortune, which had pre- viously frowned upon him, had turned in his favour. Another characteristic of this fabriqiie is the deep blue backgrounds of many of the pieces, and the method in which it is coarsely but boldly applied by the brush, the hairs of the brush being visible, although it adds greatly to the effect. The fabriqiie lasted probably throughout the XVIth Cen- tury, with various differences in orthography, as regards the marks. M. Darcel, in his Catalogue of the Louvre Coll., has, we think, been too liberal in his attribution of specimens to this fabrique ; he includes thirty tiles from the Petrucci Palace at Siena, and a number of pharmacy vases, none of which bear the mark of the fabrique. The Louvre does not, in fact, appear to possess one signed piece of undoubted Caffagiolo out of the sixty described. There are several very fine pieces of this ware in the S. Kensington Museum, besides those mentioned in the text. A plateauwith a triumphal procession in the style of Mantegna, painted in vivid colours on dark blue background, dated 15 14, from the Montferrand Coll. ; cost ^49. is. 6d. Another is a plate with the St. George of Donatello, from the bronze statue in the church of " Or San Michele," Florence ; Bernal Coll. ; cost /61.; and the celebrated plate in the Soulages Coll., T02 MAIOLICA — CAFFAGTOLO. with a portrait of Pietro Perugino, with a wide border of foHage and four medallions of birds, cost ^200. Chafaggiuolo. This mark is on the celebrated plate from the Stowe and Bernal Colls., representing an artist in his studio painting a maiolica plate, whose progress a lady and a gentleman, seated opposite, are intently watching. At the Stowe sale it brought ;^4., and at /m^^ Mr. Bernal's it was purchased by the Museum of Art, S. Kensington, for ^120. m \ J The same mark is on a large dish in the ^ J 'Wfcv Soulages Coll., representing Pope Leo X. borne upon the shoulders of the populace, seated on a throne; composed of upwards of fifty figures, with the usual character- istic of this ware, a rich deep blue back- ground. Chafaggiuolo. This inscription is found upon a deep plate, with a griffin in the centre, and arabesques, on deep blue ground. It was purchased at the Bernal Sale by the Baron A. de Roths- child for ^90. The compiler of the Bernal sale catalogue has made a ridi- culous mistake, by reading it as the signature of a certain P. Incha Agricola. Such an error, unless pointed out, is necessarily calculated to mislead the more erudite enquirer, as will be seen by referring to page 85. Chafaggiuolo. This mark, of a tri- dent and an annulet, is on the back of a ]r O plate, painted with an imbricated pattern, y blue and orange ; on the front is a cupid, seated, playing a flageolet ; the border of the plate is painted with masks and scrolls in orange, shaded with red, on a ground of dark blue, and the date 1531. Narford Coll. 1 ;\^^o MAIOLICA CAFFAGIOLO. 103 Chafaggiuolo. This inscription is 1^ interesting, combining the marks which CVClClW(>lo appear frequently separate on pieces of ^ ^ ^ this fabrique, enabHng us thereby to identify them as made here. It is on an elegant plate, painted with arabesques, and a label with s. p. Q. R. ; the back ornamented with ovals and stripes in blue and yellow. Lord Hastings' Coll., Melton Constable. Chaffagiuolo. a plate with Diana IN GAFAGIZOTTO. surprized in the bath by Actaeon, has the annexed inscription in a cursive character. The name of the place is frequently misspelt in this way ; and it is evident, from a comparison of the finish of the paintings of this fabrique, that inferior artists were also occasionally employed. Mus^e de Cluny. IN CHAFAGGIOLO Chafaggiuolo. On a large dish, men- FATO ADJ 21 DIJUNIOtioned by Delange in the Appendix to '590- his translation of Passeri, dated 1590. _ The mark is not in fac-simile. Chafaggiuolo. This monogram is ^ ^Jj upon a dish : subject, Coriolanus, with border of trophies, &c., and a tablet with s. p. Q. R. ; dated 1546. Chafaggiuolo. This occurs on a plate, with Cupids in the centre, and a border of musical trophies, &c. Chafaggiuolo. On a yellow lustre jug, with blue lines. The mark is below the handle. In the possession of Mr. J no. Henderson. Chafaggiuolo. On a large dish, ^ jn^^^^^o p^Ij^^^^ ^^j^I^ ^l^g Carrying off of Helen / j3 from Troy, numerous figures, ships, [jf boats, &c. Mr. Barker's ColL Another — / J piece, apparently by the same hand, in r04 MAIOLICA CAFFAGIOLO. the S. Kensington Museum, is inscribed, In Gafagiolol' the interlaced S. and P. and the initials A. F.; cost £2. 2s. The two first letters of the name of the place are evidently intended for Chy which in Italian writing looks like a letter^. Chafaggiuolo. Galiano was probably In Galiano nel am ^ village or hamlet near this place. The inscription occurs on a plateau, painted with Mutius Scaevola before Porsenna ; in the pos- session of Mr. Fortnum. It is accompanied by the well- known monogram of S. and P. interlaced, a small G. and the initials A. F. as in the previous specimen. Chafaggiuolo. On a dish, first half of XVIth Century, painted with the Mac- cabees offering presents to Solomon. M. A. Darcel thinks this mark signifies Gaffagiolo. Louvre Coll. This letter is also on a plate in the same collection, G. 153, Hercules and Antaeus. Chafaggiuolo. On a dish, with three- quarter portrait in costume of XVIth century; on a scroll, Antonia Bella Fiore Dequesate," so attributed by M. Darcel. Louvre Coll. Chafaggiuolo. This monogram is on two dishes in the Louvre, painted with a cornucopia and a vase of flowers in medallions, attributed by M. A. Darcel to this fabrique, but showing the decadence of the art. ^ Chafaggiuolo. These marks are given by M. A. Jacquemart as belonging LJ to the first epoch of ornamental maiolica with vivid colouring, but we have never met with them. Chafaggiuolo ? or Deruta, on a piece of very early maiolica given by M. A. Jacquemart. MAIOLICA— ST. QUIRICO. SIENA. ST. QUIRICO. STucL'^^^a^^ QuiRico. (Marches of Ancona). cj^ (W ' • This inscription, on a plaque in the Louvre, reveals the existence of a manu- factory established by the Terchi family, of Bassano, under the protection of Cardinal Chigi. It represents the Striking of the Rock by Moses, and resembles the works of the Castclli fabrique. XVI Ith Century. SIENA. The earliest specimens known of this important manu- factory are some wall or floor tiles of the commencement of the XV Ith Century. These tiles are of fayence, covered with stanniferous enamel, and ornamented with polychrome designs of chimerae, dragons, amorini, masks, birds, &c. in brilliant colours, especially orange and yellow on black ground, beautifully painted. They average about 5 inches square, but vary in shape and size, some being triangular, pentagonal, &c. to suit the geometrical designs of the wall or floor they covered. A series of several hundreds of these tiles is in the S. Kensington Museum, which came from the Petrucci Palace at Siena ; some are dated 1509, and are painted with shields of arms and elegant arabesques. There are some in the Sauvageot and Campana Coll. in the Louvre. A pave- ment of similar tiles, dated 15 13, still exists in situ in a chapel of the church of San Francisco, at Siena ; there is also a frieze of them in the Biblioteca of Siena. These are attributed by Mr. Robinson to Faenza, and by M. A. Darcel to Caffagiolo, but they were most probably executed at Siena, where they are discovered in such quantities in the very buildings for which they were originally designed. A circular plaque, by the same artist and date, is in the pos- session of Mr. Morland ; the surface is entirely covered with a composition of beautiful arabesques in brilliant colours, relieved by a black ground ; others are in the collections of io6 MAIOLICA SIENA. Mr. O. Coope, Mr. Franks, and Mr. Bale ; and a plate, appa- rently by the same hand, is mentioned below in Mr. Henderson s possession. A plate with sunk centre and rich orange colour border, with blue and white arabesques, having in the centre the Virgin and two cherubs, was purchased by Mr. Bale at the Bernal sale for ^41. It has on the back the initials I. P. Siena. Marked on the back of a very fine plate; subject, Mutius Scaevola, with border of arabesques on blue, finely designed. From M. Rattier's Coll., pur- chased for ^120., and now in the collec- tion of Mr. Henderson. Siena. Made in Siena by Maestro Benedetto," circa 1 550. On a plate, with foliated and interlaced ornament, blue cameo on white ; in the centre St. Jerome in the desert. Museum of Art, S. Ken- sington ; £10. Enamelled statues of the school of Delia Robbia were also produced at Siena. In the Louvre there is a bas- relief of the Entombment of this character ; the inscription is unfortunately defaced, and the date cannot be read. Siena. Terenzio Romano. On a piece of maiolica in the Chamber of Arts, Berlin. Siena. Bartolomeo Terenzio Ro- mano. On a patr of plaques ; subjects, Neptune and Europa, after Annibale Caracci. XVIIIth Century. Montferrand Coll., now in the S. Kensington Museum. FJ^^. BERNARDINUS. DE SIENA. IN. B. S. S^^us TERENZIO ROMANO SIENA 1727. BAR. THERESE ROMA. TERCHI. Siena. On a vase of the XVIIIth Century, with a painting after one of the old masters. MAIOLICA SIENA. VENICE. 107 Bar Tare Romano. Siena. Another variation of Barto- lomeo Terchi's signature ; on a plate in the S. Kensington Museum. Siena. Bartolomeo Terchi Romano. BAR.TERCHI.ROMANOo^ ^j^^ companion vase to the prece- ding. It is probably the same artist as the Bartolomeo Terenzio Romano, of Siena, mentioned above, there being so great a similarity between the words Tere/e and Terc/ie, as written at that time, some confusion may have arisen. Siena. Ferdinand Maria Campani, of Siena, painted in 1733. On a plate in the British Museum, " God creating the stars," after Raffaelle. Siena. Ferdinand Campani. On a plate ; subject, Galatea, after Annibal Caracci. Siena. This mark is on a fayence dish of the beginning of the XVIIIth Century, embossed and escalloped bor- der, painted with blue scrolls and flowers. In the centre a bouquet. Perhaps the mark of Ferdinand Campani. Siena. On a pair of plaques ; sub- ject. The Vintage. Montferrand Coll. ; and one in the S. Kensington Museum. Siena. Ferdinand Campani. On a plate of the beginning of the XVIIIth Century, painted with arms and trophies FERDINANDO MARIA CAMPANI SENENSE DIPINSE. 1733. FERDINAND CAMPANI SIENA. 1736. FERDINANDO CAMPANI DIPINSE IN SIENA 1747- F. C C7L grisaille. S. Kensington Museum. VENICE. From the interesting researches of the Marquis Giuseppe Campori, we are enabled to throw some light on the early fabriques of Venice in the latter half of the XVth and begin- ning of the XVIth Century. io8 MATOLICA — VENICE. In the archives of Modena we find that in 1520, Titian, who was always in great favour with Alphonso I., Duke of Ferrara, was desired by this Prince to order a large quantity of Venetian glass from Murano, and some maiolica vases for the Duke s dispensary. Tebaldo, his agent, thus writes to his patron, " The ist June, 1520 ; By the Captain of the vessel, Jean Tressa, I send your Excellence eleven grand vases, eleven of smaller size, and twenty little pieces of maiolica with their covers, ordered by Titian for your Excellency's dis- pensary." To the Venetian ceramists we may refer the maiolica pavement in the vestry of St. Helene, given by the Giustiniani family, and bearing their arms, about 1450- 1480. Also another bearing the shield of arms of the Lando family, still existing in the church of St. Sebastian, which, with the date 15 10, bears the monogram V T B L, enclosed in the letter O in large capitals. In another letter, of the 25th May, 1567, Battista di Francesco, writing to -the Duke of Ferrara for the loan of three hundred crowns, on condition of giving him his services, says that he is a master potter, and makes very noble maiolica vases, of the best as well as inferior qualities ; he lives at present at Murano, in the district of Venice, with his wife and children, and possesses a shop well stocked with vases and other productions of similar character, and having heard of the magnanimity and reputation of his Excellence from noble- men and gentlemen of Venice, he has a desire of serving him in his calling as a potter, and fix his residence at Ferrara. He desires an answer addressed to M° Battista di Francesco, maker of maiolica vases, Rio delli Verrieri, at Murano. There were many manufactories of terra-cotta and earthen- ware in Venice in the XVth Century, carried on by the Guild of the Boccaleri (pitcher makers) and Scudaleri (plate or dish MAIOLICA VENICE. 109 makers), probably for domestic use alone. They had the exclusive privilege of manufacturing earthenware, and every effort was made by the State to protect this guild, and nume- rous decrees were issued to prevent the importation of foreign wares from the XVth down to the XVIIIth Century. From the manuscript of Piccolpasso we know that the Durantine potter, Francesco or Cecco di Pieragnolo, estab- lished a kiln at Venice in 1545, and had taken with him his father-in-law Gianantonio da Pesaro. Piccolpasso visited it in 1550, and describes the mills for grinding, also the patterns frequently made there, the arabesques, grotesques, landscapes, fruit, &c. One of the earliest pieces, although undated, was probably made about the year 1540. It is the plateau described below; the inscription there, much reduced, reads "In Venetia in contrada di St° Polo in botega di M° Ludovico," and beneath, a Maltese cross on a shield. There are two other pieces of maiolica, evidently painted by the same Maestro Ludovico, of Venice ; one painted in blue camaieu with a mermaid, belonging to Mr. Fortnum, has the inscription " 1540 adj. 16 del mexe de Otubrc," (the i6th of the month of October); and the other, in the S. Kensington Museum, has ''Adj. 13 Aprile, 1543," followed by a word we cannot interpret, ao. lasdimr. The next in order of date is the dish painted with the Destruction of Troy, in Mr. Fountaine's Coll., inscribed "Fatto in Venezia, in Chastello, 1546," which tells us where the manufactory was situated. In the Brunswick Musuem another plate is noted " 1568, Zencr Domenigo da Venecia feci in la botega al ponte sito del andar a San Polo." Signor Domenico, of Venice, made in the fab7'iqiie at the bridge situate on the road to St. Polo, probably that which belonged to Maestro Ludovico. A speci- men of maiolica, about the same date, bears the name of lo Stefana Barcella, Veneziano; but he may, perhaps, although a Venetian, have worked in some other locality. The next marks which attract our attention in order of date are very curious, and we shall see, in describing the pieces on T lO MAIOLICA — VENICE. which they occur, and the long intervals between their use, that they belong to a locality and not to a painter. The mark is a sort of fish hook, in form of the letter C, and it is so inti- mately allied to the creeper, or grappling hook with three points, generally allowed to belong to Venice, that we are warranted (until further information is obtained) in placing it as a Venetian mark. On a fountain in the Musee de Cluny, with masks and garlands of flowers, in relief, and painted with bouquets, we find this fish hook introduced several times ; and on a plate representing the Salutation is the same mark, with the date 1 571, and another in the Berlin Museum bears the date 1622. The next time we meet with it is on a plate painted with six horses, belonging to M. Roger de Beauvoir, but in this instance it is accompanied by a name as well as the date, — L. Dionigi Marini, 1636, between two fish hooks. We now arrive at a description of maiolica of a totally different class to that we have been considering, and possess- ing so many peculiarities, that we are justified in assigning the pieces to one particular manufactory, the secret of pro- ducing it being lost on the death of the proprietor. The ware may be briefly described as follows : — It is very thin, and extremely light for the size, and is compact and as sono- rous as if it were actually made of metal. The borders of the dishes are moulded into masks, flowers, festoons, fruit, &c., and the reliefs are thrown up from the back, like repousse metal work. On the back of these dishes may frequently be seen three long marks, where it rested in the kiln, and leaves, cursively traced in colour. The marks on the back consist of letters or monograms, such as A F, A R, G, J G, &c., the meaning of which we are unable to discover; these letters are frequently combined with a sort of anchor, called by the French grappin, and by the English grapnel or creeper.^ M. Jules Labarte {Histoire des Arts Industriels au moyen- * Johnson defines a creeper as " in naval language a sort of grapnel, used for recovering things that may be cast overboard." MAIOLICA VENICE. I I I age, et a VSpoque de la Renaissance) says, A manufactory of maiolica at Venice in the XVI Ith Century produced some specimens inferior in point of art, but curious as records of ceramic execution ; these are dishes, the rims of which are generally loaded with fruits in relief, and the centres decorated with slight and very inferior painting. What renders this fayence singular is, that it is very thin, very light, and so sonorous as to be commonly mistaken for sheets of copper enamelled and repoussi. The Museum of Sevres possesses some fine specimens. This manufacture was of short duration." M. Vincenzo Lazari attributes these pieces to an unknown manufacture of the end of the XVI Ith Century, and M. Jac- quemart is rather inclined to place them in the same century ; but on due consideration we are still of opinion they were made by the Brothers Bertolini, the glass makers of Murano. The following account is extracted from Sir W. R. Drake's notes on Venetian Ceramics, p. 25 : — In 1753 (riot 1758, as erroneously stated by Lazari) a manufactory of maiolica was set up in Murano by the Brothers Gianandrea and Pietro Bertolini, who, previous to that date, had carried on in that island a privileged manufacture of painted and gilt enamel, imitating porcelain. In their petition to the senate the Bertolini stated that they proposed to estab- lish a new manufactory of maiolica in Murano, having, after many costly experiments, at last obtained such perfection in their work, that, as to wJiiteness, lig/ihiess, and design (candi- dezza, leggerezza, e pittura), they had nothing to envy in any other manufacture of the State, and they therefore proposed to open a shop in Venice to facilitate their sale. The peti- tioners alleged that their intentions were interfered with by the privileges which had been granted to Antonibon, of Nove, and Salmazzo, of Bassano, which, exempting them from import and export duties, they were enabled to sell their maiolica at a lower price than the Bertolini could do, although the merits of their manufactures were in no way inferior." 112 M AIOLICA VENICE. A decree of the Senate of 14th April, 1753, authorized them to open a shop in Venice, with exemption for ten years from import and export duties. The Murano manufactory of maiolica did not succeed so well as the promoters anticipated, and it was probably discon- tinued about the year 1760. The concession was annulled by a decree of the 2nd April, 1763. The marks, therefore, of a double anchor or creeper we may safely assign to this firm. The letters A F, so frequently found (as well as the others), are at present unintelligible, but may be the initials of the painters, interwoven with the trade mark. There is one mark in particular which seems to call for a remark, viz. the A F and a Maltese cross between two palm branches saltire, surmounted by a coronet. A similar Maltese cross on a shield, is on the dish of M° Ludovico of Venice, made in the XVIth Century, two centuries earlier; we may also call attention to the same letters followed by V E for Venice. Venice. On a maiolica dish, of Ur- FATTo IN vENEziA. ^j^^^ character ; subject. The Destruction IN CHASTELLO at r i ^ n ,^^6. C)f Troy. In the Narford Coll. Venice. On a plateau, circa 1540; ^^lfa*i;u,;Tv(?ir^c(^*^^/<>«^ ^ight blue ground and arabesque border 4oi^a, cLjMLcUuJxm in blue ; in centre, an amorino carrying a vase of flowers. Museum of Art, S. Kensington. Another plate, supposed to be by the same artist, is in the Collection of Mr. Fortnum, dated 1540, painted with a mermaid, before described. Venice. This inscription is on the ZENER domenigo ^^^^ ^ ^j^j^ ; subject, Moses and DA VENECIA • t^i i . i • i FECI IN LA BOTEGA Aaron entreating Fharoah ; with a rich AL poNTEsiTo DEL border, and medallions of the first four ANDAR A SAN POLO, niouths of the year.. In the Brunswick Museum. This is probably the shop of Maestro Ludovico before named, and Domenigo, the painter attached to the establishment. MAIOLICA VENICE. C Venice. On a plate, painted with the Salutation of the Virgin. Uzielli Coll. Venice. This mark is on a plate in /X 2 ? the Berlin Museum. ^Jj^LCfYUCfl Tllc^tJi t Venice. The mark of Dionis Marinus /y^ ^ ^ and the date 1636. On a plate painted Q /or? ^ / with six horses. In the Collection of ^ C ^* ^^S^^ Beau voir. loStcfam^cKyc^ Venice. The mark of lo. Stefano ^ Barcella, perhaps a Venetian painter ^^ne^a)zo Rojc only. Venice. This mark represents a creeper or grapnel, with the letters A F and perhaps C. C. interlaced. On dishes, with landscapes in brown, blue, yellow, and green, and arabesque borders exe- cuted in relief, of the XVIIIth Century, by Bertolini. Some specimens in the Sevres Museum with this mark ; ano- ther in the British Museum. Venice. Marked in dark red, on a piece of fayence in the author's posses- sion ; a creeper with the letter R on the stem. Venice. This mark of a creeper is on a Venetian dish, XVIIIth Century, with shells and scrolls in relief on the border, outlined in brown and green. In the centre a landscape in brown, blue, yellow and green ; on the back are six leaves touched in brown. I 114 MAIOLICA — VENICE. Venice. This mark is on a fayence plate of the XVIIIth Century, of the Bertolini fabrique, painted with a coat of arms, surrounded by amorini. In the Collection of Mr. Reynolds. The same device is on a plate in the British Mu- seum ; another of the same set havinof the double anchor or creeper. Venice. This monogram of C. S. L. is a mark on Venetian maiolica, quoted by M. A. Jacquemart. Venice. This is another variation of ^ the letters A F, so frequently seen on Venetian fayence, followed by V E for Venice. It occurs on a moulded dish, painted iu outline with Mercury and a border of flowers. V Venice. On a plate, similar in cha- racter to the preceding; subject, Judith and Holofernes, with an embossed bor- der of scrolls and masks. In the Col- lection of the late Mr. Bel ward Ray. ^ Venice. Venezia. This mark is fre- ^ n 1 quently seen on old Venetian pottery, as well as porcelain. Venice. This shield, from its simi- larity to that shown above as being iden- tified with this city, is thus placed. It occurs on a plate, painted in blue and white, with a coat of arms at top ; very much like the pottery of Savona. Circa 1700. Bernal Coll. MAIOLICA— VENICE. BASSANO. II5 Venice. Another specimen, coloured blue, of Judith and Holofernes, and coat of arms above, is in the possession of Mr. Wedderburn ; another at the Mu- seum of Art, S. Kensington. Venice. On an earthenware dish, rudely painted with landscape, embossed border. Formerly in Capt. Langford's Coll. XVIIIth Century. Venice. On a Venetian dish, rudely painted in blue, yellow and green, with brown outlines, a gadroon border in the ^ relief of these three colours, and in centre a castle, hare and bird in yellow. In the author's possession. Date about 1 750. BASSANO. The first pottery at Bassano, near Venice, was, according to V. Lazari, founded by a certain Simone Marinoni, in the suburb called the Marchesane, about 1540, but it does not appear that his productions were of a very artistic cha- racter, for Lazari speaks of a plate dated 1555, representing St. Anthony, St. Francis, and St. Bonaventura, which was badly painted, and failed both in the colours and in the glaze. Towards the end of the XVIth and the commencement of the XVI Ith Century, the same fabriqiie produced maiolica services, many of which have been preserved to our time ; they bear the names of Bartolomeo and Antonio Terchi, two brothers from Rome, who appear to have travelled from one place to another, and painted or worked for a great number of establishments. The iron crown is not, however, the special attribute of Bassano, we find it on the maiolica of other towns. The manufacture appears to have ceased in the beginning of the XVI Ith century, at least we have no record of its existence until a century afterwards. I 2 ii6 MAIOLICA — BASSANO. Sir W. R. Drake {Notes on Venetian Ceramics) informs us that about 1728 a manufactory of maiolica and latesini (a term applied to earthenware vessels) was carried on at Bassano by the Sisters Manardi, as appears from the petition of Gio- vanni Antonio Caffo, presented to the Senate in 1735, in which he states that he had been for many years engaged in their manufactory, and as the end of his time of service was about to expire, and he had a quantity of manufactured goods, (of the value of more than 3000 ducats) on hand, besides many outstanding debts, he prayed he might be allowed to continue the manufactory, and to retain the workmen well skilled in the art, whom he had at very great cost obtained from foreign countries, and with that view, permission should be granted to him to erect a furnace in the suburbs of Bassano, for the manufacture of maiolica and latesini, similar not only to the manufactures of Lodi and Faenza, but also like those of Genoa, praying for exemption for duties, &c. Caffo's petition was remitted to the Board of Trade, who said that there was no necessity for requesting permission to erect a furnace for earthenware, as such a thing was never forbidden to any one, and referred to the proclamation of the 24th July, 1728, which invited the erection of furnaces, so as to prevent the great injury to the State by the large amount of money which constantly went to Milan, to the Romagna, and to Genoa, for the purchase of earthenware. They also stated the favour of exemption from inland dues had already been granted to Giovanni Battista Antonibon, of Nove, and to the Sisters Manardi, of Bassano, and advised that his petition be complied with. This report was adopted by the Senate on the 3rd October, 1736. Previous to 1753 John Maria Salmazzo had established at Bassano a manufactory of maiolica, in competition with Antonibon's establishment at Nove. At that time it would appear Antonibon's was the only fabrique for making maiolica in the Venetian dominions; this fact is alluded to in the report of the Board of Trade to the Senate, of 17th August, 1756. The State had refused an application made by Antonibon for MAIOLICA BASSANO. 117 an exclusive right to make earthenware, but a decree in his favour had been made, prohibiting workmen quitting his estabhshment from taking service in any other for two years. Salmazzo complained in his petition to the Senate that the Antonibons, having ruined two competitors, had endeavoured to ruin him ; by bribing some of his workmen to " disobedience and mutiny," had compelled him to dismiss them, and they were immediately taken into Antonibons service. The Board of Trade, after alluding to the high reputation which Antoni- bon's maiolica had gained, as also to the wealth he had acquired, advised the Senate to grant equal privileges to all, but declined to enter into the quarrels between them. The decree was made accordingly. Bassano. a plate, representing Lot /4 nton^p'l^rcfi ^"^^ ^^'^^ Daughters leaving the city of Sodom; the name of the artist is given v >A4 / as in the margin. XVI Ith Century. rlT\o (Louvre). Also on a small saucer of the UJ XVI Ith Century, painted with a view of the gates of Bassano. "^^^^y-^^^* Bassano. Bartolomeo Terchi. On Q the back of a maiolica vessel, with a TX^ rr ^ landscape. XVI Ith Century. In the l:3a5:>anO collection of M. Le Blanc. NOVE, NEAR Bassano. M. V. Lazari says the fabrique in the village of Nove, near Bassano, which was established at the end of the XVI Ith Century, and advantageously known in Italy in the first years of the XVI I Ith Century, was much more praised than that of Marinono of Bassano. Of the fadj^iqtie of the Antonibons, there are still preserved entire frames or panels of the finest and most ornamented maiolica, made in i 743-4. The first notice we have, however, in the State records, is in ii8 MAIOLICA NOVE. 1728. Sir W. R. Drake {Notes on Venetian Ceramics) has supplied us with the following information : — In 1728, Giovanni Battista Antonibon established in the village of Nove, in the province of Bassano, and near the town of that name, a manufactory of earthenware {terraglie), and on the i8th of April, 1732, the Senate granted him the privilege of opening a shop in Venice for the sale of his manu- factures for two years, which on the 2nd of June, 1735, was extended for a further period of ten years. In 1741, the manufactory was in a prosperous state, and it was then carried on by Pasqual Antonibon, who finding that the shop he had in Venice was not sufficient for the sale of his goods, petitioned for leave to open another, which was granted on the 6th of July, 1 741. His father's name was still continued as proprietor, as shown in the piece referred to below. The " Inquisitor alle arte," in his report to the Venetian Senate in 1766, concerning the Antonibon's manufactory of maiolica and earthenware, thus describes it : it consists of three large furnaces, one small furnace and two kilns {furnasotti, probably muffle kilns) ; 1 20 workmen of various provinces are employed in it, and his trade extends to the territories of the Friuli, Verona, Mantua, Trent, the Romagna, the Tyrol, and other places. Persons from all parts flock to Nove to make purchases, and they have also two shops in Venice, which are provided with a variety of specimens, always new, and whose whiteness {candidezza) doubtless exceeds that of any other foreign manufactory. He would yet have more extended his business, had not his attention and capital been harassed by his experiments in waxed cloth {tele cerate) and porcelain. In 1762, Pasqual took his son Giovanni Battista into partnership, and they carried on their works for the manu- facture of maioliche fine or fayence, and terraglia or terre de pipe, as well as porcelain, together until 6th of February, 1781, when they joined in partnership with Sig*". Parolini, still continuing the fabrication " con sommo onore dell' arte," until the 6th of February, 1802. MAIOLICA — NOVE. 119 In February, 1802, the Antonibons let the fabriqueon lease to Giovanni Baroni, and it was carried on by him for about twenty years by the name of the Fabbrica Baroni Nove," at first successfully, but it did not continue long in a prosperous condition, and by degrees it was allowed to go to decay, and in 1825 it was entirely abandoned by Baroni. On the I St May, 1825, Giovanni Battista Antonibon again took possession of the works, and in partnership with his son Francesco, resuscitated them, until their productions arrived at their former excellence in maiolica fina, terraglia, and por- celain. In 1835 they discontinued making porcelain, and confined their attention to fayence and terraglia, making prin- cipally copies of the best productions of other European fabriques. Rietti, a dealer at Venice, has the monoply of the sale of everything made at Nove, and the firm is still called, as in the last century, " Pasqual Antonibon e figli, antica fabbrica, terraglie, maioliche fine, ed ordinarie, in Nove, Di Bassano." Alluding to the manufacture of the XVIIIth Century, Sir W. R. Drake adds in a note, Figures and groups, some of them of large size, were manufactured by Antonibon out of a fine pipe clay {terraglid), and are remarkable for their good modelling. Very fair imitations of this manufacture are now made in the neighbourhood of Venice, and there sold by the dealers as old specimens. The imitations lack the sharpness of modelling, and are considerably heavier than the originals." Nove. The mark of Giovanni Bat- yyj^ tista Antonibon, of Bassano (Nove). On N ^iil^ a fayence tureen of the middle of the 010^9^ XVIIIth Century, painted with blue flowers and scrolls. The star forms part of the ornament, which was adopted by him as a mark. Nove. This mark of Antonibon's Delia fabrica di fabriqtie is on part of a fayence table Gto Batta Antonibon service, painted in polychrome. From nelle nove at Deccn . ^ , r ^ - - - . j^^^ the manujaciory oj Lrtovamii Battista Antonibon, the ninth of December, i755- I20 MAIOLICA — CANDIANA. FLORENCE. NovE, near Bassano. A splendid presentation fayence vase, oviform, with square pierced handles and pierced neck, of bleu de Roi ground with medallions painted in colours, of Alexander and the family of Darius, and another classical subject after Le Brun ; small circular medallions between, of classical heads, two in each, elegant gilt scrolls and borders. This very effective vase, evidently a chef d'oeuvre of the manufactory, is 2 feet 5 inches high. The name is written on each side of the square pedestal ; date from 1802 to 1825 : by Giovanni Baroni, successor of Antonibon. It was purchased by a dealer at Venice and sent to Geneva, but not finding a customer it was carried to Paris, where it was seen and secured by Mr. Reynolds. Candiana. The name of a manufac- CANDIANA, 1620. tory, perhaps near Venice, where they enamelled earthenware with Persian designs. There is one in the Sevres Museum, signed as in the margin ; another is mentioned by Mr. J. C. Robinson, dated 1637. Candiana was noted for its imitations S. F. C. of Persian ware, with tulips, pinks, and other flowers, usually of the first half of the XVI Ith Century. These letters are given by M. Jacquemart, found on a tazza of good form. On a bandelette or scroll is written MS. DEGA, which probably refers to the person for whom it was made. Candiana ? Paolo Crosa. This name PA CROSA is on a cylindrical vase, blue ground, with yellow scrolls and white medallions, with flowers in imitation of Persian. XVI Ith Century. In the possession of the Marquis d'Azeglio. FLORENCE. Florence. Luca della Robbia, born a.d. 1400, commenced his career as a goldsmith, but afterwards became a sculptor. MAIOLICA FLORENCE. 121 and attained considerable eminence in that profession. He subsequently discovered the art of covering his bas-reliefs of terra-cotta with a thick stanniferous enamel or glaze, which rendered them impervious to the action of the elements, con- sequently extremely durable. His early relievos consisted of scrolls, masks, birds, and designs of the Renaissance taste, which are usually white on blue ground. He subsequently coloured the fruit and flowers in natural tints, but white and blue appear to have been his favourite colours. There is a set of the Twelve Months painted en grisaille oxv blue ground, with husbandmen engaged in seasonable operations for each month, on separate enamelled terra cotta medallions, 12 J in. diameter. These medallions are ascribed to Luca della Robbia (Gigli Campana Coll.), now in the S. Kensington Museum. He died in 1481, and was succeeded by his nephew, Andrea della Robbia, born 1437, died 1528, who is known to have executed bas-reliefs in 15 15. After his death, his four sons, Giovanni, Luca, Ambrosio, and Girolamo, continued making the same description of coloured reliefs, but greatly inferior to those of their ancestor, the inventor. Girolamo went to France, and was employed by Francis I. in decorating the Chateau de Madrid, in the Bois de Boulogne, called ironically by Philibert Delorme, the architect, the Chateau de Fayence," and died there about the year 1567. This chateau abounded with enamelled terra cottas, unfortu- nately none of them are preserved to our time. When this beautiful villa was demolished in 1792, the terra cottas were sold to a paviour who made them into cement. With Girolamo, the last of the Della Robbias, departed also the secrets of the art. Mr. J. C. Robinson {Catalogue of the Soulages Coll.) says : Generally speaking, the earlier works of Luca, and those of Andrea after his (Lucas) death, can be distinguished. The specimens, which are only partially enamelled, i. e. in which the nude details of the figures are left of the original colour or surface of the clay, appear to be of the earliest time, i. e. the period of Luca himself. The pieces entirely covered with the white or white and blue enamels, were, however, 122 MAIOLICA— FLORENCE. doubtless after a time executed simultaneously. The former specimens are interesting, as pointing to the origin of the ware. The flesh in these pieces was originally in every case painted of the natural colours in distemper, the draperies and acces- sories only being covered with the enamel glaze (in the then state of the ceramic art it was impossible to produce flesh tints in enamel colours), and his invention consisted in applying the stanniferous enamel glaze to the terra cotta sculpture, which had previously been executed in distemper." Lucca della Robbia had many scholars and competitors ; one of these pupils, Agostino da Duccio, has in his works a great analogy of style. There is a facade by this artist in the church of San Bernardino. Florence. This mark is on the back ^ j A O C) ^ medallion of the Virgin and child / at the Museum of Sigmaringen, which is T^A^ C^E SAT described in the Catalogue as Luca della Robbia. The mark is graved in the clay, but seems of very doubtful authenticity. The work is at least a century later, and has nothing of the character of Delia Robbia. Florence. Luca della Robbia. This mark, graved in the moist clay before baking, is on a group of the Virgin and Child. From Cardinal Fesch's Coll., now in the possession of Mr. John Augustus Tulk. Florence. Firenze. We are not ac- Jf' JLT* P"! quainted with the early marks on the * maiolica made here. It is said to have been mostly in relief, like the Luca Delia Robbia. Fine fayence of the XVIIIth Century is found with the letter F, which has been assigned to this city ; but they have the honour of being the first, under the Medici, to have successfully imitated the Oriental porcelain as early as 1580. MAIOLICA — PADUA. 123 PADUA. Vincenzo Lazari informs us, that in a street which still retains the name of Bocaleri (makers of vases) a few years since were discovered, traces of ancient potter's kilns, and some maiolica triangular wall tiles of blue and white alternately, of the end of the XVth or beginning of XVIth Century, among which was a plaque, 20 in. in diameter, of the Virgin and Child between two saints surrounded by angels. It is taken from a cartoon by Nicolo Pizzolo, a painter of Padua, pupil of Squarcione ; on the summit of the throne is written NicoLETi, the name he usually adopted. It is now preserved in the Museum of that city. This mark is on a maiolica dish by Nicoleto, of Padua, whose name appears above ; another plate, with figures after Carpaccio of the XVth Century (sgraffito) is in the possession of the Baron Schwiter, at Paris, which although unsigned, was sold to him as an authentic work of Nico- leto, of Padua. This city is spoken of by Piccolpasso as possessing manu- factories of maiolica in his time (1540), and several examples are here given. There are some plates in the S. Kensington Museum ; one, of foliated scroll work and flowers on blue ground, with a camel in the centre ; circa 1530 ; Bernal Coll. ; cost £6. Another, with arabesques on blue ground, a coat of arms in the centre, reverse marked with a cross ; circa 1550 ; also from the Bernal Coll. PADVA. 1548. . A. PADOA + 1564. Padua. On a maiolica plate ; subject, Myrrha. Museum of Art, S. Kensington. Padua. On a plate ; subject, Poly- phemus and Galatea. Bernal Coll., now in the British Museum. 124 MAIOLICA — CASTELLI. Padua. On the back of a plate, painted with Adam and Eve. In Mr. A. Barker's Collection. CASTELLI, NEAR Naples. Castelli is a town or hamlet in the Abruzzi, north of the city of Naples. No time can be assigned for the commence- ment of the working in pottery, but it was one of the first to take advantage of the improvements of Luca della Robbia, in the XVth Century, and the maiolica of Castelli equalled, if it did not surpass, that of Pisa and Pesaro. Passed quotes the testimony of a contemporary author to prove that both Pesaro and Castelli were celebrated for the excellence and beauty of the manufactures of pottery. Antonio Beuter, a Spaniard, who wrote in 1540, says ; Corebaeus, according to Pliny, was the inventor of pottery in Athens. He did not make them better, nor were the vases of Corinth of more value, than the works of Pisa or Pesaro, or of Castelli, in the Sicillian valley of the Abruzzi, nor of other places, for fineness and beauty of work." It is on the site of the ancient city of Atrium, and coins, fragments of Greek pottery, and other remains have been frequently exhumed. The traditions of other ages, the fine models of Greek art discovered in the neighbourhood, the facility for making pottery — from having the requisite clay, water and wood, as well as its proximity to the sea for traffic — have all contributed to the ceramic industry of Castelli. The manufacture of pottery and porcelain was able to keep in activity thirty-five manufactories, and to employ nearly all the population of the neighbourhood. No specimens of the maiolica of the XVth and XVIth Centuries can be now identified. The colours alia Castellana seem always to have been held in great esteem. Few of the manu- factories of Italy which were so famous for their maiolica survived much beyond the beginning of the X Vllth Century ; MAIOLICA CASTELLI. I 25 Castelli alone appears to have stood its ground, and towards the end of the XVI I th Century was as flourishing as ever in this particular branch of industry. Francesco Saverio Grue, a man of letters and science, became about this time director of the Neapolitan Maiolica Fabrique at Castelli. The ware was ornamented with subjects of an important nature, correctly designed and brilliantly coloured, to which also was added the introduction of gilding the borders of the ware; sometimes the landscapes were also touched with gold. His sons and brothers continued to add lustre to his name, and many dis- tinguished artists proceeded from his school, amongst whom may be noticed Gentile, Fuini, and Gustiniani. The manu- facture was patronized by the King Carlo Borbone and his son Augusto, who, emulating the Medici of Tuscany, raised the ceramic art of the kingdom of Naples to great celebrity. Castelli. This mark is given by Pas- seri, on a piece of the XVIIIth Century. Castelll Naples. On an earthen- ware plate of the beginning of the XVIIIth Century, painted in blue, with cupids and flowers. Castelli ? Naples. On a cup and saucer, rudely designed, of a Country- man under an arcade. In Mr. Reynolds's Collection. r '/^ /^ys Castelll Naples. Gentili pinxit. Jy&n^l/U^ On a tile, painted with a pastoral sub- ^ ject, of the beginning of the XVIIIth Century. Signer Bonghi, of Naples, has a fine collection of examples of Bernardino Gentili ; one, 2 feet high, repre- senting the Martyrdom of St. Ursula, is richly coloured and heightened with gold. A plate, painted with a Satyr sur- prising a nymph, and a border of amorini, &c., e7i gr-isaille, circa i 700, by the same artist, is in the S. Kensington Museum ; cost ^13. f r 126 MAIOLICA CASTELLI. iotlnesgrvtc fecit Liborius Grue P. Castelli. Naples. Saverio Grue, a maiolica painter of the XVIIIth Cen- tury of classical subjects and mottoes. Castelli. Naples. Saverio Grue Pinxit. These initials are on plaques, illustrating mottoes— as " Perseverantia fructus," — in Lord Hastings's Collection; another — Virtutis vere liberalitas " — in Mr. Attree's Coll. Castelli. Naples. In the cabinet of M. le Comte de Montbrun there are two plaques, painted with children and landscapes. Castelli. Naples. On a plaque ; subject, the Adoration of the Magi ; in Mr. Marryat s Coll. Another, in the Collection of Signor Bonghi, of Naples, is dated 1 718. Castelli. Naples. On a specimen in the Collection of Signor Raff de Mi- nicis, of Fermo. Castelli. This name is signed on a pair of circular plaques, 10 in. diameter, painted with the Holy Family, and a Female in a bath. In the possession of Dr. H. W. Diamond. Castelli. On a bowl and cover, pain- ted with figures after Annibale Carracci. Of XVIIIth or early XVIIIth Century. In the S. Kensington Museum. Castelli. Naples. On a vase of the maiolica character; subject, Apollo and Marsyas. In Lord de Tabley's Coll. MAIOLICA CASTELLI. 127 Castelli. The monogram of Saverio Grue, on a plaque with military figures, inscribed Fortitude et Innocent," in the Sevres Museum ; also on a plate men- tioned by M. A. Darcel, dated 1753. C/^ C/^ Castelli. The mark of Luigi Grue c=*-^ on some plates painted with landscapes ^ and figures, heightened with gold ; circa 1 720. Jta/A. S^o<^e//t jf^c. Castelll Naples. On a large and fine square plaque in the Berlin Museum. /d rjA 7 • /> / 77 • Castelll Naples. On a round plaque, pamted with the Baptism of Christ. In i^S^. i-he Berlin Museum. g^^^^^ ^ Castelll On a ' Triumph of Amphi Castelll On a plaque; subject. The itrite. Louvre Coll. NAPLES. Of the maiolica of the City of Naples we have no mention in the XVIth Century, nor have we met with any specimens of so early a date, although, as we have seen, Castelli in the kingdom of Naples is honourably mentioned, nay, even comparable to Athens, by Antonio Beuter, in 1540. M. A. Jacquemart says : — " La confusion la plus absolue regne parmi les produits de I'ancien royaume de Naples, &c." He continues " C'est encore a I'avenir qu'il faut laisser le soin d'eclairer ces questions. Quant a Naples, nous trouvons son nom sur des ouvrages de la fin du seizieme Steele, empreints du style de Tepoque, et qu'il eut 6t6 facile de confondre avec les poteries du Nord de I'ltalie." He then describes three vases, of colossal proportions, composed for decorations, only one of their sides being painted, caryatid handles, painted in blue camaieti with religious subjects ; "la touche est hardis et spiri- tuelle," &c. 128 MAIOLICA NAPLES. As, however, there seems to be a diversity of opinion on the matter of dates upon these vases, we must give the result of our reference to the two great Parisian ceramic authorities, and form our own opinions of their respective merits as rehable sources of information. The works from which we quote are Les Merveilles de la Ciramique (Renaissance Italienne) par Albert Jacquemart, Paris, 1848, p. 252, and Guide de V Amateur des Faiences et Porcelaines, par Auguste Demmin, Paris, 1868. Naples. A lofty vase, painted with The Sermon on the Mount, inscribed, according to M. Demmin, ''Fran Brand, Napoli, Casa Nova," with the initials B. G. crowned, as in the margin. M. A. Jacquemart gives a similar mark on the same vase, but he reads it thus, — Fran*'° Brand, Napoli, Gesu Novo." The second vase, painted with The Last Supper. M. Dem- min describes as being inscribed " Paulus Franciscus Brandi, 1684." M. Jacquemart, on the other hand, reads it thus, — *' Paulus Fran^*^^ Brandi, Pinx . . 68 and puts down the date as 1568. •^'^TD- third, and most important vase, \^-l^<^^^^^ T^j^g Miraculous Draught, causes the same difference of opinion. M. Demmin jY(on^^j^~-^ gives us a facsimile, which we repro- > y^^gr^ duce in the margin. M. Jacquemart ' exclaims '' Un dernier vase positivement date a ete fait par un artiste du meme atelier dont voici la signature, ' P. il Sig Francho, Nepita, 1532.' " We must, with this conflicting testimony before us, judge for ourselves, and looking at the style of the monograms, which assimilate with those of Savona, Venice and others of the end of the XVI Ith Century, there can be little doubt these vases are of the same date, and clearly not of the XVIth Century; the descriptions given show us the decadence MAIOLICA — NAPLES. 129 If H . F FD.V N. f N of the art. There are four large vases of the same character in the possession of Mr. Barker, which, although effective enough for the purpose of decoration, are, as works of art, below criticism. Naples. These initials frequently oc- cur on plates of a maiolica pattern of the XVIIIth Century, which M. Brongniart places as Neapolitan. Naples. F. Del Vecchio. Stamped on pieces of fayence in the Etruscan style, and on white and gold services of the XVIIIth Century. Naples. Giustiniani. On vases, chiefly of the Etruscan pattern; XVIIIth Cen- tury. Naples. Giustiniani, in Napoli. On Etruscan patterns, the mark impressed on the ware. Naples. M. Jacquemart refers all these with the enclosed crown to this city ; those with the open crown to Bassano. Naples. These two marks probably belong to the same artist, B. G., whose initials are quoted by Jacquemart as belonging to the XVIth Century; but ^^^^ there can, we think, be no doubt he has mis-read the inscriptions, and that they are actually of the end of the XVI Ith Century. Naples. This mark is given by Bron- gniart as Neapolitan. It is on a maiolica plateau in the Sevres Museum. Naples. This mark is on a fayence \AM^ j painted with flowers. X V 1 1 1 th Cen- tury. B.C 30 MAIOLICA NAPLES. LODI. MONTE LUPO. Naples. On a maiolica plate of the XVIIIth Century, with raised pattern on the border; subject in centre, a landscape, ijy^; Q painted in blue. Naples. Makers of modern pottery K & G. Colonnese \^ imitation of the ancient Etruscan ware Naples. q£ Giustiniani. Specimens in the S. Kensington Museum, LoDi. A large fayence dish, rudely k A painted with a fish, lemons, apples, &c., — \ bears this mark in blue. The Lodi ma- ^ nufactory, established early in the XVI Ith I Q I y^C/, Century, ceased towards the end of the L ^ XVIIIth Century. Mr, C.W. Reynolds's Coll. There are some specimens also in the Nevers Museum. Lodi. These two monograms of A. M. occur on separate pieces of Lodi fayence, one painted with blue, yellow and red decorations ; another with a cottage and peasant. In Mr. Reynolds's Coll. One peculiarity of this ware is that there are three cockspur marks, each of three points, underneath. MONTE LUPO. The plates and dishes of coarse heavy earthenware, rudely painted with large caricature figures of soldiers and men in curious Italian costumes of the XVI Ith and XVIIIth Cen- turies, in menacing and warlike attitudes, striding across the plates, holding swords, spears and other weapons, are usually attributed to Montelupo, near Florence, but they also produced chocolate brown vases of a more artistic character in the style of Avignon. The manufactory is still in existence. MAIOLICA MONTE LUPO. MONTE FELTRO. MILAN. I31 R^^'y^^^^O Monte Lupo, near Florence. The CjiROXdA^^^O annexed mark is on a fluted tazza, pain- JR B CIT vjith three Cavaliers. Montferrand rpJSi I* pO Collection, now in the S. Kensington yNVt ^ t=r Museum. h Monte Lupo. So attributed by M. J' H^ ^I^ Jacquemart, but of doubtful attribution. MoNTELUPO. This inscription occurs Dipinta Giovmale on a tazza of the decadence, painted in Tereiii da Montelupo. colours with figures and foliage of ordinary and hard design. In the Sevres Museum. r: ^ ^ Monte Lupo. This curious inscription "'/^l Lit XOOp occurs on a piece of fayence — " The i6th jDIACINTO of April, 1663. Jacinto Monti of Monte- Monte Lupo. On a plateau, with raised JSy/J centre and radiated flutings, like the pre- ia27 ceding. Museum of Art, S. Kensington. J. ^'7-7 Monte Fkltro. On a maiolica dish, V. rato d Elena. , . , , , . ot Urbmo character, XV IthCentury; sub- hato in Monte. ^j^^ j^^p^ ^^^^^ ^^^^^ ^^^\,^^\. It is in the Hotel de Cluny, and is stated in the catalogue as the production of Monte Feltro, but the reason is not given. Milan. On a set of fayence plates with y / creamy glaze ; subjects, figures, animals, yf J ' / and insects. XVI I Ith Century. In the possession of the Marchese d'Azeglio. Milan. On a dinner service; the t^A^y £ i ^(/"TbO ^^^^^^^ ^^clW'^ marked, in red, painted with flowers in Oriental style, and coats of X»-^ ^^^^^ . u Jimidus ut Prudens." K 2 132 MAIOLICA MILAN. ST. CHRYSTOPHE. TURIN. XVIIIth Century. In Mr. Reynolds's Coll., and on some pieces in the possession of Lady Charlotte Schreiber. Milan. On two dishes and four ^^y^^ plates, painted with Japanese patterns, of fine fayence. XVIIIth Century. In the Museum of Sigmaringen. F Milan. The name of this manufac- Pasquale Rztbati ture appears at length on a jardiniere in Mil\ 5f G. R. the Coll. of M. Gasnault, at Paris. Milan. This mark occurs on a fayence plate, purchased at Milan, from the Duke Littas's Coll., ixvdAZdXm^ Fabrica Pasquale Rubati Milano ; in the possession of Sir. W. R. Drake. The second mark of the same fabrique is on a fayence plate, painted with Chinese flowers. In the Marchese d'Azeglio's Coll.; XVIIIth Century. St. Chrystophe, near Milan, Lom- bardy. Manufacturer, Giulio Richard. On modern earthenware services ; also on some early imitations, stamped with Wedgwood's name, in the Sevres Mu- seum. The national manufacture of pottery is still carried on by Jules Richard and Co. TURIN. From the Royal Archives of Turin, M. le Marquis Campori has extracted some notices of the payments of money for maiolica, in which the name of Orazio Fontana occurs more than once, and he is styled Chief Potter of the Duke of Savoy, and he thinks Orazio was actually in the service of Emmanuel Philibert, but which, M. Jacquemart observes, could not be the MAIOLICA — TURIN. case, as from the year 1565 he had opened at Urbino a fabrique, which he carried on until his death in 1571, and considers it an honorary title, shewing the great esteem in which he was held by the Prince, by placing him above the potters he had called together to inaugurate the manufacture of maiolica at Turin. However, one fact is clear, that Savoy possessed at least one maiolica manufactory in 1564. In the Registre du compte de la Trdsorerie gSridrale we read : Item, two hundred scudi or crowns, of three lives each, payed to Maestro Orazio Fontana and to Maestro Antonio, of Urbino, the price of certain earthenware vases brought to his highness, as appears by his order, given at Nice the 6th January, 1564." " Item, the 15th August paid to Antonio, potter, of Urbino, twenty crowns, of three lires each, to defray his expenses in accompanying the maiolica sent to his highness in France." Item, 20th August, 1564, two hundred crowns, of three lires each, paid to the very Reverend Seigneur Jerome, of Rovera, Archbishop of Turin, on account of Maestro Orazio, of Urbino, chief potter of his highness, for two credences or cabinets of maiolica, which this master has delivered, as appears by a mandate given at Turin, the 23rd of April, 1564." Pungileoni mentions a certain Francesco Guagni, who was in the Duke s service ; he was a chemist, and endeavoured to discover the secret of porcelain at the court of Savoy, about 1567. The earliest specimen we have met with is the Fruttiera, mentioned below, of 1577. It was continued through the XVI Ith and XVIIIth Centuries, although we have no par- ticular information as to the names of the potters. In the XVIIIth it was under Royal patronage. /3 ttcX \T[ Turin. On a fayence fruit dish with . /. pierced sides of crossed bars, painted / -"-^^^TlO t^dl the inside with a boy carrying two -^€te6/iP birds on a pole, marked underneath in y y blue. In Mr. Reynolds's Coll. 134 MAIOLICA TURIN. LAFOREST. Turin. On a maiolica plateau, painted in blue on white, with horses, birds and hares. XVI Ith Century. Mark, a cross on a shield crowned, the arms of Turin. In the possession of the Marchese d'Azeglio. Turin. Maiolica of the XVI I Ith Century ; flowers painted in colours on white. This mark is on the back of the rim of a large dish in the Marchese d'Azeglio's Collection. In the centre at back is a monogram of F.R.T. for Fabrica Reale Torino ; all the marks are in blue. Turin. On a large maiolica dish of GRj^O^APAGllA beginning of the XVI I Ith Century, PEtnAVR* painted with Susanna and the Elders. In the Marchese d'Azeglio's Coll. Turin. A mark of a shield, crowned, of the end of the XVI Ith, or commence- ment of the XVI I Ith Century, quoted by M. Jacquemart. Turin. This shield, without a crow^n, is in blue, on the back of a plate, painted with a Cherub's head; of the same period. Turin ? This mark is impressed on a pair of vases, 2 1^ in. high, of very light and resonant ware, with rich maroon- coloured glaze. The mark is a shield, with a large T and small b above, sur- mounted by a sort of mural crown. In the possession of Mr. Jackson, of Hull. Laforest, in Savoy. This mark is Laforest en upon a finely painted specimen, quoted Savoye by M. A. Jacquemart, but nothing is 1752. known of the manufactory beyond this inscription and date. MAIOLICA FERRARA. FERRARA. From researches among the Ducal archives the Marquis Giuseppe Campori has discovered various allusions to the manufacture of pottery, reaching so far back as the end of the XVth Century, which gives us an insight into the history of the maiolica of Ferrara, its patrons and artists. It seems that the art was imported into Ferrara by artists from Faenza. The first whose name is recorded is Frere Melchior, Maestro di Lavori di Terra, 1495. In 1501 pay- ments were made to Maestro Biagio, of Faenza (who had a shop in the Chateau Neuf), for various earthenware vessels and ornaments. Alphonso I. became Duke of Ferrara in 1505, and, being fond of chemistry, he had discovered the fine white enamel glaze {bianco allattato), and in the following year Biagio is mentioned as being in his service. From this date until 1522 nothing further is recorded in the archives, but from another source we learn that in consequence of his war with Pope Julius II., being pressed for money, he deposited, for the purpose of raising the required sum, all the jewels of his wife Lucrezia Borgia, as well as his plate, and used earthen- ware vessels, which were the products of his industry. In 1522 Antonio of Faenza was appointed potter, at twelve livres per month, with food and lodging, and he was succeeded by Catto, of Faenza, in 1528, who died in 1535. Some dis- tinguished painters, to whom Ferrara owes its reputation, are vaguely mentioned in the archives. In 1524 a payment of twelve sols to a painter named Camillo, for painting vases for the potter. The Brothers Dossi (Battiste and Dosso) were employed by Duke Alphonso to decorate his palace with pictures and frescoes, and they occasionally designed subjects for the potters. In 1528 two livres were given to Dosso Dossi for two days' work in tracing designs, and his brother Battista received one livre for models of handles for vases. To them may be attributed the groteschi or arabesques and Raffaelesque designs which were fabricated about this time, with the arms of Gonzaga and Este, made for Francis II., 136 MAIOLICA FERRARA. Marquis of Mantua, who in 1490 married Isabella, daughter of Hercules I., Duke of Ferrara, the sister of Alphonso, probably made by this same Biagio, of Faenza. We have hitherto only spoken of the fabrique called the Chateau Neuf, under the patronage of Alphonso I., but M. Campori adduces another, under the protection of Sigis- mund d'Este, brother of the Duke of Ferrara, where, installed in the Palace of Schifanoia, were the potter Biagio Biasini, of Faenza, from 15 15 to 1524, and three painters, El Frate, Grosso and Zaffarino. M. Campori is of opinion that porcelain was invented by some person unknown at Ferrara, in the time of Alphonso I., and quotes a letter addressed to the Duke by his Ambassador at Venice, but it only refers to an imperfect, over-baked " ecuelle de porcelaine contrefaite' presented to him, which, to our view, means only an imitation of real porcelain. From 1534 to 1559, during the reign of Hercules H., the son and successor of Alphonso, maiolica was little encouraged, and there is only one potter named in the archives, Pietro Paolo Stanghi, of Faenza. Alphonso H. gave a fresh impulse to ceramics. The two names most frequently met with are those of Camillo, of Urbino, and of Battista, his brother, both painters on maiolica. M. Campori gives cogent reasons that this Camillo was not a member of the Fontana family, as supposed by Pungileoni and others ; he was accidentally killed in 1567, by the bursting of a cannon. In the person of Camillo we have another aspirant to the honour of being the inventor of porcelain. Bernardo Canigiani, Ambassador of the Grand Duke of Florence, writing to his Court, says, Camillo, of Urbino, vase maker and painter, and in some degree chemist to his Excellence, is the veritable inventor of porcelain." But this (like many similar assertions) only refers to experiments, and no pieces of this Ferrara porcelain are known, while those of Florence are found in many collections. In 1759 Alphonso II. married Marguerite of Gonzaga, and it is reasonable to suppose he would employ his own potters and artists to complete the maiolica marriage service for his household, specimens of which are well known, bearing on a MAIOLICA — FERRARA. GENOA. T37 shield his emblem, expressive of his devoted attachment — a burning heap of wood, and the motto Ardet CEternum. There are several pieces of this service in the Soulages Coll. ; others in the Louvre, &c. Ferrara. On a large dish, painted CvP U ff* with the Triumph of Bacchus, in lake Jhoma3^(a55eLU ^^^^^^^^ the beginning of the XVIIIth v£ ^^ting inscHption has been sent by a mL^ANO^N-SAMiN/ATELO correspondent. It occurs on an Italian CHV£sro.rA.r6.AqHosTW0 "^^lolica plate, made, apparently, m the X ^.^.^i-^t boteg-a of Bechone del Nano, on the 5th ^ of Tune, is^i, but the name of the GYGNiO. 15^/. 1 1- . 11-1 1 locality yet remains to be deciphered. Italy. On a fine maiolica plate, of \A^T^ Urbino character ; subject, Alexander at the Tomb of Achilles. Melton Coll. IE Italy. On a maiolica bowl, painted with arabesques, of the XVIIth Century. In the Sevres Museum. MAIOLICA SPAIN. 147 Italy. This large asterisk, or star, is frequently met with on maiolica plates of the XVIth Century. Italy. On a small sunk-centre plate ; painted with arms, and boys playing upon the bagpipes, vases, fruit, &c., on deep blue. Museum of Art, S. Ken- sington. SPAIN. The pottery made in Spain has been usually termed His- pano-Arabic, and it was not until 1844 that M. Riocreux, the Conservator of the Musee Ceramique de Sevres, distin- guished this particular class of maiolica from that of Italy, with which it had previously been confounded ; since then it has been considered that the term Hispano-Moresco would more correctly designate the epoch of its manufacture. The Moorish style is of course derived from the Arabic, but they are distinct, and it is desirable and important not to confound them. The Mosque of Cordova, built in the Vlllth Century by the Arabs, is an example of the one ; the Alhambra of Grenada, built in the Xlllth Century, of the other. The Spanish pottery of which we are about to speak cannot, there- fore, be attributed to an earlier period than the end of the XII Ith or beginning of the XlVth Century. It is the case with the Hispano- Moorish pottery as with many other industrial arts, that for ages their very existence and their localities were entirely unknown ; thus the enamels of Limoges were scarcely known during the last century ; fifty years ago the now famous Henri II. ware was not generally known to exist, and the Medici porcelain of Florence of the XVIth Century was only identified in 1859; the history of the pottery of Persia is still involved in obscurity. The Arabic pottery, therefore, is of much earlier date than the Moorish, and from numerous specimens, dating previous L 2 148 MAIOLICA — SPAIN. even to the Vlllth Century, it is evident that a plumbo- stanniferous enamel was in existence and in general use down to the " Azulejos" of the Alhambra in the Xlllth Century; hence the stanniferous enamel, which is generally supposed to have been invented by Luca della Robbia, was only a revival, made applicable by him to the purposes of architectural ornaments and statues. The Hispano- Moresque pottery is common, and, in point of art, not to be compared with the Italian, being only an imi- tation. The ornaments usually consist of Moorish designs, arms, and fantastic animals, frequently of an heraldic charac- ter, painted in brilliant metallic lustres of gold or yellow and copper colour. Little has hitherto been written on the subject, and we are indebted to M. J. C. Davillier for an interesting essay, entitled Histoire des Faiences Hispano- Moresques a Reflets Metal- liques, Paris, 1861, from which pamphlet most of the par- ticulars here noticed are extracted. Malaga. In the account of the travels of Ibn Batoutah, who visited Grenada about 1350, (translated by Defremery, Paris, 1858), we read, — On fabrique a Malaga la belle po- terie ou porcelaine doree que Ton exporte dans les contrees les plus eloignees." This traveller speaks of Grenada itself, but says nothing of any manufacture of pottery there, and we may therefore take it for granted that Malaga was the grand centre of the fabrication in the kingdom of Grenada. It is therefore probable that the celebrated and well-known vase of the Alhambra, the finest specimen of Moorish fayence known, as well as the most ancient, was made here. In the Mus6e de Cluny there are two other specimens, as well as the vase in the Soulages Collection. Majorca, one of the Balearic Isles in the Mediterranean, near the east coast of Spain, was, after Malaga, one of the most ancient places in Spain where pottery was made ; indeed it is well known that the term maiolica is derived, or rather corrupted, from the name of this place. In the XVIth Cen- tury it was termed maiorica, and subsequently maiolica, and MAIOLICA SPAIN. 149 was used in Italy to designate fayence in general. M. Davil- lier refers its antiquity in the ceramic art to the first half of the XVth Century, and quotes several ancient authors who have spoken of the island and its commerce with Italy and other countries in lustred pottery. The expression " Maiolica alia Castellana," used by Piccolpasso and Passed, did not evidently apply to the Castilian maiolica made in Spain, as some have conjectured, but to that made at Castelli, in the kingdom of Naples, situated twelve miles distance from Teramo (Abruzzo Ultra), the Atrium of the Romans, and is mentioned by Pliny as celebrated at that time for its vases of pottery. (See p. 1 24.) Valencia. Saguntum (now Murviedro), near Valencia, was noted in the time of the Romans for its manufacture of jasper red pottery, and is described by Pliny. It is impossible to trace the origin of the lustred pottery of Valencia, but it was probably about the beginning of the XVth Century, and it became the most important in Spain. Lucio Marinao Siculo, in 1 5 1 7, says that the fayences of Valencia were the most esteemed, '*si bien travaillties et si bien dorees." Ant. Beuter, in 1530, speaks of the ware of Valencia, especially of Manises. The Senate of Venice issued a decree in 1455 that no earthenware works of any kind should be introduced into the dominions of the Seigniory, either within or without the Gulf of the Adriatic ; but an exception was especially made in favour of the crucibles (correzoli) and the 7naiolica of Valciicia, which it was declared might be freely introduced. {Drakes Notes Oil Veuetiaji Ceramics). There is a large bowl and cover in the S. Kensington Museum painted with scroll diaper, in gold lustre and blue, the cover surmounted by a cupola-shaped ornament in gold lustre, probably of Valencia manufacture ; cost ^80. Manises. At a later period an English traveller named Talbot Dillon {Travels through Spain, London, 1780), says, " About two leagues from Valencia is a pretty village, called Manises, composed of four streets. The inhabitants are I50 MAIOLICA SPAIN. mostly potters, making a fine fayence of copper colour, orna- mented with gilding. The people of the country employ it both for ornament and domestic use." Other authors speak of the potteries of Paterna, Barcelona, Toledo, Talavera, &c. In Spain there are several Talaveras, but that called de la Reyna " was the one celebrated for fayence in the XVIIIth Century; in fact the word Talavera was used to express all fayence, in the same manner as fayence in France and delft in England. Baretti, writing in 1760, says Talavera is a populous place, and of much business ; besides the silk there are several other manufactories, one in particular of earthenware is much esteemed throughout the country, and gives employment to some hundreds of people." Manises. On a Spanish maiolica dish, ornamented with rich copper lustre approaching to ruby, in oriental patterns on drab ground. In the centre a hand and date, here much reduced in size ; on the back m° in large lustre letters and annulets round. In Mr. Reynolds's Col- lection. The same mark, on the back and 1 6 1 1 in front, is on a similar plate. HiSPANO-MooRiSH dish, covered with reddish gold lustre arabesques, circa 1480. In the centre is the annexed curious mark. In the possession of Mr. Amhurst T. Amhurst. HisPANO-MooRiSH plate in the Cam- pana Collection. XVth Century. F A Y E N C E. — ♦ — Persia. HIS beautiful and very characteristic ware is undoubt- edly of Oriental origin, and from the peculiar national patterns with which it is decorated, and the combination of colours employed, evidently points to Persia as the locality whence it emanated. The designs remind us of the embroideries and rich stuffs produced there, and the manuscripts and illustrated books of that country confirm us in this opinion in preference to a recent theory referring the ware to a Rhodian origin. The material is a fine description of fayence, the paste or body being of a brilliant white, and may be defined as a ware between fayence and porcelain, but not having the properties of true porcelain. Chardin in his Voyage eyi Perse, about 1650, calls it porcelain, but no specimen of Persian porcelain has ever come under our notice, and the ware he describes is actually Persian fayence. He says " la terre de cette faience est d'email pur, tant en dedans qu'en dehors comme la porcelaine de la Chine. Elle a le grain tout aussi fin et est aussi transparente," &c. He states " on en fait dans tout la Perse, la plus belle se fait a Chiras, capitale de la Perside; a Metched, a Yesd, a Kirman en Caramanie et principalement dans le bourg de Zorende." The Persian fayence is identical with the Gombroon ware, so called in England. Mr. Marryat thinks the Gombroon ware was Chinese porcelain, because it came from a port of that name in the Persian Gulf, where the East India Com- pony had an entrepot, but the only two writers who have spoken of it, both make a distinction between them. Martin FAYENCE PERSIA. Lister, A JoMrney to Paris in 1698, says, "I expected to find the St. Cloud china to have been equal to the Gomron ware, but was much surprised to find it equal to the best Chinese porcelain." Horace Walpole, who knew well what Chinese porcelain was, notices " Two basins of most ancient Gombroon china, a present from Lord Vere out of the Collec- tion of Lady Elizabeth Germaine." This Gombroon ware was that made in Persia itself, which was shipped from Gombron, a port in the Persian Gulf, oppo- site Ormus, where the English East India Company about the year 1600 formed their first establishment ; from there also the great bulk of Chinese porcelain was exported, and this indigenous pottery was occasionally shipped with it. The Gombroon ware or Persian fayence must have been at that time as much prized as the Oriental. Two very remarkable specimens of Persian fayence were exhibited at the Loan Coll. in the S. Kensington Museum in 1861. One was a jug, painted with a diapered pattern of oval painted leaves, shaded red on a green ground, tastefully mounted in silver gilt, decorated with strap work, cherubs' heads, &c. in the Eliza- bethan style, bearing the English hall mark for the year 1596 ; from the Collection of Mr. Sambrooke. The other was a similar jug, decorated with green and white vertical stripes, mounted in silver, of English manufacture about the same date, belonging to Mr. C. Winn ; a proof how much this ware ,was prized here towards the end of the XVIth Century. It has been urged by some recent authorities, that because comparatively little of this ware is now to be found in Persia, it was not originally made there, but this theory is far from correct ; as an example we may mention the scarcity at the present day of maiolica in the places in Italy where it was made ; also the Hispano- Moorish lustred wares, which are rarely met with now in Spain itself M. Salzmann, French Consul at Rhodes, formed an exten- sive collection of this ware in the island, and he asserts that a tradition prevails it was made at Lindus. He has made a few converts to his Rhodian theory, but the secret of its plen- FAYENCE — PERSIA. I 5 3 teousness at that particular spot may be referred to the fact of a ready purchaser of fine specimens of Persian fayence residing in that locality ; had he settled in Persia itself he would probably have been equally fortunate in finding them. However, a very extensive collection was made, which has been recently sold in Paris and London; the choicest pieces have found their way into the cabinets of Mr. Louis Huth and others. The Persian fayence is distinguished by the great brilliancy of its enamel colours, the principal of which are a deep lapis lazuli blue, turquoise, a vivid emerald green, a red of a dark orange tone, an orange or buff, purple, olive green and black. The lustres are a rich orange gold, a dark copper colour, and a brass lustre. The principal collectors of Persian fayence are Mr. Huth, Mr. Franks, Mr. Fortnum, Mr. Henderson, and Mr. Nesbitt. • • This mark is on a Persian fayence In* milk jug, the mark indented. Mr. Rey- nolds's Collection. FAYENCE. jfrance. N the Archives de la Prifecture de la Nievre, we find the following List of the Manufactories of Fayence established in the kingdom of France in the year 1 790 ; which does not comprise the ordinary manufactures for common use but only those of reputation; taken from a petition of the faienciers of France to the National Assembly, stating their grievances, in Consequence of the injury done to their trade by the Treaty of Commerce between France and England, and the importation of English ware into France in immense quantities, also the increase in the price of lead and tin, which came principally from England. Bordeaux Moyat . Rambervillier Epinal . St. Guye Toul . Danniere Bechaume Bois Depausse Clement Magonne Montaigu Vaucoleur Verneuil. Nidreville Haguenau Thionville Ancy le Franc Mont Louis Boulogne Laplume Montauban Hardes . Bergerac Espedel . Paris . 14 Varages . • 3 S9eaux . Nismes . 2 Bourg la Reine I Saintes 2 Chantilly I Toulouse 2 Melun . Limoges . Montereau 2 Dieu-le-fit Rouen . . 16 St. Vallier Havre 2 Marthe . 2 Bourvalles Rennes . Nevers • . 12 Nantes . I Marseille . II Quimper 2 Lyon • 3 Marinial 2 Tours I Renac St. Omer I Mones Aire I Bazas Lille . 2 Angouleme I Valenciennes . Bourg en Bresse I Douay . 2 Rouanne Dijon 2 Poitiers . Macon , 2 La Rochelle . Orleans . 2 Langres . Apray {sic) Besan9on . - 3 Grenoble 2 St. Cenis . I Monpellier 2 Luneville • 3 Moustier • 5i St. Clement FAYENCE FRANCE. The following Poem, written by Pierre Defranay in the beginning of the XVIIIth Century,* forms a suitable intro- duction to the subject of French fayence, explaining allegori- cally the various processes then in vogue at Nevers, as well as at Moustiers, Marseilles, Rouen, and other places. The explanatory notes are arranged principally from the work of M. du Broc de Seganges. LA FAYENCE. Chantons, Fille du Ciel, I'honneur de la Fayence, Quel Art ! dans I'ltalie il reQut la naissance, Et vint passant les monts, s'dtablir dans Nevers, Ses ouvrages charmans vont au delh, des mers. Le superbe Plutus trop fier de ses richesses, Meprisoit de Pallas et le gout et I'addresse ; L' Argent plait par lui-meme, et les riches buffets A la beaute de Tor doivent tous leurs attraits. Ainsi parloit ce Dieu privd de ta lumibre. " Je me passerai bien de ta riche matiere," Dit Pallas que sert Tor au besoin des humains ? L'argile la plus vile est prisee en mes mains." Pallas dans le courroux dont son ame est saisie, De deux terres compose une terre assortie,| La pr(fpare avec soin, la place sur le tour, La presse de ses mains qu'elle etend k I'entour, EUe anime du pied la machine tournante, Et forme cette argile avec sa main sgavante. De ce fertile tour, (en croirai-je mes yeux), Sortent dans un instant cent vases curieux : Ces vases sont d'abord faibles dans leur naissance, Se'chant avec lenteur, ils prennent consistance. Puis du feu par degrds, ^prouvant les effets, * This poem, which is characteristically French, was published in the "Mcrcure de France" for August, 1734, written in Latin verse, of which this is a translation. f The paste or body of the Nevers fayence was composed of two parts clay (argile figuline) and one part marl (marne). These earths mixed together were placed in barrels half filled with water, and workmen with long poles beat and turned it about until it was reduced to a fine creamy pulp ; this pulp was let out at the bottom of the barrel, passing over a sieve and falling into a reservoir : it was then again stirred about with a pole having a transverse piece of wood at the end until thoroughly mixed, when the earth from mechanical suspension had gradually subsided, the water was withdrawn, the earth being about the consistence of dough was cut into pieces and placed on shelves to dry, and subsequently thrown into a cave or cellar, where it remained a year before it was considered fit for use. 156 FAYENCE FRANCE. Deviennent k la fois plus durs et plus parfaits,* Ces ouvrages encore n'ont rien que la figure, II y faut aj outer I'email et la peinture ; Cet email dont I'e'clat et la vivacite Des rayons du Soleil imite la beaute, Pallas qui de Plutus dedaigne la richesse, Compose cet email par son unique addresse ; Dans retain calcine, dans le plomb, vil metail, Joints au sel, au sablon, elle trouve un email ; Le tout fondu, devient plus dur que roche ou brique, Le broyant, elle fait une chaux metallique Un lait, qui n'est jamais de poussiere obscurci, Elle y plonge le vase en la flamme endurci,f Le peintre ingenieux, de figures legeres, Embellit cet email, y trace des bergeres, Des grotesques plaisans, d'agreable festons, Des danses, des Amours, des jeux, et des chansons, Des temples, des palais, des superbes portiques, Respectables debris des ouvrages antiques. Du rouge, que Pallas montre k ses favoris ?J Que vois je ? j'apercois sur nos heureux rivages, L'^tranger chaque jour affrontant les orages, * When it was removed from the cellar, the earth was again trodden and kneaded until it became of suitable malleability. The potter, sitting at his wheel which he set in motion with his foot, then took a ball of earth proportioned to the size of the piece he wished to fabricate, and fixing it on the girelle or circular revolving board ; with his left hand (the thumb being forced into middle of the lump) he hollowed it out, his right hand, first dipped in barbotine, or the same earth mixed with water, was passed round the exterior, his left hand pressing out the inner surface ; thus the turner could enlarge, reduce, or lengthen the piece as desired ; when nearly finished he took a tool to form the contour of the vessel more correctly ; the piece being thus perfectly formed, was placed to dry and then put into the kiln for the first baking, where it remained two or three days. The paste in this state was called biscuit^ which although a misnomer, having only been once baked^ is invariably so termed, perhaps from its similarity to the baker's biscuit. f When the pieces had been baked, they were dipped into a stanniferous enamel : this enamel owes its opacity and whiteness to the oxyde of tin, the base is obtained by the calci- nation of lOO parts of lead and 20 parts of tin prepared in a special furnace. The result of this first operation is a yellow powder, insoluble in water, it is then mixed with proportions of sand and salt and fused, when cold, it becomes a solid mass of opaque white glass : it is then broken and ground in water, and placed in a large bucket, into this liquid enamel the pieces were plunged, taking up a sufficient quantity of the enamel to entirely cover the surface, which was then ready for the decorator or painter, X The red was seldom or never employed in the Nevers fayence — cobalt blue, antimony, yellow and chrome green will not change by the excessive heat of the kiln, but red from the protoxide of iron of which it is made, is converted into brown or black, thus in the time of the French Revolution, when the figure La Republique had to be represented, the Phrygian bonnet was painted yellow as a substitute for the redoubtable "bonnet rouge." FAYENCE FRANCE. HENRI II. Se chargeant k I'envi de Fayence k Nevers, Et porter notre nom au bout de I'Univers. Le superbe Paris, et Londres peu docile, Payent, qui le croira! tribut k notre ville. Les toits de nos bergers, et les riches Palais, De Fayence parees, brillent de milles attraits, Aux tables, aux jardins, la Fayence en usage, Meuble le financier, et le Noble, et le Sage ; On estime son gout et sa simplicity, Et I'eclat de I'argent cede h. la propret^. Trop jaloux des succes de I'heureuse Fayence, Plutus en son depit exprime sa vengeance, " La Fayence," dit il, n'a que freles attraits." Mais Pallas de Plutus repousse ainsi les traits, " La Fayence est fragile ! en est-elle moins belle Le plus riche cristal est fragile comme elle, Un email delicat et qui charme les yeux, Par sa fragilite devient plus pr^cieux ; La porcelaine enfin 011 le bon gout reside, Se feroit moins cherir en devenant solide. Plutus, ne blames point cette fragilite L'argile toutefois h sa solidity, Mieux que I'or elle garde et sa forme et sa grace, Sur l'argile jamais la couleur ne s'efface, Non, le temps qui detruit la pierre et le metail, Ne scauroit alt^rer ni Tazur, ni I'^mail." C'est ainsi que Pallas (^tablit la Fayence, Pallas par ce beau trait signala sa vengeance, Mortels, vous profitez du celeste courroux, Pallas en sa colore k travaille pour vous. Pierre Defranay. HENRI II. WARE. OiRON (Deux Sevres). 1520101550. This elegant ware is of a distinct character and ornamentation to every other class of pottery. It is only by a recent discovery that we have been able to assign this manufacture to its original source. It was supposed by many that it was produced in France ; and from the devices and arms depicted thereon, that it was first ushered into 158 FAYENCE — HENRY II. OIRON. existence under the fostering patronage of Francis I., and that it continued in- creasing in beauty and excellence during a portion of the reign of Henri II., until its extinction. In corroboration of this, was adduced the circumstance that the emblems of these two princes alone are found upon it ; a period, therefore, of about thirty years, comprised the duration of this peculiar branch of manufacture. It seems to have been the opinion of all the most able writers on the subject, that it was made in Touraine. The first who promulgated it was M. Andre Pottier, of Rouen, in Willemin s Monuments inedits, &c., 1839. He says that of the twenty-four pieces then known, about one-half came from Touraine, and espe- cially from Thotcars. M. Brongniart {Traite des Arts Ci- ramiqttes, 1844) states that the majority of the thirty-seven pieces came from the South-west of France, from Saumur, Tours, and Thouars. M. Jules Labarte, in his Introduction to the De Bruge-Dumesnil Catalogue, 1847, ^-^so refers the greater number to Touraine and La Vendee. Le Comte Clement de Ris, of the Museum of the Louvre, in an article in the Gazette des Beaux- Arts, i860, confirms the statement of M. Brongniart, that in all ten or twelve pieces have come direct from Tours, and that the original place of their produc- tion was betwixt Tours, Saumur, and Thouars. A pamphlet, in form of a letter, addressed to M. Riocreux, Director of the Sevres Museum, by M. Benjamin Fillon, of Poictiers, recently appeared in Paris, promising a solution of the mys- tery which has hitherto enveloped the origin of this pottery. Our space will not allow us to insert the letter entire, but we extract a few of the leading points of discovery. It is headed Les Faiences d'Oiron," and the writer says that these wonders of curiosity, which have turned the heads of so many amateurs, were actually fabricated at Oiron, near Thouars (Deux Sevres), with clay from the immediate neighbourhood. FAYENCE HENRY II. OIRON. Two artists assisted in the work ; a potter named Francois Charpentier, and Jean Bernard, librarian and secretary of Helene de Hangest-Genlis, widow of Artus Gouffier, a supe- rior woman and cultivator of the arts. After the decease of this lady, in 1537, they both entered the service of Claude Gouffier, her son, Grande Ecuyer de France, who had inherited the tastes of his mother, and who moreover collected a vast number of works of art (a catalogue of which, with the prices realized, after his decease, by auction sale, is still preserved). The librarian had, whilst in the service of Helene de Hangest, furnished designs for the ornamental bindings of books and frontispieces, specimens of which are annexed to M. Fillon's letter, etched by Octave de Rochebrune. It has been noticed by Le Comte de Ris, in the Gazette des Beaux-Arts (January, i860), that a great resemblance exists betwixt the interlaced ornaments of the Henri H. ware and the bookbindings of Grolier and Maioli. M. Fillon (by the aid of the monograms, ciphers, and arms which occur on this ware) has chronologically arranged them from the published drawings, and comes to the conclusion that the earliest pieces were executed under the direction of Helene de Hangest her- self, in the latter part of the reign of Francis I. ; afterwards by her son Claude Gouffier, and other hands, down to the accession of Charles IX. The arming of the Protestants put an end to a fabrication which could no longer maintain itself; for this reason, that its only object being to supply the dressoirs and furnish the chapels of one family, their relations and per- sonal friends, and not for commercial purposes, it followed the fortune of its 'patrons, in a country menaced like Poitou with the horrors of a religious war. We will briefly notice the monograms and initials placed upon the fayence of Oiron, viz. : — The sacred monogram ; that of the Dauphin Henri ; of Anne of Montmorency ; of Claude Gouffier, " composed of an H, in memory of his mother, and a double C, which has been confounded with that of his master." Mr. Magniac's ewer has the letter G repeated several times round the body, which is the initial of Gouffier's name ; and round the foot of l6o FAYENCE — HENRI II. OIRON. the candlestick belonging to Mr. Fountaine may be observed the letter H, repeated as a border, being the initial of his mothers name, Helene de Hangest. The arms upon this pottery are those of the King; of the Dauphin; of Gilles de Laval, Seigneur de Bressieure ; of the Constable Anne of Montmorency; of Frangois de la Tremouille, Viscomte de Thouars ; of another, unknown ; and of William Gouffier. This last occurs on a plate now in the S. Kensington Museum, which has in its centre an oval escutcheon, surrounded by fruit and cherubs' heads and flaming rays, all in relief; in the centre are the arms of William Gouffier, third son of Admiral de Bonnivet, when he was a Knight of Malta, that is to say, before he was raised to the episcopal chair of Beziers, in 1547. The emblems are the salamander of Francis I. and the cres- cents of Henri II., which were never used by Diane de Poictiers, as is generally supposed. M. Fillon remarks that the cup which was shown to Bernard Palissy, and which he so much desired to imitate, was doubtless of the faience d'Oiron; indeed several of those pieces, with lizards, frogs, snakes, tortoises, &c., in relief, upon them, might have sug- gested his celebrated rustique. The distinguishing characteristics are — in the first place, the body, or constituent parts of this ware, which is very light and delicate, and of a pure white terre de pipe, of so fine a texture that it did not require, like the ordinary Italian fayence, any coating of opaque coloured glaze or enamel, but merely a thin transparent varnish. Its fabrication appears to have required great care and diligence, for it is supposed, from the examination of a fractured vase in the Museum at Sevres, that the foundation was first moulded by the hand, not turned in a lathe, quite plain, and without the least relief or ornament, the rough surface hatched with cross lines, and a thin outer crust, or engobe, of the same clay laid completely over the whole vessel ; the ornaments were then cut out of the field (in the same manner as the champ UvS enamels) and coloured pastes introduced ; the superfluous clay was removed by a sharp chisel, and the surface tooled to an uniform smoothness. FAYENCE — HENRI II. OIRON. i6i it being subsequently baked and varnished. On carefully examining these specimens, it will be seen that all the furrows in which the coloured pastes have been inserted are depressed to a slight degree, as though they had sunk in the furnace, thus differing essentially from the painted earthenware, which would rather produce a low relief. A section of the broken vase before referred to, is a convincing proof that the coloured pastes were actually incrusted, the sharp angles presenting too regular an appearance to have been caused by the mere absorption pf any colouring matter applied externally with a brush. Secondly, the decorations are what is usually termed Renaissance^' introduced by Francois I., in the commencement of the XVIth Century, and consist of interlaced scrolls and devices, tastefully arranged with great precision, partaking greatly of the early Moorish or Arabian character, the colours employed being usually yellow ochre, and brown of different shades, with occasional touches of red, green, and yellow on the raised figures. Independent of the beautiful incrustations, the vessel was also richly decorated with figures, masks, garlands, mouldings, &c., in high relief, modelled with great care, and harmonizing well with the ground-work. M. B. Fillon {Art de Terre c/iez les Poitevins) describes the pavement in the chapel of the Chateau at Oiron. It is of square tiles, fitting together so as to form one pavement ; each tile bears a letter, a monogram, or an escutcheon ; each of these letters is painted in violet brown on blue arabesques, and so disposed as to form the device of Claude Gouffier, Hic TERMINUS HAERET. The monograms are of the same colour as the letters, and are those of Claude Goufifier, and of Henri II. before he was Kincr of France. The arms are those of Gouffier, quartered with Montmorency and Hangest- Genlis. The composition of the paste of these tiles, having been analyzed by M. Salvetat, is found to be identical with that of the Henri II. ware. M. B. Fillon instances various other pieces of a later period than those referred to in the subjoined list, of a much coarser M l62 FAYENCE HENRI II. OIRON. character, and tells us in whose possession they now are, being principally in the immediate neighbourhood of Oiron and Thouars.* Henri IL Ware. This mark occurs on a plateau in the South Kensington Museum. It is scratched in the clay under the glaze, and is an original mark or symbol of some kind or other, whether of the maker or not it is impossible now to determine. It is the only mark hitherto discovered on the ware. LIST OF HENRY II. WARE. IN ENGLAND. 26 PIECES. Description. Whence obtained. \ Large ewer Hanap 6 7 Cover of a cup . . . 8 Bouquetiere 9 Candlestick 10 Biberon 1 1 Salt Cellar 12 Biberon Andrew Fountainc, Esq. ... » » » » » » Baron Lionel de Rothschild Odiot Sale, 1842 Strawberry Hill Coll., 1842.. De Monville Coll Preaux Sale, 1850 De Bruge Sale, 1849 Pr^ux Sale, 1850 Unknown Bought of a Cure at Tours .. Purchased a century ago >j » Bought of Madame Delaunay Esti- Cost. mated Value. £. &. 96 1500 20 1200 140 1200 208 I030 20 500 44 500 150 4*8 800 I COO 800 500 800 * All the best authorities and the most intelligent Ceramic amateurs in France and England have acknowledged the merit of M. Fillon's discovery, and have adopted his elucidation of the mysterious Henry II. ware as emanating from Oiron. But the irrepressible Demniin has, in his usual uncourteous style, made a violent attack upon M. Fillon, whose consolation must be, that censure from such a quarter is equivalent to praise. Demmin's vanity is evidenced by placing his portrait as a frontispiece to his Pretendu Guide (as it is termed in France). His vulgarity and impertinence are shown in the following extract from the said book. In speaking of M. Fillon, he says, * ' Dans un style si pretentieux, qu'il rappelle le caquetage d'une poule qui annonce son oeuf, un amateur de province a eu tout dernierement, la naivete d'ecrire un gros volume, oil il remonte jusqu'au temps d'Adam et d'Eve, pour prouver que ces poteries ont ete fabriquees a Oiron pres Thours {sic) Deux Sevres, avec les terres de Regne, ou de quelques autres localites de la meme contree ; elles seraient, selon lui, uniquement I'oeuvre de deux artistes, de Fran9ois Cherpentier et de Jean Bernart au Bernard, -gardien de la librairie et secretaire d'H^lene de Hangest Genlis, &c. Tout cela est trop peu serieux pour s'y arreter." FAYENCE HENRI II. OIRON. Description. Owner. Whence obtained. 13 isalt Cellar Baron Lionel de Rothschild l4lTazza ! Duke of Hamilton 15 [Salt cellar I „ „ „ 16 Salt cellar 'George Field, Esq 1 7 I Part of ewer | H. T. Hope, Esq 'SiSmallewer j „ Small ewer | M. T. Smith, Esq Biberon !J. Malcolm, Esq Salt cellar South Kensington Museum. Tazza and cover..' ,, „ ,, ... Tazza „ „ „ Candlestick „ ,, „ Salver „ „ „ 26 I Salt cellar I „ ,, „ Strawberry Hill, 1842 P r^aux Sale, 1 8 5 o, £ 5 2 jRattier, 1859 Rattier Sale, 1859 Unknown De Bruge Sale, 1 849 Bought as Palissy Pourtal^s Sale, 1865 SoltykofF, 1 861, to Napier Preaux S. 1 8 50,£62; Soltykoff,i 861 Bought at Poitiers for 50s., Delange Lassayette, £4005 De NorzySale... Espoulart, 1857, for £140 lAddington Coll Esti- Cost. mated. Value. - £. £. 21 300 280 500 00 300 300 10 300 20 600 I 100 1 100 268 300 450 500 180 180 640 750 180 400 300 300 IN FRANCE. 26 PIECES. »> » >» M. Hutteau d'Origny , Musde de Cluny Baron Alph. de Rothschild, Baron Gust, de Rothschild. » >» >» •• Baron Jas. de Rothschild .. Museum of the Louvre 27 Tazza 'Le Due d'Uzes 28 Cover of cup 29 Pilgrim's bottle.. 30 Tazza and cover. 31 Tazza and cover, 32 Salt cellar 33 J"g or canette .. 34 Small ewer 35 J Candlestick 361 Hanap 37 j Tazza 38 Biberon 39! Salt cellar 40 Salt cellar 41 Salt cellar 41 Tazza | „ „ 43 Salt cellar I „ ,, 44 Tazza | „ 45 Tazza JS6vres Museum 46 Cover of a cup ...j „ „ 47 Salt cellar Madame d'Yvon 48 Salt cellar Comte de Tussau 49 Salt cellar ,, 50 Salt cellar „ „ 51 Cover of a tazza.. M. B. Delessert.., 52 Biberon 'Unknown Unknown. Bought by M. Thor^, in 1798, for. Unknown Bought by Strauss for £600, sold for. Pr6aux Sale, 1850 Unknown South of France, i860 Sauvageot, from Tours Sauvageot, from M. Lehri^, 1824.. Sauvageot, from Troyes Sauvageot Sauvageot, bought as Palissy Revoil Coll., i8z8 Unknown. South of France, by Ruttcr Unknown 53 Biberon. IN RUSSIA. I PIECE. Prince Galitzin IPrdaux Sale, 1850 500 150 800 500 20 500 300 800 1000 44 500 1000 500 480 500 800 5 300 300 300 "i 500 300 500 500 150 300 300 300 300 4 150 100 800 TOTAL KNOWN. In England 26 In France 26 In Russia i 53 Pieces. M 2 164 FAYENCE — HENRI 11. OIRON. LYONS. Thouars or OiRON (Deux Sevres). The manufactory of fayence at Thouars, hitherto Httle known, has recently acquired great importance by the attribution of L. A. the Henri II. ware by M, B. Fillon, to 1676 which we have before alluded. The fabrique was continued for making less important objects for more than a century. M. Fillon speaks of two tiles, one bearing the Salamander of Fran9ois I., the other the crescent of Henri II., still preserved over the door- way of the manor house, which came from the chapel of the Chateau of Thouars. There are two lozenge-shaped tiles in the Louvre (G. 706, 707), which also came from the same chateau, bearing the arms of Marie de la Tour d'Auvergne of a later date. They are dated 1676, and have on the back the initials of the artist, l.a. ; they are in. by 8 in. There are also some specimens in the Sevres Museum. Lyons, circa 1530. A document has recently been dis- covered in the Bibliotheque Imp6riale which reveals the existence of a manufactory of fayence here in the reign of Francois I., founded by an Italian artist of the name of Fran- cesco, of Pesaro. The charter alluded to, contains a request from two other potters, Julien Gambyn and Domenge Tar- dessir, both natives of Faenza, in Italy, to Henri II. It states, " qu'ils ont la cognoissance et experience de faire les vaisselle de terre, fa^on de Venice." One of them, Julien Gambyn, had already practised his art at Lyons soubs Jehan Francisque de Pesaro tenant botique en icelle ville," and claims the privilege de dresser train et mestier de la dite vaisselle, comme chose libre et de tout temps permise aux etrangers apportans en France moyen et practique de quelque art ou mestier encores peu cogneu." Francesco of Pesaro opposes the application, and urges that il a souffert de grandz frais durant vingt ans qu'il a exerce comme il fait de present." It goes on to say that, so far from having suffered, he has, by the monopoly so long enjoyed by him, greatly enriched him- self. The two suppliants set forth their ability, and state that they are better cognizant of the art than Francesco himself. FAYENCE LYONS. 165 Henri II., by the advice of his Council, permits them to exercise the trade with the same liberty and facility as other artizans, and charges the Governor, M. de Mandelot, to see that Francesco does not annoy them, under heavy penalties. Another document, discovered among the " Actes Consu- laires de la Ville de Lyon" (1556), informs us of the establish- ment of another manufactory d'ouvrages et de vaisselle de terre," by a Genoese merchant named Sebastian Griffo, whereby certain privileges and immunities are granted him for two years, provided he resides continually in Lyons and brings hither workmen from Italy, because the said manu- facture is new in the city and in the Kingdom of France. He is desired to employ des enfans de I'haulmosne " (charity children) to work in the said manufactory. Hence it will be seen that three manufactories of fayence were actually in operation simultaneously in the first half of the XVIth Century at Lyons. The products are unknown to us at the present day. The foregoing extracts are taken from a pamphlet lately published by M. le Comte de la Ferriere- Percy, entitled Une Fabrique de Faie^ice a Lyon sous le regne de He7iri II. ^ and he suggests the probability of one of these being the source of the celebrated Famice d' Henri II. ; but as regards the two first, alluded to as of the " fagon de Venice," the oKpression does not certainly convey to us sufficient to identify the ware ; and as to the third, from Genoa, in which charity children were to be employed, we seem to be still further from solving the enigma as to its origin.* However, the discovery of these documents opens a wide field for the researches of the historian of French fayence, and we doubt not will be made available in the pursuit. In the list of potters who petitioned the National Assembly in 1790 we find three then existing there (page 154.) In 1800 there was a fabriqne carried on by M. Merck, and * Since this was written M. Fillon has cleared up this mystery (see p. 158). i66 FAYENCE EPERNAY. BEAUVAIS. in 1856 another by M. Chapeau Revol, specimens of which are in the Sevres Museum. Epernay. There was a manufactory here about 1650 to 1780. It is an enamelled Fayence, something like that of Avignon ; the colour is a chocolate brown. A large oval dish and cover, ornamented in relief, with epernay in raised letters on the top, is in the Sevres Museum. Frequently unmarked. Beauvais (Saveignies) was celebrated for the manufacture of decorative pottery in the XlVth Century, frequently mounted in silver. In the inventory of Charles VI. (1309) we read of Un godet de terre de Beauvais^ g^rny d'argent ; " and again, in the Comptes Royaux de France (1416), Pour plusieurs voirres, godez de Beauvez et autres vaisselles a boire, xxxj*." Hence the old French proverb, " On fait des godes a Beauvais et des Poeles a Villedieu." (Leroux de Lincy, Proverbes Fran^ais.) In 1500, Rabelais speaks of the " Poteries azurees" of Beauvais. Palissy, speaking of the potter s clay, says There is a kind at Savigny, in Beau- voisis, which I think has not in France its like, for it endures a marvellous fire without being at all injured, and has this advantage also — that it allows itself to be shaped more slenderly and delicately than any of the others ; and when it is extremely baked it takes a little vitricative polish {polisse- ment vitricatif), which proceeds from its own substance, and that causes that the vessels made with the said earth hold water quite as well as glass vessels." Estienne (Robert) also speaks of the pottery of Beauvais, in his work De Vasculis Libelhis, edition of 1543, p. 22. . . . Quemadmodum vulgus Italorum maiorica vasa appellat, quae in altera ex insulis Balearibus fiunt, quam vulgus maioricani appellare solet, itidem et nos eadem ratione vasa Bellovaca dicemus, potz de Beauvays. There is a flat pilgrim's bottle in the Sevres Museum, with the arms of France, on each side are the fleur-de-lis, and " Charles Roy," in gothic letters. It was found in the Somme, and was probably made here in the time of Charles VIII. FAYENCE BEAUVAIS. 167 There is also in the same collection (Sevres) a plate of red earthenware, covered with white engobe, red and green mottled glaze, the design graved through ; in the centre a branch of three lilies, surrounded by square compartments, and on the border, inscribed in Gothic characters of the XVth Century, these words " Je suis plante pour raverdir, vive Truppet." A plate of green enamel, with escut- rC^L ^ I cheons of the arms of various provinces •JmttXl oe^^^Cmb^f-^ pi-ance, between which are emblems V(XX> J . of the Passion in relief, and a long inscrip- tion round in old black letter, beginning O ! vos omnes qui transitis per viam,*' &c., and ending with the date 1502, as in the margin. In the Soltykoff Coll., sold at the sale for £\i. One of these escutcheons contains the arms of France ; another, France quartered with Brittany; a third, France and Dauphiny ; and a fourth, that in the margin, containing two stars and a stake, part of the arms of Beauvais, and the name Masse, probably the name of the artist. The archives of Beauvais furnish us with several instances of presents of the pottery of Saveignies being made to Royalty when passing through the city. On the i 7th October, 1434, a vase of Saveignies was presented to the French King. In 1520, Francis I. journeying to Arras through Beauvais with his Queen, they gave her ** des bougies et des vases de Savignies," and in 1536 they presented him with a " Buffet de Savignies." In January, 1689, a like present was offered to the Queen of England when she passed through Beauvais in her flight from London to Saint Germain. Saveignies (Oise). There are several more recent manu- factories of gres which were in existence towards the end of the last century, mentioned by M. Brongniart, specimens of which are in the Sevres Museum. M. Laffineur, 1806; M. Delamarre, 1806; Madame Veuve Patte, 1806; and M. Bertin in 1833. i68 FAYENCE AVIGNON. LHERAULE. Saveignies (Oise). There were two other manufactories of fayence Carried on here by M. Gaudin and M. Mic-hel towards the end of the last century. Specimens are in the Sevres Museum, acquired in 1806. Beauvais (Oise). At Pont d'Allonne, near Beauvais, a fabrique of stone ware, salt glaze, was founded about 1842, by Messrs. Joye and Dumontier, but they did not equal that of Voisinlieu. Messrs. Clerc and Taupin, the present proprietors, have produced some artistic stoneware in Ziegler's style. Avignon. This pottery is of a reddish brown, with a fine metalloid glaze, like bronze or tortoiseshell. The ewers and bottles are usually of elegant form, like those of Italy ; they are sometimes perforated, sometimes with raised masks, &c. in yellow. It flourished from about 1650 to 1780. Generally without a mark. There were potteries here early in the XVIth Century. M. P. Achard (Archiviste of the Depart- ment of Vaucluse) mentions several early potters whose names occur in the archives : Maitre Calle Monteroux, poterius, 1500, au puits des Tournes. Maitre Veran Merlesius, potier, 1 5 1 7, dans la paroisse St. Agricol. Maitre Guilhermus David, poterius, 15 19. M. Petrus Bertet, 1539, Rue de la Pailhasserie. M. Johannes Roqueti, potier, 1551, Portalis Matheronis. M. Antoine Castan, potier, 1596, Rue St. Marc. M. Louis Fauquet, potier, 171 5, Rue St. Sebastien. The brothers Ruel and the brothers Blanchard. In 1694 M. Montclergeon, and earlier M. Vauceton. An earthenware cruche, brown glaze and ornaments in relief, XVI Ith Century, sold in the Bernal sale for ^10. los., and a fine ewer in the Soltykoff sale brought ^14. There are two good specimens in the Soulages Coll., S. Kensington Museum. Lheraule, (Canton of Songeons) XVIth and XV I Ith Cen- turies, was the seat of an ancient pottery, contemporary, it is stated, with that of Palissy, but the productions bear no com- parison. They are like the later productions of Saveignies, of clay, covered with enamel, of green or morone colour, FAYENCE — GOINCOURT. SARREGUEMINES. CHATILLON. 1 69 with ornaments in yellow, red, or white. The pieces in forms of statuettes of saints, crucifixes, and b6nitiers are rudely fashioned. GoiNCOURT, (Oise) 1795. Near this place, in the environs of Beauvais, a manufacture of enamelled fayence, called U Italie7ine',' established in 1795 by M.M. Michel. The statuettes and groups, virgins, saints, bishops, animals, &c.,are frequently found in Picardy, but the manufacture has ceased many years. ^^J^/a/i'e^^e Fayence of the end of the XVIIIth Century, a common description of ware LTTALIENNE P^'^^^^ with flowers, &c. The name stamped in the ware. Saint Paul (Oise). Fayence of the XVIIIth and XlXth Century. Of or- S. PAUL, dinary quality, mostly designed with pricked paper (ct po7icis) bouquets, &c. in colours. Mark stamped in the cla}^ Sarreguemines (Moselle). A manufactory of great im- portance, established about 1770, by Paul Utzchneider. This beautiful fayence is in imitation of porphyry, jasper, granite, and other hard marbles, sometimes cut Sarreguemines. and polished by the lathe, frequendy with white raised fiorures on blue and other coloured grounds, very much in the style of Wedgwood, and red ware like the Japanese. There are many specimens in the Sevres Museum. The name impressed on the ware. _ ^ Sarreguemines. Messrs. Utzchneider jSjl ^ & Co. still make fayence and porcelain < J of every description. Saint Samson (Oise). A manufactory E. L. B. for crucibles, &c., in whitish paste. Paris Exposition, 1834. Chatillon. The following noUce occurs in the Intelli- gcnzblat, Leipsig, 1766. Since every body has sent silver 170 FAYENCE — VOISINLIEU. CREIL. ST. CLOUD. services to the Paris mint, the manufacturers have invented all sorts of fayence and imitations of porcelain. It would be useful to visit the different fabriques to know the best sorts, and provide a stock of the best models. At Chatillon, Sur Oise, there is a fayence manufactory, the ware resists heat and becomes red hot rather than break ; all sorts of vessels for actual use are made here ; it is transported by the Canal de Briare on the Seine to Paris. VoisiNLiEu, near Beauvais, (Oise). Established about 1839 by an artist named Jean Ziegler for the manufacture of stone ware, with figures and ornaments in re- lief, mostly of a brown colour, which met with great success; the paste is hard and sonorous, and takes all colours. This establishment having passed into the hands of M. Mansart, increased at first very much, but soon declined, and ceased altogether in 1856. Creil (Oise). A manufacture of fine fayence and ware in the English style, opaque porcelain and stoneware, &c., was established by M. St. Cricq towards the (3 J L, end of the last century, which was after- wards carried on by M. Lebeuf and Gra- tien Milliet, about 1836; the latter was also director of the manufactory at Montereau. St. Cloud, near Paris, 1690. This establishment was founded by Chicannear, pere & fils, for the manufacture of fine fayence and porcelain, and in 1 702 exclusive privileges were granted for twenty years to the heirs of Chicanneau — his son having the direction. In 1722 Henri Trou became director. This fayence is generally in blue camaieit, and similar to that of Rouen of the first period. Before the discovery of the Moustiers manufacture, that ware was attributed to St. Cloud. In 1698 the fabrique was visited by Dr. Martin Lister, who gives an account of the porcelain made here, and in 1 700 by the FAYENCE PARIS. 171 Duchess of Burgundy. The Royal Family took great interest in the works, and the Duke of Orleans, who had a laboratory of his own, suggested many improvements. There are specimens in the Sevres Museum. Paris (established about 1550). Francois Briot was a celebrated artist, modeller, goldsmith, and manufacturer of fayence. His works in gold and silver have disappeared with the other superb jewels, described in the inventory of Henri H., in 1560, but some of his works are preserved to us, in tin and in pottery. Briot was, although a goldsmith, what was termed a potier d'estaigne, and worked both in metal and in pottery; in fact, all the goldsmiths of the XVIth Century were necessarily acquainted with the potter's art of moulding in clay, for the purpose of reproducing their works in the richer metals. The two arts of the goldsmith and the potter were intimately connected together, the designs for important pieces of gold or silver plate being first modelled in terra cotta or clay, hardened by the fire. Those great artists, Luca della Robbia and Benvenuto Cellini, like most of the Italian artists, commenced their career by studying as gold- smiths ; then, as their eminent talents developed themselves, they struck out into sculpture, in marble or bronze. Andrea del Verrochio was a goldsmith, and in his studio or workshop was formed the mind of Leonardo da Vinci. Pollajuolo, Ghirlandajo, and La Francia, were at the same time goldsmiths, and painters. Benvenuto Cellini praises the extremely fine quality of the sand extrait du rivage de rile de la Sainte Chapelle (la cite), which he says a des propriet^s que ne possedent point les autres sables." It was of this material that Francois Briot composed his fayence, some superb examples of which still remain to show his extraordinary talent. His enamelled earthenware vessels have been erroneously attributed to Ber- nard Palissy, but they are evidently a distinct manufacture, and were executed under the immediate superintendence of Briot himself in a rival establishment. The enamel of these pieces is more vitreous and transparent, the colours more 172 FAYENCE PARIS. brilliant and of a higher finish than any ever produced by Palissy, and resemble more nearly enamel on metal. We are consequently compelled to differ from the opinion of M. Jacquemart, who says that La pluralite des plats repro- duits de Briot a tous les caracteres des emaux et de la terre du pottier des Tuilleries." A comparison of the salver of Sir E. M. Elton, and others in this country, with Palissy's productions, will be a convincing proof of the difference of manufacture, both in material and enamel. The salver in the possession of Sir Ed. Marwood Elton, Bart., a circular earthenware dish, which is supposed to be the finest of its kind extant, enriched with very elaborate ara- besque ornamentation in relief ; is enamelled with the most brilliant colours : in the centre a figure of " Temperantia," surrounded by medallions of the four elements, terminal figures between, and round the border eight others impersonating the arts and sciences; diameter 16 J in. In the Fountaine Coll. at Narford is an ewer of enamelled earthenware to match this salver ; the plateau is said to have been brought to England by an ancestor of the present possessor, who was a student at Padua, more than two hundred years ago. M. Calixte de Tussau has a fine example of a plateau of similar design : at the feet of Temperantia is the monogram of Francois Briot, stamped with a separate mould as shewn in the margin. It may be observed that this stamp is not to be found on the salver of pewter as made originally by Briot, and which would have appeared, if it had been mould-ed together with the rest of the relief, but the letters F. B. are evidently stamped in the clay afterwards. Another in the Soltykoff Collection, sold for ^400. to the Baron Salliere, was also finely enamelled ; the reverse, which was mottled in colour, had in the centre the letter F, the initial of Fran^f ois, engraved in the paste before it was fired. Another, in the Soltykoff Coll., not so fine, sold for ^200. There were also three smaller enamelled earthenware plates by Briot, representing the Earth and the Air, personified, and the Judgment of Paris; the last was sold FAYENCE PARIS. for about ^70. In the celebrated Forman Collection at Dorking is an earthenware plateau of the same pattern, but of less highly finished execution than that previously described, probably the work of one of his successors. Paris (Pont aux Choux). Glazed fayence bust of Louis XV, on square pedestal, in the Sevres Museum, of terre d' Angle- terre " attributed to this manufactory about 1 740. Paris. 1740. Manufacture Royale de la terre d'Angle- terre." Heringle, who established a manufactory at Lille in 1758, states in his request that he had worked for seven consecutive years at this establishment. In the Intelligenzblat of Leipsig for 1 766 we read an account of one which is perhaps the same as that mentioned above, being a Royal manufactory. " A la manufacture Royale de M. Chapelle, dont les magasins sont rue de I'Echelle, on trouve des faiences blanches et decorees. Elle va au feu et supporte I'eau bouillante." Paris (Seine). Fayence of the end of OLLIVIER the XVIIIth Century, called Fabrique A PARIS. gSndrale defaXefice de la RdpiLblique. This mark is stamped in the paste on a plate, painted with Revolutionary emblems and motto. Not know- ing how to produce the red, the bonnet rouge is painted yellow. Paris. Fayence de Claude R6v6rend. This fayence, although exactly similar to that of Delft, is supposed to have been made in Paris by R6v6rend, who was for a long time established in Holland as a potter; and he obtained letters patent in 1664 to fabricate " fayence and imitation porcelain " in France. His fayence was called o^nci feres!' The pieces marked as in the margin are attributed to him, forming R. A. P., (Reverend a Paris ?), and they frequently bear French inscriptions. The decoration is polychrome, and in blue, in imitation of the best pieces of Delft, with /P) firm white glaze and bright colours. ' v\ ' I \ y \ C There is a specimen in the Collection of Mr. C. W. Reynolds (marked in blue) ; 174 FAYENCE — PARIS. and a splendid dish given to the Sevres Museum by M. Sau- vageot seems to have been specially made as a present to Colbert by Reverend to show his successful imitation of Oriental porcelain ; it has in the centre the arms of Colbert. M. A. Jacquemart quotes a decree of the year 1664, granting to Claude Reverend the privilege of making fayence and imi- tating porcelain ; the exact words are, de faire la faience et contrefaire la porcelaine aussi belle et plus, que celle qui vient des Indes Orientales',' evidently one and the same thing ; he goes on to say that this secret manufacture he had accomplished and brought to perfection in Holland, where the greater portion of his stock still remained, which he wished to trans- port into France. This is clearly a manufacture of fayence in imitation of porcelain, and not porcelain itself, as M. Jacque- mart infers, which hypothesis is decidedly untenable. Claude Reverend does not say qu'il fait une porcelaine veritable, translucide et aussi belle que celle qui vient des Indes Orien- tales," but il contrefait une porcelaine aussi belle," &c., and not a word is said about its transparency or any other quality possessed by porcelain. Paris. There is a medicine jar, in the Sevres Museum, painted with arabesques and arms of the Orleans family ; said to have been made by M. Digne in the middle of the XVIIIth Century. He was succeeded by M. Gautier, who in 1830 sent some fayence services to the Museum. Paris. Fabrique de M. Tourasse, 1823. Paris. Fabrique de MM. Masson freres, 1839. This fayence is praised by Brongniart on account of its brilliant blue enamel. Paris (Rue des Trois Couronnes.) Established in 1833 by M. Pichenot for the manufacture of enamelled fayence, under the direction of a German named Loebnitz. In 1843 he patented his imail inger^able!' His widow ceded the manufactory to Jules Loebnitz, son of the director. It was remarkable for the great size of its products. In the Sevres Museum is a large cistern of one piece, enamelled inside and out; large tiles and vases, from the Exposition of 1844. The pieces are marked Pichenot, 7, Rue des Trois Couronnes." FAYENCE — PARIS. Paris (7 Rue des Recollets). Ceramic painter. M. Hippolyte Pinart, painter of faience artistique. He obtained a medal at the International Exhibition in 1862, where his talent was appreciated and his fayence quickly sold. Paris (ii Rue de Sevres). Faiences artistiques, A. Jean, manufacture ; imi- tations of maiolica, &c. Established 1859. There were numerous specimens in the International Exhibition, 1862, for which he obtained a medal. Paris. Manufactory of fa:ience encrusts, by Theodore Deck, 1859. There were some specimens of this incrusted ware in the International Exhibition, 1862, which sold freely to English ama- teurs,and he deservedlyobtained a medal. L-l J This beautiful ware has coloured pastes ■ *^ inserted in patterns on the body of the ware, like the Henri II. ware, sometimes in Persian designs. The mark impressed. Paris (Rue de la Roquette, Faubourg St. Antoine). 1675. In a memorial of Jean Binet, oiivrier en faience bru7ie et blanche, at this manufactory, presented in 1753, {Mi7noires de Manno7y, Paris, 1764), we have an account of two other potters who preceded him. The first was Francois Dezon in 1675, a maker of earthenware, who carried on the works with his sons. Genest was the name of his successor in 1730, who for twenty years was fabricant de faience'' in the same house. In 1750 Genest sold the concern to Jean Binet. Paris (Vaugirard). M. Pull, formerly PULL 3- soldier, then a naturalist, undertook in 1856 the manufacture of pottery in the style of B. Palissy, and produced some Pull. clever imitations. He has copied La Nourrice" and Le joueur de vielle," 176 FAYENCE PARIS. and also produced moulded plates from the white metal salvers of Francois Briot, (which Palissy himself had copied) ; these are so highly finished and so brilliantly enamelled that several connoissQurs have been deceived by them ; one was sold at a shop in Paris to a rich banker for 6000 francs, £2/^0. M. Las- teyrie says of this artist, " que ses produits sont tellement bien imit^s, qu'il est devenu le desespoir des coUectionneurs du Palissy." His mark is sometimes in black enamel, sometimes in relief or incuse. Paris. M. Victor Barbizet. Established 1850. Enamelled earthenware in imitation of B. Palissy, produced in great g ^ variety and at a low price ; occasionally marked incuse with the letters B. V. Paris (Batignolles.) M. E. Lessore, a painter on fayence, formerly employed at Sevres, which he left in 1850, and es- tablished himself at 16, Rue de TEmpe- reur, aux Batignoles. In 1859 he left, and came to England, and is attached principally to the Wedgwood manu- factory, but paints for other firms. A dish by him, executed ^ at Minton's, in imitation of maiolica, is in c/CSSoy^e^ the South Kensington Museum; pur- chased for ^30. Paris. The potter Vogt, from Nuremberg, established himself at 66, Rue Fontaine au Roi about 1790, in the manufacture of stoves, &c. In 1834 he DUMAS ^^^^^^^^^ ^i^^s 'With, incrusted or inlaid patterns of coloured clays covered with 66 rue Fontaine-au-Roi. ^ plombiferous glaze. Madame Veuve Dumas, his daughter, still continues making some beautiful pieces, many of which are marked with her name and address. M. Theodore Deck was formerly manager of this fabrique, and there learnt the art of nielloed earthenware. Paris (Montrouge.) M. Joseph Devers, an Italian by birth, formerly a painter, pupil of Ary Scheffer, commenced FAYENCE PARIS. 177 Y ^ fabrique of fayence here about 1853. Y ^ I Terra cotta vases and groups in the Delia Robbia style, large medallions and all sorts of artistic pottery. In 1862 he received a medal from the International Exhibition for decorative pottery. Paris (Rue de Charenton, 1766.) In the Intelligenzblat of Leipsig of this year we read ''Rue Charenton, Faubourg St. Antoine, vis a vis I'ancienne manufacture de velours, se trouve actuellement une manufacture de faiences bronzes qui va au feu ; on fait toutes sortes de vaisselle." Paris (Rue Basfroy, pres la Roquette, 1766). In Intel- ligenzblat of Leipsig of this year we find the following: '' Rue Basfroy, pres la Roquette, on fabrique dans la manufacture de M. Roussel des faiences qui sont int^rieurement blanches et ext6rieurement de couleur olive. On elle fait toutes sortes de services complets. Cette faiences va au feu, est tres legere et a meilleur compte que celle faite en terre de pipe Anglaise. La douzaine dassiettes se vend de 3 a 5 livres." Paris. This talented artist has, with yy ^ , Cfreat success, turned his attention to / pamtmg on earthenware au grand feu. The subjects usually selected by M. Bou- quet are landscapes and woodland scenery ; these are painted on plaques of coarse earthenware, similar to what we call Stourbridge clay, capable of bearing an intense heat, and at one baking the whole process is completed. Considerable chemical knowledge is essential for this kind of decoration, as but few colours will stand the great heat of the kiln, and skilful manipulation is required in painting on the treacherous surface of the clay, which must be executed off-hand, without any possibility of retouching. The plaque is then placed in the furnace, a monotonous and almost undistinguishable sketch ; it is taken out a finished picture, rich in colour, artistic and imperishable, not affected by the action of the atmosphere, and consequently suitable for exterior as well as interior decoration of houses and gardens. N 178 FAYENCE SEVRES. AVON. Sevres. This mark is impressed on the back of two fayence plates of Hght fabrique, very much like the demi- porcelain plates made at Creil ; on them are also stencilled shields, inscribed ''par Brevet d' Invention," surrounded by the words " Impression sous email." The subjects are printed in brown, of Time and Cupid and La ceinture de Venus," &c. Sevres. There were several manufactories of fayence here. A large and fine vase (style Louis XIV), by a potter named Lambert, of about 1 790, is in the Sevres Museum, but it has no mark. Another manufacturer was M. Levasseur, about the end of the last century, and M. Clavareau, 1806. Speci- mens in the Sevres Museum. Avon, near Fontainebleau. M. A. Jacquemart has signalled forth another manufactory of pottery at this place, and quotes from the journal of Herouard, Doctor of the Dauphin (Louis XIII). To this fabrique he refers the pieces marked B B ; La Nourrice, and small animals, as well as many others posterior to Palissy. Herouard says '* Le 24 Avril, 1608, la Duchesse de Montpensier vient voir a Fontainebleau le petit Due d'Orleans, second fils de Henri IV., et lui mene sa fille, agee d'environ trois ans. Le petit prince I'embrasse et lui donne une petite nourrice en poterie qu'il tenait." Le Mercredy, 8 Mai, 1608, le Dauphin etant a Fontaine- bleau, la Princesse de Conti devait danser un ballet chez la reine, puis venir dans la Chambre du Dauphin. On lui pro- posa de faire preparer une collation des petites pieces qu'il avait achetees a la poterie, il y consent. Apres le ballet, qui est danse a neuf heures du soir, le Dauphin mene Madame de Guise a sa collation, ils sont suivis de tons ceux qui avaient danse le ballet, et de rire, et a faire des exclamations ; c'etaient des petits chiens, des renards, des blereaux, des boeufs, des vaches, des escurieux, des anges jouant de la musette, de la flute, des vielleurs, des chiens couches, des moutons, un assez grand chien au milieu de la table, et un dauphin au haut bout, un capucin au bas. FAYENCE PALISSY. 179 The two B s occur on works of secon- dary importance, as on a group of La Samaritaine, two dogs and a snail, in the Sevres Museum. CThis mark, V A B. C, of an unknown potter, is found on a plate of agatized ware, representing the infant Bacchus, in the style of Palissy. Clerici, or Clerissy, of Fontainebleau, was also an imitator of Palissy in the first half of the XVI Ith Century. In March, 1640, he had letters patent to found Royal Glass Works at Fontainebleau. M. Jacquemart thinks he must have been one of the principal artizans of the fabrique at Avon, patro- nised as we have seen by the Court. At the Soltykoff sale, in Paris, in 1861, we remember to have seen two large dishes of enamelled fayence of the XVIIth Century; they were of a bronze colour. In the centre was a shield of arms and the device, Sia laudato il Santissimo sacramento," the letters in the inscription being reversed. The rest of the dish, including the border, was filled with rich arabesques, all in relief It was of an unknown manufacture, somewhat similar to that of the Citta di Castello, or La Fratta. The reverse of one of these dishes had the escutcheon of France and this inscription, " du chasteau de FONTAINEBLEAU." Saintes, near Rochelle, and other places. Bernard Palissy. This artist made a peculiar kind of ware, which has rendered his name celebrated over Europe. He was born at La Chapelle Biron, in Perigord, a.d. 1510. He was originally a painter on glass. In 1539 he married and established himself at Saintes. After many years of diligent research and patience, under trying circumstances, including the reproaches of his wife— which might naturally be expected, for it is related he actually burned his tables and chairs to heat the furnace for his experiments in perfecting the pottery, — he at length suc- ceeded in discovering the enamel which decorates his ware. It is recorded of him, that in his pleasant moments he used to N 2 i8o FAYENCE PALISSY . say, in reference to his trade as a potter, that he had no pro- perty whatever except heaven and earth. His rustic pottery, and other beautiful productions, were soon appreciated, and he rose to opulence. He made large pieces, such as vases and statues, for Henry II. and his court, to ornament their gardens and decorate their palaces and mansions. Being a Protestant, he was, after the Edict of 1559, taken under the protection of Catherine de Medicis, and settled in Paris, thus escaping the Massacre of St. Bartholomew. In 1588, however, he was confined in the Bastille for his religious opinions, and lingered in those dungeons until his death, which happened in 1589. He had two nephews, Nicolas and Mathurin, who were asso- ciated with him in his ceramic productions, notably in the decoration of the grotto of the Tuilleries. His continuators were Jehan Chipault and Jehan Biot, in the XVIth Century, but they executed very inferior specimens. The natural objects found upon the Palissy ware are true in form and colour, being mostly modelled from nature ; the shells are all copied from tertiary fossils found in the Paris basin ; the fish are those of the Seine, and the reptiles and plants such as he found in the environs of Paris. W e recognise one of Palissy's vases of figuline rustique treasured up in the Collection of the Duke of Lorraine, in 1633 : "Un goublet antique de terre rustique." A large round basin, representing Diana leaning on a stag, with dogs around her, after the celebrated relief in marble of Diane de Poictiers en chasseresse by Jean Goujon, bought in the Soltykoff sale ^292. Another oval basin, with masks and flowers, ^160. A pair of salt cellars, of two sirens, ^80., and two statuettes of Mercury and a player on the bagpipes, ^103. A very fine circular dish, with a lizard in the centre and rich border, was sold in the Bernal sale to Baron Gustave de Rothschild for £162. \ it was brought in a broken state in Paris for twelve francs, and after being restored was sold to Mr. Bernal for £\. There are several fine specimens in the Soulages Coll., S. Kensington Museum, and in the Collections of Mr. Magniac, Mr. Addington and others. FAYENCE — SAINTES. POICTIERS. l8l Saintes. This inscription is on a large hunting bottle of white fayence, deco- P, P rated in blue, with loops for suspension, y . kin P^^'^^^^ ^ith roses and tulips, and in the ^ I ^\0^ e IM, L/* centre within a wreath, on one side is the SilxnfeS name Alexandre Beschet, and on the I 5 SO other the inscription in the margin, meaning the sign of the image of Notre Dame at Saintes, quoted by M. B. Fillon. La Chapelle des Pots, near Saintes. It was here that Bernard Palissy learned the first elements of his trade. Here also, after his death, an extensive manufacture of ware of a ■ similar character was continued until the middle of the XVI Ith Century. A great variety of forms was produced, plates, dishes, bells in the shape of women with hooped petticoats, puzzle jugs, drinking cups in form of the sabot, barrels, beni- tiers, candlesticks, &c. Vast quantities of defective pieces and fragments of the ancient manufactory are dug up. At the present day common pottery is made here. Brizambourg, near Saintes. There was another fabrique of fayence here, as appears from a document quoted at length by M. B. Fillon {Art de Terre cJiez les Poiteviiis), of the year 1600, in which we find that Enoch Dupas, maistre faiaiicier de Brizambou7^g et y demeurant, claimed from Ren^ A maud escuyer, seigneur de la Ga7'C7ine la somme de six vingt escus (120 crowns), prix et ray son de vaisselles imp7'essdes de ses armes, moderde par le jugement a celle de soixa7ite et quinze escuz (75 crowns). Poitiers. A. Afo7^rei?te was a model- ler of figures in te7^7^e de pipe. His name . ^ is found traced with a point both before jOoi tl^y>^ and after baking. This mark is on the \ jSz. figure of a monk praying. Le Sieur F3.squier, /ad ricant de faience dmailli at Poitiers, claimed in 1778 the protection of the minister Bertin for the liberty to dig for clay, which had been refused by the owners of the land. l82 FAYENCE — ST. VERAIN. NANTES. NEVERS. St. Verain. In the neighbourhood /* . f.P ^\ of Nevers there was a fabrique of gre's. Jtwctt 16^ nicv^ Renault of Lu9on has an inkstand lG(^X with this inscription. It is covered with 7\ ^ P^^ i ^ a thick enamel of a fine blue colour. The / . mark is traced m the clay, beiore tirmg, ^ + f^/x. 1« underneath the piece: Made the 5th of ^ May, 1642, by Edme Briou, livmg at St. Verain. Nantes. There was an ancient establishment for the ma- nufacture of fayence of white enamel created by Jean Ferro, gentilhoin7ne verrier, in 1588. Another fayence maker of the same town is mentioned in the archives of the Chamber of Nantes in 1654, named Charles Guermeur. This ware was also white, sometimes with fleurs-de-lis in relief, specimens of which are frequently met with in the neighbourhood. I ^T-^Axr ^* ^* -P^^l^^ gives this mark, which is LIl^EAJVAClEAV* on the back of a plate, painted in blue caifiaieUy with four medallions of a lion, a stag, a serpent, and a horse, and in the centre the Massacre of the Innocents, copied from a print by Marc Antonio, after Raphael, which he attributes to Nantes, and says it is very similar to that made by Clerissy of Mous- tiers, painted by Gaspard Viry. On the 7th March, 1752, a fabrique oi fayence was founded by M. Leroy de Montillee and a company, which was success- fully carried on for some years, but having passed into the hands of M. Delabre, in consequence of heavy losses sustained by him, it was sold in 1771 to Sieurs Perret and Fourmy, under whose management it again became prosperous and supe- rior to what it had been under their predecessors ; its products were in such high estimation that in 1774 it obtained the title of Manufacture Royale de N'antes. The original Arret is given at length by M. B. Fillon {Artde Terre chez les Poitevijts), and it accords to Joseph Perret and Mathurin Fourmy, Royal patronage and liberty for the servants to w^ear Royal livery. Nevers (Nievre). In the year 1590 the alchemist Gaston FAYENCE NEVERS. 183 de Cleves dedicated a book to Louis of Gonzaga, Duke of Nevers ; in the dedicatory epistle he extols this prince for having brought into his States, expert artists and workmen in the arts of glass-making, pottery, and enamel. The quotation from this scarce book is given by Marryat at some length : " Hiitc vitraricE figulificB et encatisticce artis artifices egregii jusso hio accerststi" &c. About this time the name of Scipio Gambyn is found in the parish registers as godfather in 1592 ; he is there described as " pothier." A relation of his, probably a son or a brother, Julien Gambyn, of Faenza, obtained authority to establish a manufactory of fayence at Lyons, but the earliest evidence of one at Nevers is that founded by Domenique Conrade, a gentleman of Savona, a native of Albissola, where the fayence of Savona, well known in Italy 1560 to 1600, was made; in 1578 he obtained letters of naturalization from Henry III, and about this time founded his fabrique at Nevers. In a brevet, according privileges to Antoine Conrade at a later period, by Louis XIV. and his mother the Queen Regent, it is stated, Estant bien inform^ de son industrie et grande experience a faire toutes sortes de vaisseaux de faience quel science rare et particuliere 6tait reserve secrettement de pere en fils en la maison Domenique de Conrade." In July, 1602, Domenique Conrade's name first appears on the parish registers with the simple qualification of " Maistre potier demeurant a Nevers." His brothers, Baptiste and Augustin, are frequently mentioned from 1602 to 16 13, and were doubtless associated with him. Antoine Conrad, of the second generation, appears as *'Faiencier de la maison du Roi" in 1644. Domenique Conrade, of the third generation, is styled in the registers of 1650- 16 72, " Maistre faiencier ordinaire de S. M." Up to 1632 no other potters are spoken of, but in that year Barthelemy Bourcier founded a second manufactory. In 1652 appeared successively two other fabriqueSy one by Nicolas Estienne at the " Ecce homo," and the other by Pierre Custode and Esme Godin at the sign de I'Autruche." FAYENCE NEVERS. From 1632 Pierre Custode is designated " Maistre potier en vaisselle de faience," and he probably came from Savona with the Conrades, working under their direction until 1652, when he himself became a director. At the beginning of the XVIIIth Century, in consequence of the success of the Conrades and Custodes, several other manufactories were started, and in 1 743, by mi arret de conseil^ the number was restricted to eleven ; upon earnest solicitation in 1 760 a twelfth was permitted by Royal ordinance, which was in consequence called La Royale." The twelve fabriques were as follows : 1. Fabrique des Conrades, 12, Rue Saint Genest, founded by Domenique Conrade. 2. Fabrique des Custodes, 11, Rue Saint Genest, first called I'Autruche, founded by Pierre Custode and Esme Godin. 3. Fabrique de I'Ecce homo, 20, Rue Saint Genest, founded by Nicolas Estienne. 4. Fabrique Dumont Champesle, 4, Rue de la Tartre, founded by Barthe- lemy Bourcier. 5. Fabrique de Bethleem, 6, Rue de la Tartre. 6. Fabrique Halle, 12, Rue de la Tartre. 7. Fabrique Boizeau Deville, 14, Rue de la Tartre. 8. Fabrique Ollivier, 26, Rue de la Tartre. 9. Fabrique Gounot ou Merceret, i, Rue de la Cathedrale. 10. Fabrique de Prysie ou de Bonnaire," Place Mosse. 11. Fabrique du Bout-de-Monde, 10, Rue du Croux. 12. Fabrique la Royale, 13, Rue du Singe. In 1790 these were all in active operation, but shortly after this time, in consequence of the French Revolution and the Treaty of Commerce between France and England, by which the English potters had the opportunity of pouring in their earthenware at so cheap a rate that the French could not compete with them, added to this, the price of lead and tin, which came principally from England, was raised ; all these disadvantages came so quickly upon the fabriqties of the South of France, that a panic ensued. In 1797 we read that at Nevers six had absolutely suspended their works, and the other six were reduced to half their number of workmen. On page 154 will be found a statement of the principal manu- FAYENCE NEVERS. 185 factories of France, which was attached to a petition from the fayenciers to the National Assembly. Nevers has always been famed for the sand used in the manufacture of fayence ; we are told in the " Encyclopedie Methodique," Paris, 1783, that Lille in Flanders, Saint Cenis (Sinceny), Lyons, Nantes, and Rouen, all obtained their sand from Nevers. The fayences of the first epoch have been frequently con- founded with Italian maiolica, but a little study will soon show the great points of difference. In the Nevers ware the figures are always yellow, either clear or opaque, on blue ground ; the Italian figures are usually painted blue, on yellow ground. At Nevers they never employed red or metallic lustre, and the outlines are always traced in manganese violet, never in purple or black. For example, on a plate painted in polychrome, with the four tens of a pack of cards, the clubs and spades are violet, the hearts and diamonds yellow. A par- ticular sign on the monochromes of Nevers is the decoration on the reverse. During the second epoch the ground was a peculiar lapis lazuli blue, like the Persian, called blat de Perse, spotted or painted with white, the vases and jugs being occasionally ornamented with masks and twisted handles (which was also imitated at Delft by an artist signing A. P. W.) The Chinese patterns are in light blue en caviaicti on white, sometimes intermixed with a sort of brown lilac. Those of the other periods, in the style of Rouen and Moustiers and the Saxon style, are well known ; some also of the later time have verses and inscriptions of a popular character, and revolutionary sentences, such as the following : " Aimons nous tous comme fr^res, 1793." " Ah ! 9a ira." " La Libertt^, 1791." " All bon labourer, Francois Simonin I'an 4 de la liberte." " Le malheur nous r^unit" (a noble and a priest shaking hands). " Aux manes de Mirabeau, la patrie reconnaissante, 1790." " Le serment civique." " Vivre libre ou mourir." " Je jure de maintenir de tout mon pouvoir, la constitution." Dansons la carmagnole, vive la carmagnole, 1793." i86 FAYENCE NEVERS. " Vive le Roi citoyen ! " " Le lis ramenent la paix." " Bourrons les aristocrates." " Indivisibilite de la Republique." " Guerre aux tyrans et paix aux chaumieres." [The above are in the collection of M. Champfleury.] " La Nation, la loi." " Vive la Constitution." " Mirabeau n'est plus " (written on a tomb). " Fraternite, egalite ou la mort." " Vive la joye, la paix est faite." There is a large punch bowl or saladier dated Nevers, ^ 14th February, 1758, decorated in polychrome, which is par- ticularly rich with verses ; the subject is Farbre d' amour," — six women at the foot of a tree, upon which are perched nine men, and on the top a cupid le trompeur." In the collection of Mr. C. W. Reynolds. The classification of Nevers fayence by M. du Broc de Segange is here given. Each epoch comprehends three divi- sions — polychrome, camaieu (in monochrome), and sctUpture imaillies. ' ' ist Epoch, 1600 to 1660. Tradition Italienne. 2nd Epoch, 1650 to 1750. Gout Chinois et Japonais. 1630 to 1700. Gout Persan. 1640 to 1789. Gout Franco-Nivernais. 3rd Epoch, 1700 to 1789. Tradition de Rouen. 1730 to 1789. Tradition de Moustiers. 4th Epoch, 1770 to 1789. Gout de Saxe. 5th Epoch, 1789. Decadence of the art. M. du Broc de Segange, Director of the Nevers Museum, in his book, La F'iaence et les Faienciers de Nevers, Nevers, 1863, has thoroughly shifted all the available documents which could throw light on the early history of Nevers fayence. He has searched the parochial registers, and has thus been enabled to fix certain dates on the earliest specimens ; he gives, in fact, a genealogical tree of every potter who has lived at Nevers, his date of birth, marriage, and decease. The work is illus- trated with coloured engravings of the most celebrated speci- mens in the Nevers Museum, which collection already numbers more than five hundred pieces. In the Musee de Cluny are two very fine ewers of the FAYENCE NEVER S. 187 XVI Ith Century, with hunting and mythological subjects, Nos. 2147 and 2148; an ewer and basin, with the Triumph of Amphitrite, 2149 and 21 50; also, a very fine plate, 1235. At the S. Kensington Museum, a pilgrim's bottle, of the I St epoch, subject, Apollo and Daphne, and a Bacchanalian scene, in polychrome on a blue ground, cost ^15. 4s. 6d. ; and another bottle, with Persian blue glaze, enriched with white enamel flowers, ^9. A pair of very large Nevers ware pilgrim's bottles, with flowers and foliage in white, on metal plinths, 165 inches high, in the Bernal Collection, was purchased by the Earl of Craven for ^53. 6s. Nevers. This mark occurs on a plate, N painted in blue, Chinese style, in the Nevers Museum, of the end of the XVI Ith or beginning of the XVI I Ith Century. M. du Broc de Segange attri- butes it to Nicolas Viode. Nevers. These marks were attri- buted by Brongniart to Senlis, but M. du Broc de Segange has rectified the mean- ing, and states them to be the monogram of Jacques Seigne, a celebrated faiencier of the XVI I Ith Century. A mug, in form of a crown, with border of the vine painted in blue, is in the Sevres Museum, and another in that of Cluny. / Nevers. This mark is on a compo- I I tier, blue and orange, given by M. Bron- ^^T> gniart. Nevers. This name of J. Boulard is on a statuette of the Virgin and Child, of fayence, painted in colours ; at the bottom, in front, is written : f. simon lefebvre., and on the back the potter's name, who was a contemporary of the Conrades. In the possession of M. B. Fillon. i88 F AVENGE NEVERS. ^HA) Nevers. Domenique Conrade, the ^ third of the name; from 1650 to 1672. He is styled in the parish register " Maistre Faiencier Ordinaire de S. M. Le Roi." This signature is on a plate in the Sevres Museum, painted in blue ^-.4.^-1 J- figures, with birds, figures, stags, &c. ; VJT Vr U \ I vA li, centre a man riding on horseback over a bridge. Nevers. Henri Borne. On the back of a figure of St. Henry, 2 1 \ inches high ; also on another of St. Etienne, dedicated to his wife, inscribed " E. Borne, 1689." HB Nevers. Jehan Custode, of the ist epoch, 1602 to 1660, who painted at the age of 12. On pieces in the Collection of M. Andre Pottier. 1602 to 1660. So attributed by M. du Broc de Segange. 1656 Nevers. Denis Lefebvre, 1636. So attributed by the same author, who has a specimen in his Collection. Nevers. This mark is in white, in the centre of a bleu de Perse plate, painted with white scrolls and leaves. In the possession of Mr. A. W. Franks. Nevers. On a fayence jug, white ground, with small yellow and green flowers, blue striped handle. XVHth Century. FAYENCE — ROUEN. I 89 Nevers. Claude Bigourat and Jeanne Claude Bigourat B^p^rat. Both occur on a benitier, 1 764. painted in blue camaieu with their patron saints. Coll. of M. du Broc de Segange. Nevers. The signature of Francois F R \n^^ Rodrigue (^eV Duplessis). On a benitier, 734- in blue camaieu, of the Virgin and Child. Coll. of M. du Broc de Segange. Marzy, near Nevers (Nievre). About the year 1850, M. Tite Henri Ristori, an iccv^ej Italian sculptor, founded a manufactory ""^SSS" fayence. The paste is almost of egg- shell lightness and substance, and the vessels are very elegant in form and beautifully painted. At the Paris Exhibition the ware was much admired, and he obtained a first class medal in 1856. In the S. Kensington Museum are ten pieces, bought at that time for £\6, and ^8. ; the others at less price. Rouen. There was an establishment for the manufacture of pottefy at Rouen early in the XVIth Century, which was evidently in great prosperity in 1542. A RO U E N There are two remarkable pictures, which 1542. now decorate the walls of the conserva- tory at the mansion of H. R. H. the Due d'Aumale, Orleans House, Twickenham ; they formerly formed part of the pavement of the Chateau d'Ecouen, bearing the arms of Montmorency. These pictures are formed of a num- ber of tiles placed in juxtaposition, representing the stories of Marcus Curtius and Mutius Scaevola, and on them is written " A Rouen 1542." They each measure 5 feet 3 inches high by 6 feet 4 inches long. M. Pottier thinks he has discovered the artist in a certain Maclou Abasquene, spoken of in the Chroniq2ie Roiieiiiiaise of 1549, in conjunction with another artist, named Dumolistier, painter to the King. From this period until the middle of the XVI Ith Century no notices of the Rouen fayence have been discovered. The descriptions FAYENCE — ROUEN. of pottery are very varied, and there were many establish- ments. Among them we find a grant of privilege accorded to Nicolas Poirel, Sieur de Grandval, cncE cs^ UOiKli in 1646. The mark in the margin, I^'zl'^^"^ "faict a Rouen 1647," is attributed to him. It is on a circular plate, in blue camaieu; in the centre is a female centaur, and a border of four octagonal medallions and flowers, in the Persian style; Collection Gouellain at Rouen. It is found also on a vase in the Collection of M. Pottier, of the same city. The fayence of Poirel de Grandval was in imitation of Delft, and he brought his workmen from thence. Another grant of privi- lege was given to Edme Poterat, of St. Sever, Sieur de St. Etienne, in 1673. According to a deed recently discovered by M. Pottier, he died in 1687, and was succeeded by his son, Louis Poterat, who had carried on a rival establishment at Rouen. At the commencement of the XVIIIth Century, especially during the epoch of a ceramic painter named Guille- baud, about 1730, the Chinese style pervaded all the Rouen fayence, but it was transformed or travestied, and possessed a special physiognomy; the subjects were landscapes and build- ings, with figures, fantastic birds, dragons, and marine animals, in blue, yellow, green, and red, bordered with the square Chinese ornaments. Mr. \X Jules Greslou places this {sans grand certitude) as the mark of M. Guillebaud. It is on a porte huilier, covered in floral arabesques in red and blue, finely painted. A bowl, which has descended by inhe- Brmnent Htance to a family named Le Brument, 1 699. of Rouen, has this signature ; it is orna- mented with designs of cartouches, scrolls, and leaves. A When Louis XIV. sent his silver plate ^^^^ to the Mint to assist in defraying the expenses of the war, he had a service ^ made at Rouen, which bears the mark of FAYENCE — ROUEN. the fleur-de-lis. These pieces were made in the form of birds and animals, such as were served at table, as pheasants, hares, ducks, &c. Mr. H. G. Bohn has one specimen, of a turkey, marked as in the margin, with two batons crossed beneath. The mark of M. Guillebaud, about 1730, decoration a la come — Guillebaud a Rouen. The paste of the Rouen fayence is heavier and thicker than that of Delft, but the designs and ornaments are full of taste, decorated in blue camaieu and in poly- ^f^^ chrome, some in the Nevers style, of ^^^/J I 1 white on blue ground, but of paler colour. CP It is the most artistic of all French fay- ences, by reason of the national character of its decorations. The pieces were often ¥^ A r } large size, as fountains, vases, &c. There Ll£\.Cln i J f many fine specimens in the Museum at Sevres, some painted with arabesques and armorial escutcheons. There are four splendid terminal busts of the Sea- sons in Hamilton Palace, th^ cke/s d' ceuvre of Vavasseur, potter of Rouen. The finest collections are those of M. Leveel, of Paris, recently purchased for the Mu- ^ ^^1% seum of the Hotel de Cluny ; and that Jg^ ^- Pottier, of Rouen. The letters on ^ ^ the ware are very numerous ; some of them are given in the margin. In the Collection of M. Edouard Pascal are the following — D V ; P P : BB: P D: M D: D: LD: L|: A D: H V: D Z: G: F D:&c. A salad bowl in the same collection has the name of Nicolas Gardin 1759." X ' The mark of Nicolas Gardin about OSVQVWj 1760, on a plate painted with trophies of torch, arrows and quiver, called fayence 192 FAYENCE — ROUEN. IN azi carquois, scrolls on the border. Two fine polychrome plates, 20 inches diameter, in the Dejean Collection, Paris, for which he paid £60., painted with Judith and Holofernes, and Christ and the Woman of Samaria, have the signature of the ^ potter Leleti, This mark is on a large octagonal plate, painted in red and blue border of arabesques ; in the centre a ^ basket of flowers. Rouen. On an earthenware tureen with a group of dead game in relief on the cover, but of inferior quality to the Rouen fayence generally. In the Ken- sington Museum. There is also a Rouen fayence ewer, painted with " St. Jeanne " and a landscape, dated 1737. In the petition of the faiencters, to the National Assembly, in 1790 {see page 154) there were 16 fabriques of various kinds of fayence in active operation, being more than was allowed in any other city in France, — there being at Paris, 14; at Nevers, 12; at Marseilles, 11 ; Bordeaux, 6; Moustiers, 5. There are some specimens of modern Rouen fayence in the Sevres Museum, from M. Letellier, in 1809; M. de la Met- terie, in 1823; and M. Amadee Lambert in 1827; but we do not know when or by whom these establishments were founded. There is a very fine specimen of Rouen ware of the begin- ning of the XVIIIth Century — a bust of Flora, on a long pedestal, the drapery and pedestal diapered with flowers and arabesques; height 7 feet 3 inches. Presented by the late Duke of Hamilton to the Kensington Museum. This mark, within a wreath, is on a celestial globe, with the constellations in Js^ ROUE IT colours, supported on a pedestal, cherubs •iy2-^* heads on the four angles, and between PEINx PAT^ the four elements. The companion is PiBRRI? the terrestrial globe, similar, but with the CHAPEllE four seasons on the pedestal, and stand of four lions' heads and shoulders; about 4 feet high. FAYENCE NIDERVILLER. NiDERViLLER (Meurthc). Established about 1760 by Jean Louis Baron de Beyerle. The pottery is in the German style, in consequence of German potters being employed, and is remarkable for the richness and delicacy of its decoration; it is most frequently painted with flowers in bouquets and garlands. The buildings were constructed after his own plans, and being a good chemist he brought the wares to great per- fection. He was associated with a German named Anstatt, and no expense was spared to insure success; the fine fayence figures and groups are well modelled. About 1 780, four years before his death, the estate was purchased by General Count Custine, and carried on by him under the direction of M. Lan- fray principally in the manufacture of porcelain. NiDERViLLER. The monogram of M. ^^^^j Beyerlet of Niderviller or Nider- ville. ^ NiDERViLLER. Gcn. Custiue succeeded Beyerlet. This mark was the first used under his direction. In the Collection of M. Mathieu Meusnier, of Paris, were four plates painted with the cipher of the Marquis de Custine and the device " Pais ce que tu dois, arrive ce qui pourra." ^1 ^ NiDERViLLER. Another mark of Gen. \_/ Custine, on fine fayence as well as on porcelain, — the two Cs with or without Xa count's coronet; used about 1792. He was beheaded in i 793. The two Cs are also found on the German porcelain of Louisberg, but surmounted by an Imperial crown, with a cross at its apex. There are several specimens in the Sevres Mu- seum; and on jugs of white fayence with coloured designs. NiDERViLLER. On an oval fayence dish H painted with flowers, rococo border of yellow, blue, and lake, green leaves ; marked in blue ati grand feu. Mr. C, W. Reynolds* Coll. o 194 FAYENCE BESAN^ON. LUNEVILLE. BLOIS. BESAN90N (Doubs). M. Bulliard, fabricant, sent some ser- vices in 1809 to the Sevres Museum, of ordinary white and brown fayence. D'Annet (Chateau). ItaHan school. Fine fayence. M. Brongniart gives this mark from an enamelled tile for pave- ments or walls, in the Sevres Museum, from the Chateau d'Annet. XVIth Century. Luneville (Meurthe). Established 1731. The most an- cient fabrique of fayence was that established in one of the Fauxbourgs at Wilier, by Jacques Chambrette, towards the end of the reign of Leopold, to whom the Duke Francois III. accorded privileges by letters patent, on the loth of April and 14th June, I 731. The proprietorship passed into the hands of Gabrielle Chambrette, his son, and Charles Loyal, his son-in- law, as shown by the letters patent of the 1 7th of August, 1758. These documents speak of them as being directors of the manufactory at Wilier for making ordinary fayence and terre de pipe, and accords to it the title of the Royal Manu- factory or Manufacture Stanislas. In 1778 it was sold to Messrs. Keller and Guerin. They made K. & G. fayence of blue decoration, like Nevers, LUNEVILLE. and rose and green, like that of old Strasbourg; and it is still carried on by the grandson of M. Keller. Shneider was a celebrated potter who worked at Luneville. Large figures of lions, dogs, and other animals, sometimes of the natural size ; pierced fruit baskets, like the German, &c., were made here in the XVIIIth Century. The name of the town is frequently printed at length, as on two large dogs in the Musee de Cluny. In 1790 there were three fabriques in active operation. Blois. There was a manufactory of fayence here in the XVI Ith Century. M. Ulysse Besnard, Director of the Blois Museum, informs us that it was of a LEBARQUET. superior quality, with pure white stan- niferous glaze, decorated with enamel FAYENCE — STRASBOURG. colours, equal to the most successful productions of Nevers and Rouen. These specimens are signed Lebarquet. We have not been fortunate enough to meet with any examples. Strasbourg and Haguenau (Basse Rhin). Founded by Hanung, about 1750, for the manufacture of fayence, called in France "poterie du Rhin." In consequence of the monopoly of Sevres, he removed his manufacture ^ of hard porcelain to Frankenthal, leaving "Xit 1 I sons, Paul and Joseph, to succeed I 1 I 1 n hirn at Strasbourg in the making of fayence. The ware is generally deco- STRASBOURG ^^^^^ ^'^^^ flowers in red, rose-colour, and green. A clock case, in the Leveel Collection, Paris, has the name of the ^ town at length. /jf^ Strasbourg. J. Hanung. This mo- / w nogram is on a pair of fayence bottle ^ stands {porte hiciliers) in Captain Lang- '^\rjC~ ford's Collection. Strasbourg. Hanung. On the figure 8 of a bagpiper, of coarse white ware, ar- tistically modelled ; the mark is in pale blue. In the possession of the Rev. R. Waldo Sibthorpe. T Strasbourg. This mark in blue is found upon the early pottery. Hanung's father was a tobacco pipe maker. The marks of the Hanungs are frequently accompanied by a number, and sometimes a letter indicating the pattern, to enable the merchants to give their orders to the manufacturers without making any mistake ; a plan also adopted at Delft in many fabriques. Strasbourg. This monogram is on • a fine plate, with designs in blue, green, I — L/ and yellow, somewhat similar to the fay- J. 1 Vy ence of Marseilles or Moustiers; marked in blue under the glaze. o 2 196 FAYENCE STRASBOURG. MOUSTIERS. The fayence of Strasbourg has been imitated in the South of France, especially at Marseilles. They are much alike, and frequently without marks, but may be known by this pecu- liarity: the fayence of Strasbourg has quite a plain surface where the colours have been laid on, whilst that of Marseilles has nearly always the colours in slight relief, and may be known by passing the hand over the decorated portions. German workmen were employed. MousTiERS (Basses Alpes) Midi. Fine fayence. 1686 to 1800. We have no record of the origin of this important fabrique ; but a manuscript, read before the Academy of Marseilles, in 1792, now preserved in the library of that city, gives us an insight to its history. It informs us that the fabrication of fayence in Provence commenced at Moustiers, and that the Spanish Government, wishing to improve their own manufacture, and knowing the importance of that already existing in Provence, the Comte d'Arenda, then minister (1775 to 1784), engaged workmen from Moustiers and Marseilles to go to Denia, where, having expended a great deal of money in re-establishing the pottery, and in making experiments to improve the colours, especially the blue, hitherto only known in France, it proved unsuccessful, and was abandoned. One of the artists, of the name of Olery, returned to Moustiers and established himself there, where Clerissy had already made beautiful fayence, and was making a rapid fortune. With the knowledge he had acquired in the employment of colours, and by introducing new forms, he soon surpassed Clerissy, but not being prudent, economical or rich, his secrets became known, and he sank into mediocrity. It is only within a few years that the fayence of Moustiers has become known to amateurs, and M. Brongniart makes no mention of it in his Treatise on Pottery in 1844. It has been indiscriminately attributed to Rouen and Marseilles, and by some even to St. Cloud, but the researches of M. Riocreux, of Sevres, Messrs. Jacquemart & Le Blant, Dr. Bondil, of Moustiers, M. Davillier and others, have thrown considerable light upon its early history. According to M. Davillier, in FAYENCE — MOUSTIERS. 197 the archives of Moustiers, the name of Pierre Clerissy occurs in 1677 1685, without any mention of his profession, but in the year 1686 is found the baptism of Anne, daughter of Pierre Clerissy, maitre fayansier." This is the earHest record of a manufactory here. In subsequent registers he is called Marchand Faiencier," and on the 25th of August, 1728, his death is recorded at the age of seventy-six. About the year 1686, therefore, at the age of thirty-four, he probably founded this manufactory, which he directed for forty-two years. A second Pierre Clerissy, son or nephew of the first, born in 1 704, having made a large fortune in the same business, was in 1743 ennobled by Louis XIV., under the title of Baron or Comte de Tr^vans. He associated himself with Joseph Fouque, to whom the fabrique was eventnally ceded between the years 1740 and 1750, and it has been continued uninter- ruptedly by members of the same family until 1850. In the same archives for the year 1727, a certain Pol or Paul Roux is mentioned as Maitre Faiencier," of this town; and in the year 1 745 is the entry of the death of Marie, daughter of Joseph Olery, " maitre fabriquant en fayence." We have, therefore, evidence of at least three manufactories of fayence existing in 1 745. From the middle of the XVI I Ith Century other fabricants, prompted by the prosperity of Cle- rissy, Olery and Roux, came to establish themselves at Mous- tiers. In 1756 we are informed there were seven or eight, and in 1 789, according to Dr. Bondil, these were increased to eleven ; their names were Achard, Berbiguier et Fdraud, Bondil pere et fils, Combon et Antelmy, Ferrat freres, Fouque pere et fils, Guichard, Laugier et Chaix, Mille, Pelloquin et Berge, Yccard et F6raud. M. I'Abb^ Feraud, in a letter, to M. Davillier, mentions also the brothers Thion as possessing a very fine fabriqtie, and he adds that the Fouques were the last who attempted to revive the manufacture of painted fayence. M. F'ouque, a descen- dant of the above, speaks also of another faiencier, named Barbaroux. The products of the Moustiers fabricants may be divided into three periods : FAYENCE MOUSTIERS. 1st Epoch is towards the end of the XVIIth Century; the subjects are hunting scenes, after Tempesta, Frans Floris, &c., painted in blue en camaieii, escutcheons of arms, champetre scenes and figures in the costume of Louis XIV, mythological and biblical subjects, with arabesque borders of the same colour. The outlines are sometimes lightly indicated in violet of manganese. These early specimens of Pierre Clerissy have no marks or signatures. 2nd Epoch. From the commencement of the XVIIIth Century to about 1745. The specimens of this period are better known to amateurs, and not so rare ; they are also decorated in blue camaieu in the style of Jean Berain and Andre Charles Boulle, with highly finished and graceful inter- laced patterns, amongst which are cupids, satyrs and nymphs, terminal figures, garlands of flowers, masks, &c., and canopies resting upon consoles or brackets, from which hang drapery, bordered or framed with -foliage and hatched spaces, mytho- logical personages, vases of flowers, fountains and other designs being frequently introduced ; the centre subjects are classical or champetre figures in costume of the time, some- times coats of arms. Some of the fayence of this period is painted in cobalt blue in the Chinese style, which M. Davillier attributes to Pol Roux, and refers to a similar plate in the Sevres Collection bearing the arms of le grand Colbert. The former he assigns to Clerissy. None of these bear the mark of the potter, but a few have the initials of the decorator. 3rd Epoch. From 1745 to 1789 the fayence is mostly painted in polychrome ; some specimens are found in blue camaieu, but they are exceptions, and seldom in the Berain style of arabesques ; the colours are blue (which prevails), brown, yellow, green and violet ; on some which are rarely met with, a red is introduced which sinks into the enamel in a furrow. The decorations on this ware are garlands of flowers, fruit and foliage, finely painted, sometimes with mythological subjects, medallions enclosing cupids, busts of gods and god- desses, warriors, &c. Other patterns of this period consist of grotesque figures or caricatures, sometimes in green and yellow, and sometimes FAYENCE MOUSTIERS. 199 en grisaille in the style of Callot ; men with asses' ears playing upon their noses which are shaped like trumpets ; apes dressed in extravagant costume, riding upon impossible animals, chi- merae, &c. These are by Joseph Olery, and may be easily recognized, as they nearly always bear his trade mark, an O traversed by an L, the two first letters of his name, frequently accompanied by the initials of the decorator. The population in 1789 was more than 3000, but at the present day it does not amount to above 1300, and there are only two manufactories of ordinary white fayence, that of M. Feraud and of Messrs. Jauffret & Mouton. The outlines of the designs were transferred to the surface of the ware before it was painted, by means of paper patterns pricked with a fine needle and powdered with charcoal, so that the subject could be reproduced as often as required. Many of these pricked paper patterns are in the Sevres Mu- seum, and M. Davillier has about eighty more, some dated 1752 to 1756 (their authenticity is proved by the paper mark), the subjects too being of the same character as on the ware just described. MousTiERS. This is one of the earliest marks known, painted by Gaspard Viry for Pierre Clerissy. His name fre- quently occurs in the minutes about the '^'ViTy^.ct^onifteTj. year 1698, where he is styled painter, c / */V* occurs on a dish painted in blue, with Cf'^rijjy a Bear hunt, after Tempesta, with ara- besque border, in the possession of M. J. C. Davillier. The name of Jean Baptiste Viry, " peintre faillancier," also occurs on the register. MousTiERS. These marks are found separately upon the blue camaieu pieces. Possibly the F may be intended for ^ ^ Fouque, successor of Clerissy. A great ^1 many other letters are found upon this ware, but as w^e cannot tell with any . degree of certainty whether they denote the potter's or painter's names, it is use- less to reproduce them. 200 FAYENCE MOUSTIERS. M'C'A \yiS*TA MousTiERS, Another mark given by ' ' ' * M. Davillier. S I 1 U.(X Col Moustiers. These names of painters t/OTCLU occur on some pieces painted in poly- J!y[.iGLl?( ^ifdX possession of M. Le Veel, M. E. Pascal, and other collectors. M. Jy ^ ^ Davillier thinks they formed part of a yJlCLTL^Qi, service, which, according to tradition, was made for Madame de Pompadour, about 1745, ''au chiffrede dix mille livres," by Pierre Clerissy. Moustiers (Olery). Other specimens on which blue predominates, accom- panied by other colours, as brown, yel- low, green and violet. Moustiers (Olery), being the first and last letters of his name. There is a basin, made on the occasion of the Battle of Fontenoy, in 1 746, richly decorated in % C I I polychrome, with flowers, cupids, &c. ; y ' Victory in the centre holding two flags, on one is written, Ludovicum sequitur," on the other Cum Ludovico delectatio," and a scroll held by cupids, with ''Victoria." In the possession of M. J. C. Davillier. Moustiers (Olery). The first two Ai r(i y/j marks are on a piece painted in blue I jv jT camaieu; the other is sometimes found ^ alone. ^ Sc Moustiers (Olery). With painter's initials, on a specimen in the Sevres Museum. Moustiers (Olery). On a piece pain- ted in blue camaieu; accompanied by ^ \/ painters' marks. FAYENCE — MOUSTIERS. 20 I MousTiERS (Olery). On a very fine dish, painted in polychrome with a clas- sical subject and elegant borders, belong- ing to Mr. C. W. Reynolds. MousTiERS. Uncertain marks, pro- bably posterior to Olery. The mono- gram p. A. is the name of the potter, the other letters refer to the painter. MousTiERS. On a polychrome plate, dated 1778, when the decoration was in its decadence. MousTiERS. Ferrat is the name of a manufacturer of this place, about 1 760, -A ^ ^> >/-'>, ori an oval dish with flowers, in poly- chrome, m the bevres Museum, rerrat freres are mentioned by Dr. Bondil as potters still carrying on business in i 789. MousTiERS. This name occurs on the ^ ^ body of a gourd-shaped vessel, painted ^ X in polychrome, with garlands of flowers, probably the person for whom it was made. ^'77^- MousTiERS. The initials perhaps of ^'^^:^V''^ Guichard the potter. It is on a vessel //''"*d 'v. 'N with a handle and spout, called in Pro- vence gargoidine, painted with flowers. The mark is pounced in the manner be- i^^''^... ""C'* j^^-p fore described, applied by means of paper * pricked with a needle. MousTiERS. A potter of the name of Thion a Moustiers. Thion is mentioned by M. L'Abbe F6- raud as having a fine manufactory at 202 FAYENCE MOUSTIERS. MOULINS. MARANS. Moustiers. This mark is on a tureen of the XVIIIth Century, painted in colours ; in the possession of M. St. Leon, Paris. MousTiERS. A jug inscribed Vive Antoine Guichard, la paix, 1763." In the collection of M. de Moustiers, 1763, Champfleury. Guichard still carried on le \o X^r business in 1789. p PouPRE (Midi). There is a village near f)CtJ!?7^C Moustiers of this name. This mark is / found on the bottom of a fayence jug, Cl^ / ^/>^A A f painted with figures and flowers in J / ^ purple and blue, c. 1750. In the Sevres Museum. MouLiNS (Allier). This mark occurs on an octagonal plate of the XVIIIth Century, painted with figures, flowers, and y birds in the Chinese style of the Nevers ^ I I I* V\ c ^^^00^- In the Sevres Museum. There K I i I V o g^j.^ some pieces of white fayence and stoneware of more recent date from the manufactory of M. Massieu, 1809, in the same museum. Marans, near La Rochelle (Charente inferieure). The fay- ence manufactory at L'lle d'Elle being closed, another was . . established at Marans about 1 740, but XvJM^ they continued to draw the clay from the same place. There is a fountain in the Sevres Museum in the style of Rouen, painted with arabesques and designs in blue, red, and yellow. A vase of this fabrique is in M. Mathieu Meusniers Collection, it is 3 feet high, ornamented with garlands and acanthus leaves in relief. Some of the pieces are simply marked with M., as in the margin. The manufactory was removed from Marans to La Rochelle between 1755 and 1 760. R M FAYENCE ST. CLEMENT. APT. VAL-SOUS-MEUDON. 203 DiEU-LE-FiT (Drome). A manufactory of glazed earthen- ware towards the end of the last century ; the name occurs in the list of fayenciers who petitioned the National Assembly in I 790. In 1834 it belonged to M. Vignal, who sent specimens to the Exposition in Paris in that year; also in 1847. Sevres Museum. St. Clement (Meurthe). Established about 1 750. There are some specimens in the Sevres Museum, and others of later date, 18 19 and 1823. In 1834 Cosson, the manu- facturer, sent some fayence services to the Paris Exposition. Apt (Vaucluse), twelve leagues from Avignon. About the middle of the XVIIIth Century the fabrication of fayence commenced here, principally in imitation of jasper and brocatelle marble ; it acquired considerable reputation. The manufacture of M. Bonnet about 1780 is spoken of as imi- tating marbles. A vase made by M. Moulin in 1780 is in the Sevres Museum, with ornaments in relief and festoons of various coloured pastes. In the same museum are some specimens by Veuve Arnoux in 1802. In 1806 the fabricants of Apt sent to the Exposition of National Industry at Paris specimens of their marbled ware. M. Reyraud was a potter there in 1830. Val-sous-Meudon. There was a manufactory of fayence here in the beginning of the XVIIIth Century, which existed in 18 1 8, but only produced latterly a Claude Pelisie^ common description of ware. A saladier 1726. oi" punch bowl belonging to M. Marne (formerly Mayor of this place) was made for his grandfather, who was locksmith M. SaiiSOnty to the King ; it is painted in blue, with 1 733- 3. representation of a locksmith's shop and a man at the forge, inscribed Claude Pelisie." Another plate, in M. Michel Pascal's Collection, is inscribed " M. Sansont, 1738." M. Lamasse, of Meudon, also has a specimen decorated in blue, similar to the Rouen ware. 204 FAYENCE VAL-SOUS-MEUDON. ARRAS. HAVRE. Val-sous-Meudon. Manufactory of Messrs. Metenhoff and Mourot; stamped on plates, &c. Arras (Pas de Calais). There are some specimens of glazed earthenware in the Sevres Museum, produced by M. Fourneaux previous to 1809, but we do not know the date of its establishment. Desvre (Pas de Calais). A manufactory of pottery was established about the year 155 1 by Caesar Boulonne at Colom- bert, a village near Boulogne. It was subsequently transferred to Desvre, and carried on by Dupre Poulaine up to 1732. The earliest specimens we have seen are painted in blue. One in Mr. C. W. Desvre. Reynolds' Collection has a portrait of a Bishop with mitre and crozier, inscribed **s. NICOLAS. P.P.N, ;" this is of the middle of the XVI I th Century. Later pieces are painted with Chinese subjects, flowers and birds in a coarse manner, the backs of the plates being brown, figures of (Vu. ^1^1^ pug-dogs, birds, &c. ; a bird in the same ^ collection has in front the initials d.p. for Dupre Poulaine (as in the margin) ; another has the name of the place, the colours employed on the polychrome pieces being claret of various shades, blue, yellow and green. Mr. Reynolds obtained his specimens from the descendants of the family at Desvre. There were several other towns in the vicinity where fayence was made, but we have no reliable information respecting them. Bethune (Pas de Calais). There is a specimen of fayence in the Sevres Museum, acquired from the proprietor, M. Croizier in 1809. Havre. There were two manufactories of fayence here in 1 790, as appears from the petition to the National Assembly, and there are some specimens in the Sevres Museum forwarded DP FAYENCE — ZURICH. DOUAI. ANGOULEME. by the proprietors, viz. M. Delavigne in 1809, and M. Ledoux Wood in 1837. AuLNAY (Savoy). There was a fabrique of fayence here towards the end of the last century, conducted by M. G. Muller; some pieces were sent to the Sevres Museum in 1809. Zurich. Pottery was made here as well as porcelain ; the manufactory was conducted by M. Ncegeli, who, in 1830, sent some specimens to the Sevres Museum. FoRGES-LES-EAUX (Seine inferieure). There was a manu- factory here towards the end of the last century of English stoneware, which originated according to Dr. Warmont, (Faience de Sinceny, p. 40), with some pupils from the establishment at Douai, worked by the Brothers Leach, from England. There are some specimens in the Sevres Museum contributed by the following proprietors, — M. Mutel & Co. in 1823, M. Ledoux Wood in 1823, and Messrs. Destrees & Damman in 1849. Douai (Nord). Established 1782. Two brothers of the name of Leach, from England, were engaged by M. George Bris, of Douai, to superintend the manufacture of English stoneware and fayence; vast buildings were erected expressly and kilns constructed to carry on the pottery on a large scale in the Rue des Carmes (now a Normal School). This manu- factory, of which the products are much sought after by amateurs on account of their elegant forms, was the first of the kind established in France. The chief workmen, who came originally from England, instructed pupils, who carried the new process to Montereau, Chantilly, Forges, and other places in France. In the petition to the National Assembly in 1790 there were two potteries here, and a recent manufactory was con- ducted by Messrs. Vincent, Nachet & Co., of which specimens were sent to the Sevres Museum in 1832. Angouleme (Charente). A manufactory of enamelled fayence by M. Glaumont in 1843. Sevres Museum. 206 FAYENCE — VENDEUVRE. MAUBEUGE. ST. AMAND. Vendeuvre. (Aube). A manufactory of earthenware, carried on by M. le Baron Pavee de Vendeuvre. There is a specimen in the Sevres Museum, acquired in 1826. Maubeuge (Nord). There was a manufactory of fayence here in 1809, the proprietor being M. Delannot. A specimen is in the Sevres Museum. Hesdin (Pas de Calais). There was a fabrique of fayence here in the beginning of this Century, carried on by M. Pled. A specimen is in the Sevres Museum, acquired in 1809. Beaumont-le-Chartif (Eure et Loir). A manufactory of fayence, by M. Lejeune, in 1827. St. Amand (Nord), near Valenciennes. This manufactory was founded about the year 1750, or a little earlier ; the first notice we have of it is in that year {Houdoy, p. 61). In the Calendrier du Gouvernement de Flandre, de Hainault et de Cambrisis, for the year 1775, we find — ''II y a a St. Amand deux belles manufactures de faience qui egalent celles de Rouen, et une manufacture de porcelaine (le Sieur Fauquet fils, manufacturier)." In 1778 the Inspector of Manufactures reports the satisfactory state of the faience fabrique of St. Amand. In the Calendrier for 1780 we read — " II existe a St. Amand une belle manufacture de faience, qui egale celle de Rouen, et qui est conduite par M. Fauquet fils." In 1775 Fauquet married a sister of Lamoninary of Valen- ciennes ; he occupied himself especially with the gilding of his ware ; and his neighbours said he melted all his Louis d'ors and nearly ruined himself by his experiments. On the 24th May, 1785, M. Fauquet obtained permission to establish a porcelain manufactory at Valenciennes, but he continued to carry on the fayence manufactory at St. Amand simultaneously. In the Revolution of 1789 he emigrated and his goods were confiscated. In the year X he attempted to revive the fabrique; and in the Annonces of the 15th April, 1807, we read — On pre- FAYENCE ST. AM AND. AIRE. 207 vient le public que la manufacture etablie a St. Amand est remise en activite, on y fabrique de la faience blanche, de la brune, fa^on de Rouen," &c. Fauquet went to reside at Tournay, where he died. Three painters are named who were attached to this fabrique — Bastenaire Daudenart, Desmuralle, a flower painter; but the most skilful was Louis Alexandre Gaudry, born at Tournay, died at St. Amand in 1820; he was a landscape painter. M. le Dr. Lejeal (Note sur une marque de faience contestee) mentions a plate of fayence, beautifully painted with flowers, which belonged for eighty years to the same family, given by Fauquet himself. Bastenaire Daudenart the painter acknow- ledged it to be the finest piece ever produced there. This piece bears the mysterious mark given below, which has hitherto caused so much discussion. St. Amand (Nord). Dr. Lejeal, for the reason before named, so attributes this mark, which, he says, is an imitation of that of Sevres, and may be deci- phered thus : — The two F's interlaced and the two L's are the initials of Fau- quet, and perhaps Lamoninary his wife. This mark was thought to be by M. Houdoy, Feburier of Lille, reading it like Dr. Lejeal as F. L. M. Riocreux, who always considered specimens bearing this mark as belonging to the Departement du Nord, suggested Picardy, Aire, or A prey. St. Amand. Another mark of this fabriqtie in which the F's are more dis- ^ C^^<2^ ^ tinctly traced, and the letters at the side corroborate the opinion of Dr. Lejeal as the initials of the place. St. Amand les Eaux. Another mark, approaching nearer to that of Sevres. Aire. This town possessed a fayence manufactory, which 208 FAYENCE LIANCOURT. ROUY. SINCENY. was in activity from 1730 to 1755, founded by Sieur Prud- homme, but we know very little about it, except that it was still in existence in 1 790, being mentioned among those who petitioned the National Assembly against the Treaty of Com- merce between France and England. LiANCOURT (Oise). A manufactory of fayence, established under the patronage of M. le Due de Rochefoucauld. A spe- cimen in the Sevres Museum, acquired in 1806. MiLHAC DE MoNTRON (Dordogue). A manufactory of fayence, by M. Delanoue, in 1834. Specimen in the Sevres Museum. FouRNEAUX, near Melun. A manufactory of fayence: pro- prietor M. Gabry, 1834. LoNGWY (Moselle). A manufactory of fayence ; proprietor M. Huart de Northomb, 1839. RouY, near Sinceny (Aisne), Picardy. A manufactory of fayence was established 1790 by M. de Flavigny, Seigneur d'Amigny Rouy, who perished on the scaffold in 1793. It was sold by his widow to Joseph Bertin, who, in 1804, "v^^s suc- ceeded by his son Theodore, he enlarged the works, and this was the epoch of its greatest prosperity. It employed five turners, five painters, three modellers, and a score of workmen. Being worked by the same workmen, and 0iowy. of the same clay, it much resembles the Sinceny fayence. Some few pieces have the name at length, as drinking cups, &:c. It was bought by the proprietors of Sinceny, and demolished in 1843. D'Ognes or Chauny (Aisne), near Sinceny. Established about 1770 by M. de Fosseliere, but lasted only a short time, and little is known of its products. There is a flower vase, painted in blue camaieu in the Chinese style, in the Sevres Museum, presented by a descendant of one of the persons connected with the works. Sinceny, (Aisne), Picardy, formerly written St. Cenis, situ- ated in the valley of the Oise, near Chauny. Established in FAYENCE SINCENY. 209 1733 by Jean Baptiste de Fayard, Gouverneur de Chauny et Seigneur de Sinceny. Dr. A. Warmont {Reckerckes Histo- riqiLes sur les Faiences de Sinceny, &c., Paris, 1864) divides the products of this manufactory into three periods : — 1. Rouennaise; 1734-1775. 2. Faience au feu de reverbere; 1 775-1 789. 3. Decadence de I'art ; 1 789-1864. In 1737 letters patent were granted to M. de Sinceny for the estabhshment of a manufacture of fayence at Sinceny, which sets forth that, having found in his park the various sorts of clay suitable for the purpose, and experiments having been made by himself and other potters, which had perfectly succeeded, and there being an almost inexhaustible supply of material ; which fayence had already a great sale, and means of transport by the river Oise to Paris, Chauny, Moyen, Compiegne, &c., proposes to send it into the provinces of Picardy, Haynault, Champagne, and Burgundy, in which places there is not one manufactory of fayence, and having a good supply of wood for the kilns ; permission was granted. The first director was Pere Pelleve. Among the painters were Pierre Jeannot (who placed his ^JL-^ mark in the parish register, as in the » margin) ; Phillippe Vincent ; Coignard, and his brother Antoine ; Leopold Maleriat, who, in 1 780, was director; Alexandre Daussy ; Julien Leloup ; Pierre and Antoine Chapelle ; Josh. Bedeaux ; Andr6 Joseph le Comte ; Pierre Bertrand ; Frans. Joseph Ghail ; and Joseph Lecerf. Bertrand's initials (as in the margin) are on a cup, in the Rouen style, in the Sevres Museum; and that of Le Cerf on a basket of the second period, painted in blue camaieu, inscribed " L. J. L. C. Pinxit 1776." The earliest pieces were painted in blue ; the next in blue, touched with red or green and yellow, and decorated with lamdrequins (mantlings), d la come (cornucopiae), birds and butterflies ; Chinese figures, which, from their frequent repetition in the same outlines, were doubtless stencilled by means of charcoal powder and pricked 2IO FAYENCE — SINCENY. ■5- papers. Two early pieces, one dated 1734, and the other signed in blue with the S and two dots, like the first in the margin, are quoted by M. Warmont. The second mark, also blue, is on an ecuelle in the Sevres Museum. The third, v/hich, from its orthography, is supposed to be about 1745, is in blue on 8^||i*^ an inkstand of white fayence. M. War- ^ mont mentions of this period, large cider jugs ; small drinking cups in the form of Bacchus astride a barrel ; and a hand warmer, to hold hot water, in the form of a book, on the back of which is written : " Liber Ludovici Guilbert 1758." Some statuettes and figures were also pro- duced about 1 760 by a modeller named Richard ; a statuette of St. Nicolas, and a group of three children, made for the Chapel of the Brotherhood of Faienciers at Sinceny ; small figures of soldiers on horse and foot, for children to play with ; gardener, sweep, &c., of about the end of the XVIIIth Century. About 1775 a great improvement was perceptible in the fayence of Sinceny; the paste was finer in quality, the colours more varied and brighter, in more exact imitation of the porcelain of Japan, — this was accomplished by what is called au feu de rSverbere^ in contradistinction to the old process, au gra7id feu, the latter being only one baking, while in the other the ware was placed a second time in th^ kiln, and the pig- ments not exposed to so great a heat, allowing the employ- ment of brighter colours. This new process was very costly, and required, as it were, a fresh apprenticeship, and the pro- prietors were compelled to procure hands from Lorraine, where it seems to have originated. They produced table services, decorated in polychrome with branches of roses, sometimes in green cameo ; delicate wicker baskets ; watch stands, &c., painted with Chinese figures, rococo and other ornaments. The mark S. c. y. was used at this period ; and an inkstand, painted with yellow roses, bears the inscrip- FAYENCE SINCENY. BORDEAUX. 211 tion at length, as given herewith. M. ^ ^ Chambon was director about this time. *^ * M. Bosc d'Antic, in a paper read before the Academy at Dijon (vide Encyclo- \ » pidie MSthodique, Paris, 1783), says: -m-onsteur . -^j^^ fayence of St. Cenis, in Picardy, TTvotvsi/ew.r^t»vccrvAj was formerly much sought after, on OL CChcctvu account of its excellent quality, which has lately deteriorated, but now begins dTL ptcawy^J . to re-establish its former reputation.' From I 789 the fayence ate feu de rdver- dere, was discontinued, on account of its expensive character and the introduction of English ware at a lower price ; but still both descriptions were occasionally made. The greater proportion of the products of the Sinceny works were white fayence, with little or no decoration. The original manu- factory, founded by M. de Fayard, was purchased in 1864 by M. Bruyere, who still carries it on. A manufactory was created at Bosquet lez-Sinceny, in 1824, by MM. Lecomte and Dantier, for making fayence. Some of their products are marked L et D." And another at Sinceny, by MM. Mandois (father and son), who marked their wares with the name at length, MaJidois!' A recent manufacture of porcelain also exists here, carried on by MM. Moulin, father and son, the former an experienced fayence maker, and the latter a pupil of Sevres. It is not extensive, but the articles produced are of excellent quality. Bordeaux (Gironde), 1 720. We have very little informa- tion about the manufactories of fayence which were established in this city, although it must have been one of its chief trades. In a document among the archives of Lille, soliciting Royal patronage for the celebrated manufactory of fayence of Jacques Feburier, he instances the Maimfactiire Royale de Bordeaux, founded by Jacques Hustin, which was in operation in 1729. There is a seau, painted in polychrome with festoons and marks, in the Sevres Museum, inscribed Cartus. Burdig. (Cartusia Burdigalensis) the Chartreuse or Convent of Bordeaux, which p 2 2 12 FAYENCE — LIMOGES. TAVERNES. MARTRES. is in the style of the Rouen pottery, made apparently about 1740 or 1750. In the list of manufactories in France in 1790 (p. 127) we find that no less than eight fabriques of fayence or porcelain were then existing at Bordeaux. A later manufactory, established in 1829, J by M. de St. Amand, associated with Messrs. Lahens and Rateau, which lasted a short time ; it was re-established by M. D. Johnston, an Englishman, who marked his ware with the name of the town in full ; he also made English porcelain. Bordeaux. A fabrique of pottery was carried on here by M. Boyer in 1830, and another by Madame Veuve Letour- neau about the same time. Limoges (Haut Vienne). J. Pouyat, manufacturer of modern earthenware services ; some specimens are in the Sevres Museum. Tavernes, (Departement du Var) near Varages. A fabrique of fayence was established here about 1760 by M. Gaze, which ceased in 1780. One of his des- cendants has presented a specimen to the Sevres Museum. It is a plate, pain- ted with bouquets of flowers in blue, something like the common ware of Varages. The mark is G, as in the margin. Martres (Haute Garonne) Languedoc. A manufacture of common fayence in imitation of Moustiers. A piece painted with flowers in blue, yellow, green, and faite a Martres^ violet, and signed as in the margin on Seplembre, one side, inscribed "Marie Thereze 1775. Conte" on the other, is in the possession of M. Pujol, of Toulouse. Montpelier. 1 7 10. In a book published in this town in 1758 we are informed that there existed in the fauxbourgs " des manufactures d'une tres belle fayence." This is con- FAYENCE — MONTPELIER. VARAGES. 213 firmed by a document in the Archives of Lille, in which Jacques Feburier, a fayencier, solicits Royal patronage, he instances the Manufachtre Roy ale de Montpelier, founded by Jacques Ollivier, as being at that time in operation, namely, in 1729. In 1 718 M. Ollivier made an application to the minister to be permitted to receive from abroad lead and tin for the use of his fadrzgtte, which was granted, and he was allowed to introduce 200 quintals of lead, and 50 quintals of tin. We also learn that in i 750 M. Andr6 Philip, from Mar- seilles, was established at Montpelier, and that he was succeeded by his sons, Antoine and Valentine, in the manu- factory, which ceased in 1828. One of his grandchildren, Madame Gervais, perfectly remembers the Royal arms over the door; she has presented to the Sevres Museum some specimens of the ware, which is in imitation of the poly- chrome fayences of Moustiers and Marseilles. Mr. Parkes in his Chemical Essays, says " There is also a considerable establishment for the manufacture of porcelain at Montpelier, a descriptive account of which, together with the process for making the peculiar glaze which was employed there, was published in the Anjiales de Chimie, tome ii. p. 73." On referring to the paper, however, we find that it only relates to some experiments made by M. Chaptal on the clays of the neighbourhood, to find suitable materials in the construction of a laboratory, and that he succeeded in making a sort of porcelain biscuit capable of resisting the fumes of hot acids, which appears to be similar to that previously dis- covered by Wedgwood, and a cheap sort of salt glaze ; but there does not appear ever to have been a manufactory of porcelain at Montpelier. Montpelier. A manufactory of stone ware by Le Vouland. Crucibles, &c. were sent to the Paris Exposition in 1834. Varages (Var). Some specimens of fayence are in the Sevres Museum, made by M. Brouchier in 1837. 214 FAYENCE VARAGES. MARSEILLES. Varages (Department du Var), 6 leagues from Moustiers. 1730 to 1800. There was a manufacture of fayence early in the XVIIIth Century, founded by M. Bertrand before 1740; whose descendants still occupy the same premises, known as the fabrique de St. Jean," from having been built on the site of a church of that name. The following five fabriques were established at Varages in the last century, but ceased about the end of it. 1. Bayol, dit Pin ; at a later period Gregoire Richeline. 2. Fabre; later Bayol. 3. Clerissy, who was succeeded by Grosdidier. 4. Montagnac. 5. Laurent; later Guigou. This fayence is coarsely painted in the same style as that of Moustiers, the outlines being frequently traced in black ; also in the style of Strasbourg and Marseilles, in which the green, rose and yellow prevail. There are still four manufactories here, making ordinary white fayence. Varages. The mark of the fabrique was in the last cen- tury a cross traced in black, blue or red, and the only one used, hence the ware was called Faience a la croix " at the famous fair of Beau- caire, where it was taken annually for sale. Varages ? On a French fayence plate, painted with a landscape and figures after Wouvermans, crimson ^nd green flower border, about 1770. S. Kensington Museum. The mark is in red. Marseilles (Bouches du Rhone). The manufacture of fayence must have been in activity early in the XVI I th Cen- tury in the South of France, especially in Marseilles, for in several of the laboratories are still seen the drug vases made at that time, and the Hospital of Narbonne is entirely fur- nished with them. M. Davillier has in his possession a plate which proves the existence of a pottery at Marseilles, in the year 1697; it is inscribed, "A Clerissy a St. Jean du Dezert FAYENCE — MARSEILLES. a Marseille, 1697," which is the name of a ^uar^zer Sidjommg the city. This is the earliest authenticated piece known with name and date. M. A. Mortreul, in his Notice sur les Anciennes IndiLstries Marseillaises (not knowing the piece just alluded to) says, le plus ancien faiencier dont le nom soit connu a Marseille est un nomme Jean Delaresse, etabli des 1709. A cette epoque, la fabrication de la faience ne devait pas avoir un grand d^velloppement; puisque cette meme ann6e deux barques venues de I'entranger, sans designation sp^ciale de provenance, importaient a Marseille huit mille douzaines de pieces de faience. Mais un peu apres le milieu du XVIII siecle, on comptait douze fabriques de poterie en activite, dont neuf de faience 6maill6e." In the Guide Marseillais we read their names were : Agnel et Sauze, pres la porte de Rome ; Antoine Bonnefoy, pres la porte d'Aubagne ; Boyer, a la Joliette ; Fauchier, hors la porte d'Aix ; V''^ Fesquet, hors la porte Pa- radis ; V''^ Perrin et Abellard, Joseph Gaspard Robert, and Honor6 Savy, hors la porte de Rome; Jean Baptiste Viry, aux allies de Meilhan. Three other fabricants, Batelier, Eydoux and Massuque, made only common pottery. The Revolution of 1 789 gave the same blow to the ceramic industry of Marseilles as to Moustiers. The twelve fabriques occupied 250 workmen. In 1805 there were only three, em- ploying 20 hands. In 1809 only one, that of M. Sauze. Of Jean Delaresse, before spoken of, no document concern- ing him, or specimen of fayence which can be attributed to him, have yet been discovered. From 1 709 to 1 749 nothing is known of the state of the fayence manufactories, but in the last-named year we hear of Honore Savy being established at Marseilles. In 1 765 he applied to the minister for a privilege of making porcelain, which was refused him, as several similar applications had already been made. From one of these do- cuments we learn that he had been " maitre et fabricant de faience depuis seize ans," and that he had found a green su- perior to any other, and which he alone knew how to employ. This was called " le vert de Savy." 2l6 FAYENCE MARSEILLES. On the 2nd Jan. 1762, a letter from M. Bertin of Versailles to M. de la Tour, Intendant de Provence a Aix, on the subject of the grievances and complaints made in the previous year, of the OMvriers fatenciers of Marseilles, says : "they complain of the great number of apprentices which the fabricants take, some as many as twenty-four, at a salary of five sols per day, payis en faience, which mode of payment deteriorates the quality, and causes the workmen to emigrate to Genoa." In reply to this letter the Intendant says, " The fabrication being perfectly free, the number of apprentices cannot be limited, but they should in future be always paid in money." In the complaint of 1 76 1 above referred to, they say that the impor- tation of Genoese fayence into Languedoc and Provence, from whence they were spread over the rest of the kingdom, is ab- solutely ruinous for the manufacturers of these two provinces, and for those of Marseilles. Among the artists who went to Italy may be mentioned Jacques Borelly or Boselly, whose name is frequently found on the Marseillaise pottery, his christian name is sometimes Italianised to Giacomo Borelly, and on two large vases, deco- rated in green e7i camaieu, we find " Jacques Borelly, Savonne, 1779, 24 Septembre!' M. Rolet of Marseilles, also emigrated to Urbino ; his name is found on a fayence sliding lamp with silvered pillar, in the South Kensington Museum, bearing the following inscription " Fabrica di Maiolica fina di Monsieur Rolet in Urbino, a 20 Novembre, 1772." These facts sufficiently explain the resemblance which exists between the fayences of Italy of the XVIIIth Century, and those of Marseilles. There is, however, one peculiarity about the Marseillaise fayence which at once fixes its identity, and this is the three green leaves or marks on the backs of plates and dishes, so placed to hide the imperfections in the enamel, caused by the pernettes or points of support on which they rest in the kiln. In the Journal des fetes donnees a Marseilles en 1777, on the occasion of the visit of the Comte de Provence (after- FAYENCE — MARSEILLES. wards Louis XVIII), we read that Monsieur went to the fabrique de faience of Sieur Savy ; all the workmen were at their posts, and the Prince was shown all the various opera- tions of the manufacture, from the commencement to the final perfection of a piece. He was introduced into the grand gallery, where he saw an immensity of fayence of every description, which he much praised, and permitted Savy to place the manufacture under his protection, and to place in the gallery a statue of the Prince, which was to be forthwith made. It was styled " Manufacture de Monsieur frere du Roi, hors de la porte de Rome!' It will be observed that no mention is made of porcelain, which if Savy did make, must have been of quite secondary importance, and none has been identified as of his make. When the Comte de Provence, however, inspected the works of Joseph Gaspard Robert, he especially admired the porcelain, and a large vase, of which the design and modelling fixed his attention, and remarked ; " Ceci mt^rite d'etre vu," and paid the most flattering eulo- giums to Sieur Robert. He noted with pleasure that a beau- tiful porcelain service, complete, was destined for England, and admired the execution of different porcelain flowers, which were as delicate as natural flowers. Another celebrated manufactory was that of la veuve Perrin and Abellard, probably the most important, as to the quality of fayence and great number of its products ; they also made porcelain, but no specimens have been found. The fayences of this firm are more frequently met with than any other. In the Petition of Faienciers, in i 790 (page 154), there were eleven manufactories then existing. In the S. Kensington Museum, are a pair of cups and covers of the XVIIIth Century ; and a coffee pot in embossed and painted earthenware. The fayence is the same character as that of Moustiers, and also of Strasbourg. The decorations are frequently in red or green, sometimes with Chinese designs, and in the style of Louis XV. 2l8 FAYENCE MARSEILLES. Marseille. A. Clerissy, 1697. This cut represents the back of a plateau, 24 inches in diameter, representing in front a hunting scene after Tempesta, — a Hon attacked by three cavaHers, a fourth taking flight. It is painted in bhie en camaieu, clear violet outlines on blueish white enamel ; the marly, or rim, painted with bouquets and birds, in the Oriental style, something like Nevers ware of the XVIth Century. The mark, in blue, is much reduced, and the initials of Clerissy's name cursively traced round the under side of the rim. In the possession of M. Davilliers. Marseille. Honore Savy is sup- posed to have adopted this mark after the Comte de Provence's visit in 1777. It occurs on a large tureen in the Sevres Museum ; but the same mark has been adopted by many other fabriques of a totally different character, sometimes ac- companied by the letters C and S, which, however, are not Savy's initials. Marseille (Bouches du Rhone). Co This mark is found on fayence of the middle of the XVIIIth Century, attri- 3 buted to Savy ; a plate painted with flowers. Marseille. On a pair of fayence vases, painted in gold and colours, with two shields of arms. Dr. Diamond's Coll. r Marseille. This mark in brown is on a sucrier and cover, painted with green camaieu flowers in the colour called " vert de Savy." Dr. Diamond's Coll. FAYENCE — MARSEILLES. ji On a fayence oval dish, quatrefoil shape, painted with flowers, in Mr. C. W. Reynolds's Collection. Marseille. The mark of Robert, on fayence, generally in black, — an R, with or without a dot, as found upon his porce- lain. The first is upon a plate, painted with bouquets of roses in natural colours, in the Sevres Museum. The same col- lection possesses a tureen, the cover having fish, well modelled, the decora- ^ TJ ^yr 9 ^^^^ consisting of flowers, birds, and fish, J \ II in green shaded with black, with his name in full length ; Robert a Mar- seille." A certain sign by which some of his pieces may be known is the presence of gilding of remarkable finish and brilliancy. The service auxinsectes and the service aux poissons were favourite patterns. The fabrique of Robert, according to M. Mortreuil, ceased to exist in 1793.* Marseille. Veuve Perrin. The mark generally in black, but sometimes in violet or brown. The first mark is on some plates, with landscapes and cattle, in the possession of the Marchese d'Azeglio ; the second on a moutardier, in Mr. C. W. Reynolds's Collection. Marseille. Veuve Perrin. These marks are sometimes found on pieces which bear the initials of Veuve Perrin, but on many others also ; they may * In the Montferrand Collection (Nos. 538 and 539) were tw o plates, of octagonal form, of unglazed French fayence of the XVIIIth Centui-y; one was a landscape, the other the Grotto of Posilipo. These paintings Vvere by an artist named Robert, who was a painter of land- scapes and architecture, and considered one of the best of his time. During his later years, when he went to dine with a friend, he brought him his plate, on which was a sketch in colour. These small paintings are generally of a greyish tint, and suffer from the advanced age of the artist. He was perhaps the same here spoken of. 2 20 FAYENCE MARSEILLES. AUBAGNE. MANERBE. therefore be other marks of the fabricants of Marseilles. They are also found upon contemporary pieces of Milan. Marseille. Antoine Bonnefoy. M. B Laurent Sauze, the last of the Marseillais • fabricants, has some specimens of his works so marked in yellow ochre. Marseilles. J. Fauchier. This mark, in blue, is on a large plateau, with handles, of elegant form, painted with flowers and • insects in natural colours, in the posses- sion of M. Davillier. Marseilles. Jacques Borelly. On V nil" fayence plates, painted with flowers, Jcccauvj JSCKUiy Collection of the Marchese d'Aze- *^ ^ glio. M. Demmin has in his possession a cup, decorated d jour, painted red and green, dated 1 781. AuBAGNE is in the Arrondissement of Marseilles. The Tableau gSnSral du Commerce de Gournay for 1788 says : "II y a a Aubagne seize fabriques de poterie, et deux de faience fort belle, ou Ton fait tout ce que Ton peut desirer dans ce genre. La consommation et I'exportation des unes et des autres se font aux lies de I'Amerique, et a Aix, Marseille et Toulon." It is probable they were established some little time after those of Marseilles, as we have seen others spring up near the celebrated manufactories of Moustiers, and their products were in imitation, no doubt, of the rival fabriques with which they are now confounded. Manerbe (Calvados), near Lisieux, in Normandy. There was a manufactory here in the second half of the XVIth Century. M. Raymond of Bordeaux, Bulletm du Bouquiniste (i^' semestre 6° annee), quotes a passage from the 7th volume of Ancient Geography: La vaisselle de terre de Manerbe, pres de Lisieux, se rapporte a celle de Venise par son artifice et sa beaute." The elegant glazed earthenware pinnacles FAYENCE — MALICORNE. ^AINT-LONGES. AUXERRE. 22 1 which adorn the gables of the old mansions about Lisieux and other parts of Normandy were made here ; they are about 5 or 6 feet long, with a series of small ornaments placed one upon another on an iron rod, and partake of the character of the figulines rustiques of Palissy, and have been frequently sold as such. Similar ornaments were made at Malicorne (Sarthe); a specimen is in the Nevers Museum. Malicorne, near Pont Valin (Sarthe). The glazed earthen ware pinnacles for decorating the gables of old houses, similar to those of Manerbes, were also made here. There is a curious specimen, with grotesque figures, in the Collection of M. Champfleury, of Paris ; and in the Sevres Museum is another. An ^cuelle, in the same museum, is classed as being made at Malicorne. This manufacture of epis or estocs, as the French term them, was carried on formerly at Infreville, Chatel-la-Lune, and Armentieres, in Normandy. Saint-Longes, near Mamers, (Sarthe). M. E. Lamasse, of Meudon, near Paris, possesses a fountain, 22 inches high, in the style of Louis XVI, oviform, with SAINT-LONGE. a landscape and garlands of fruit and flowers in relief, like the fayence of Lor raine. On the back is stamped " Saint- Longe." Auxerre (Yonne). Fayence of the ordinary style of Nevers ware of the end of the XVIIIth Century. About 1798 there was a potter named Boutet, who signed his name in full. M. Chantrier, of Nevers, has some specimens. Aiezy (Yonne). There are some specimens in the Nevers Museum, attributed to this place, of the end of the XVIIIth Century, in the ordinary Nevers style, without marks or monograms. Clermont-Ferrand (Puy-de-D6me). A notice of this manufactory occurs on a large ewer in ^^^^€2^/ ^^ia^/£> *B melled fayence, like Delft. It is some- ^ 68 times like that of Strasbourg and Mar- i2S^ seilles. The three crowns are the arms of Sweden, and MB the name of the place; the figures relate to the dates; these therefore mean the 14th of October, 1768. FAYENCE — GUSTAFSBERG. HELSTNBERG. KIEL. 235 Helsinberg, K'itL (T. Marieberg. Another mark. M. Brong- niart-says that the art of printing on pot- tety was practised here 1760. It ceased altogether about 1 780. GusTAFSBERG, near Gothenburg. About 1 820- 1 860. Godenius, manufacturer of earthenware services, usually in blue and gold, like Staffordshire ware. Helsinberg (Scandinavia). A manu- factory of stone ware was established about the year 1770, and produced a good quality of ware for domestic pur- poses ; at a later period moulded orna- ments for the external decorations of edifices were also made. Kiel, on the shores of the Baltic. This mark is on a fayence vase and cover, painted with peasants and rural scenery; similar to that of Strasbourg, about the year 1770. Kiel. On a fayence vase, circa 1770, globular, with raised borders, edged with brownish green and sprigs of flowers; flowers in full relief on the cover. Marked in red. This and some other pieces of Copenhagen were brought from the Baltic. In the Collection of Mr. C. W. Reynolds. Kiel. A manufactory of fayence was in existence at Kiel, on the shores of the Baltic, towards the latter half of the last century, under the direction of M. Buchwald — one of the principal painters being Abraham Leihamer. The ware made here was very similar to that of Strasbourg with coloured scroll borders. 246 FAYENCE KIEL. COPENHAGEN. The mark in the margin is on a bowl with a cover in form of a mitre, probably ^^et ^s^d for Bishop," a sort of punch or ~i — 'OF) spiced wine. It is painted with ladies Jo uth>N;ci li ^irec^: ^j^j gentlemen seated at a table drinking ^^Lv^Je^/daAixtryecU. bishop out of a bowl of the same form, on the reverse soldiers skirmishing. Mr. Reynolds's Collection. Copenhagen. There was a fayence manufactory here early in the XVIIIth Century, but we have no particulars of its establishment. About 1770, porcelain was made, and artists of great talent were employed, who painted both that and- fayence. The names of three of these artists were Gilding, Seipsius, and Ruch. 0ttmm^, Belgium, anU f^oUantj. AYENCE with stanniferous enamel was known from the earliest times. Theophilus {^Diversarum Artium Scheduld) devotes a chapter to the art of painting earthenware vessels with various vitrified colours, and a com- mentator on his work relates the fact of this glaze (of which he gives the composition) having been used at Schelestadt, in Alsatia, as early as 1278. In the Aiinales Doiiiinicanortcm Colrnariens (1283) Urstis. Script, rerum Germ, v., II., p. 10, we read : " Obiit figulus Stelztatt qui primus in Alsatia vitra vasa fictilia vestiebat." M. Piot i^Cabmet de I'^Amateicr) cites, as a proof that the stanniferous enamel was well known in the commencement of the XlVth Century, a receipt given in the Margarita Preciosa, a treatise written in 1330: Vide- mus, cum plumbum et stannum fuerunt calcinata et combusta, quod post ad ignem congruum convertuntur in vitrum, sicut faciunt qui vitrificant vasa figuli;" and it is not stated to be an invention or a novelty, but merely as a fact known to the potters of that time. Hence it is evident that the art of covering earthenware vessels with an opaque enamel made of lead and tin was used long before Lucca della Robbia's time, and that he merely applied it to sculpture in terra cotta which had previously been executed in distemper. The moors of Spain applied this enamel to their pottery in the Xllth and Xlllth Centuries; the Arabs before them, even in theVIIIth Century, were acquainted with it, and the azulejos, or tiles of the Alhambra, of the Xlllth Century, are well known; while some even go so far as to assert that the tiles discovered at 238 FAYENCE — BAYREUTH. Nineveh are enamelled in like manner, and not merely glazed. The instances, therefore, given by M. Demmin of similar enamelled fayences existing at Leipsig and Breslau, of the Xllth and Xlllth Centuries, show that it actually, was adopted about that time in various parts of Germany, but does not prove that it was invented there ; but he is entitled to as much consideration as others who attribute its invention to Italy. Bayreuth (a town in Bavaria). There was a manufactory of pottery here in the XVIth Century, of a brown stoneware, with Renaissance medallions, arabesques, &c. in relief. At a later period fine fayence was produced, usually painted in blue camaieu. The designs are delicately traced with a brush, as fine as if with a pen, on a fine paste; the forms are canettes, jardinieres, &c. This mark is ficil5 t^Llf/^C ^ large vase, with handles, in the / / Sevres Museum; the monograms be- £^ ^J^LLlm neath are perhaps those of the decorator. On other specimens are the marks N.F. and BK. C.,&c. Frequently without any marks. Two spice plates numbered 3007 and 3008 in the Hotel de Cluny, marked K ; a large plaque of this manufacture, 46 inches long by 27J inches wide, is in the Collection of M. Meusnier, at Paris, and a great many pieces in blue camaieu are at the Chateau de la Favorita, near Baden; a bottle, at the Museum of Sigmaringen, is dated 1524. Bayreuth. There are some specimens T3 TD fayence of the XVIIIth Century with JLJ 1-^ this mark in the Sevres Museum, which M. Brongniart bought at Nuremberg; considered to be of this manufacture. Bayreuth. On a fayence plate with ^ flowers in blue camaieu. There was a fabrique of fayence at Bayreuth carried on early in this century, by a M. Schmidt, some of the products FAYENCE HOLITSCH. NUREMBERG. being in imitation of Wedgwood. The are five specimens in the Sevres Museum, bearing the counterfeit mark of Wedgwood." HoLiTSCH (Hungary) on a plate painted J-i with flowers in briUiant colours, reputed to be of this fabrique. Nuremberg. The celebrated Veit Hirschvogel, of Schele- stadt, was born at Nuremberg in 1441, and died in 1525, con- temporary with Luca della Robbia, the Florentine, who was born in 1400, and died in 1481. The painted glass of four windows in the church of St. Sebald, at Nuremberg, repre- senting the Margrave Frederick of Anspach and Bayreuth with his wife and children, were executed by Veit Hirschvogel in 15 15. He was succeeded by his sons and continuators in the manufacture of pottery. In the Berlin Ceramic Museum, M. Kolbe (the Director of the Royal Porcelain Manufactory) has recently placed a jug of Hirschvogel, of the year 1470. This authentic specimen was purchased at the Minutoli sale for 83 thalers; it is somewhat like the Italian maiolica, but easily distinguished by the bright colours and fine quality of the enamel; it is ornamented in relief with the Crucifixion, beneath are three niches, containing statuettes of Faith, Hope, and Charity, painted in colours, amongst which the green pre- dominates, as usual in the German School. In the Dresden Museum is a pitcher, of green glaze, with a Scripture subject in relief, of excellent moulding, by Hirschvogel, dated 1473. The chimney pieces and tiles of the early Nuremberg make are frequently met with ; there is a large collection also in the Berlin Museum, from the Minutoli sale, of the XlVth, XVth, and XVIth Centuries. The finest chimney piece known is one still existing in its original position in the Chateau de Saltzburg, of the XVth Century, for which it is said an English amateur has recently offered the sum of 36,000 francs, or nearly ^1500! In the Hotel de Cluny is a bas-relief, of the XVI Ith Century, of green enamel, with busts of Julius Cajsar, Charlemagne, and other worthies, and a group of St. 240 FAYENCE NUREMBERG. George ; and a relief of Wolffgang, Grand Master of the Teutonic Order. In the Sauvageot Coll. in the Louvre are some tiles of the XVth Century. In the S. Kensington Mu- seum is a fine cruche, with raised figures of Adam and Eve, enamelled with blue, yellow, green, white, and manganese, by Veit Hirschvogel, of the XVth Century; and another by his successors. Hans Kratit 1578. Nuremberg. This mark is on a very fine stove, with portraits in relief, in black and gold, quoted by M. Demmin. Nuremberg. This name is on a very fine stove of green earthenware plaques with religious subjects in relief, and pilasters; by the side of the stove is a raised seat ascended by three steps. In the S. Kensington Museum. - » Nuremberg. On a fayencedish, with PtJXjY ihjUCY'C/ ^^^^ scrolls, yellow and pink leaf medal- cJ lions; in the centre is the Ascension, I ^2 with soldiers and rocky landscape. Gllier 1 1 1 f \* is probably the name of the artist. In the ^ Collection of Mr. C. W. Reynolds. G. F, Greber Anno 1729. Nuremberg. Stadt Nuremberg 1724. Strnbel. Nuremberg. There are two plates of the XVI I Ith Century in the Sevres Mu- seum; one in imitation of Faenza, the other an allegory of Luther. They are marked as in the margin. There is also a large bell, which still has a fine ring, decorated in blue camaieu, with the arms of Nuremberg, and an inscription in German: ''The town of Nuremberg of the Holy Roman Empire," and the signature of the potter " Strobel." The mark here given is not a fac-simile. GRES NUREMBERG. SCHAFFHOUSEN. COLOGNE. 24 1 Nuremberg. This mark of Strobel occurs on a large dish, painted in blue, with arabesque borders, birds and fruit in the centre. In the Sevres Museum. Schaphitysen, ScHAFFHOUSEN. There was a manu- factory here in the beginning of the Genrit ElterS. XVIth Century. This mark is on a dish, of brown ground, with white and blue figures, representing the Flagellation, and a German in- scription with the name of the potter Genrit Evers, and in another part his initials G. E. It is in the Musee de Cluny. There is a date on the piece, but unfortunately the figure denoting the century is pardy obliterated ; it is probably 1695, from the costume, — it is certainly not later, but has been quoted by some as 1495 5 this reading is quite erroneous. Cologne. Stoneware, called in Germany steingut, in France ^r^i", was made here in the' XVth and XVI Ith Cen- turies. It is frequently confounded with gres de Flandres, most of which, in reality, was of German fabrication, and fre- quently bears German inscriptions, not Flemish, and the arms of German cities and families. The best and most highly finished decorative jugs were made undoubtedly in Germany, probably between Cologne and Mayence ; they bear dates of the XVth and XVIth Centuries. The clays for making the Cologne ware came from Langer- Wehe, between Dinen and Aix-la-Chapelle. The manufactory was not actually in Cologne, but in the vicinity, possibly at Newit or Lauenstein, where stoneware is still made. The Cologne ware was the most celebrated in Germany, and nearly all Europe was supplied from thence, especially England and the Low Countries. The earliest notice of its importa- tion occurs in a curious document in the Lansdowne MSS. (108, fol. 60), a petition from William Simpson to Queen Elizabeth, praying that — " Whereas one Garnet Tynes, a stranger, living at Aeon (Aix-la-Chapelle), doth buy uppe all the drinking stone pottes made at Ctclloin (Cologne), and he R 242 ORES COLOGNE. onlie transporteth them into this reahn and selleth them, who also serveth all the Lowe Countries and other places with pottes," &c. (see the petition at length, page 51). It will be ob- served that no allusion is made to any other stoneware ; the^r^^ de Flandres or the gres d' Hollande are not hinted at. Again, Dr. Plot, in 1677 {Natural History of Oxfordshire), speaking of John Dwight, of Fulham, says : " He hath discovered the mystery of the stone or Cologne wares, heretofore made only in Germany, and by the Dutch brought into England in great quantities." This German stoneware has been indiscrimi- nately termed gres de f^landres, notwithstanding the German inscriptions upon the vessels, whereas by far the greater pro- portion are of German make. It must be borne in mind that these vessels are not always made in the year indicated, for the moulds were used successively through a series of years, and it is no uncommon occurrence to find two different dates on the same specimen. Some of the finest specimens known bear the name of Master Baldem Mennicken, potter, of Rorren, in Germany. One of these, an ewer, is in the S. Kensington Museum ; the neck is terminated by a lion's head, and a similar ornament at the bottom of the handle ; the subject, in relief round it, re- presents the Three Theological Virtues, the Four Cardinal Virtues, and the Seven Liberal Arts personified ; below these are the following inscriptions : wan . got . wil . so . ist . MEIN . ZILL . MESTER . BALDEM . MENNICKEN . POTENBECKER . WONEDE . ZO . DEN. RORREN. . IN . LEIDEN . GEDOLT . 1577- {I Stlb- mit to God's will. Master Baldem Memticken, potter, dwelling at Rorren. Patience under suffering) ; on each side is a circular medallion of the arms of England, inscribed : wapen.von.engel- LANT . A° 77. From the D'Huyvetter Collection. A canette, of pyramidal form, with incuse flowers and a medallion in front of figures in relief, has the name of ian . baldems . 1596. In the same museum is another Cologne ware cruche, with the history of Susanna, in relief, bearing the maker's name, engel.kran.a° 1584 ; and a canette, with the history of Esther, maker fant . genat. GRES COLOGNE. The celebrated Collection of M. d'Huyvetter, of Ghent, was dispersed after his death. Many of the best pieces were bought by M. Weckherlin, of Brussels ; others found their way into the public museums. There is a good collection in the museum at the Porte de Halle, Brussels, especially a cande- labrum, dated 1550, one of the earliest dates we have met with. In the Musee de Cluny is a large cruche, in grey and blue stoneware, with this sentence: ich.weisz. nights. pessers. IM . HIMEL . VND . AVE . ERTEN . DAN . DAS . WIR . DVRCH . CHRISTVM . ZELIG . WERDEN. Cologne. These initials are found on some of the finest pieces in the Weckherlin Collection ; also on a canette, dated 1 594, in the S. Kensington Museum ; a I- E. cruche, same date ; and one in the Louvre, No. 411. Cologne. With the arms of Saxony, • ^ ' of brown ware ; Weckherlin Collection. Q ^ Cologne. A gourd, with long neck, of white ware, in the Weckherlin Collection. ^ ^ Cologne. In the Sauvageot Collec- tion, and S. Kensington Museum. Cologne. Drinking cup, in the form of a book ; Sauvageot Collection, j^-y Cologne. Blue and grey jug, of the k ■ k M XVI Ith Century; Sauvageot Collection. Cologne. Blue and grey jug, with M. O. medallion of the Electors of Saxony ; Sauvageot Collection, g ^ Cologne. A jug, in the Sauvageot Collection. ^ Cologne. A hunting bottle ; Sau- vageot Collection. Cologne. A jug, of white stoneware, F. T. 1559. 13 inches high; subject. The Prodigal Son ; Nuremberg Museum, and M. Mi- lani's Coll., Frankfort. R 2 244 GRES — COLOGNE. R. 1598. L. W. 1573. B. M. H. W. 4-, •4^ ^ Cologne. A canette, with three coats of arms and arabesques ; S. Kensington Museum, ^'5. Cologne. A jug, with portraits of the Kings and Queens of France, Hungary, and Prussia ; and another, in the Sau- vageot Coll., bearing the same mark. Cologne. A canette, with medallions of David, Venus, Lot, and the Cruci- fixion, in the S. Kensington Museum. Cologne. Jug, with medallions of dancing figures and German inscription ; Louvre Coll., No. 416. Cologne. A jug, of conical form, with medallions and bands, months of the year, Crucifixion, &c. ; Louvre Coll., No. 402. Cologne. The initials of Baldem Mennicken, XVIth Century ; Louvre Coll., No. 415. Cologne. A vase, in blue and grey, with three handles; XVIth Century; Louvre Coll., No. 425. Cologne. On a jug, of the XVIth Century; Louvre Coll., No. 455. Cologne. Cruche, with masks and arabesques, and six medallions of the arms of the Electors ; Sauvageot Coll., No. 417. Cologne. Enamelled fayence tea and coffee services of the XVIIIth Century, marked with three anchors, the manu- facture of M. L. Cremer. GRES, FAYENCE REGENSBURG. STREHLA. LEIPZIG. 245 Cologne. There was a manufactory of fine fayence here in the commencement of this century, carried on by Messrs. S. Olwerk and Meister. Specimens in the Sevres Museum, acquired in 1809. Regensburg (Ratisbon). Gres or stoneware was made here at an early period. The first specimens are of a brown common earth, made of clay from Abensburg, with ornaments and mythological subjects ; the ware was subsequently much improved. Jerome Hoppfer, an engraver of the XVIth Century, who lived here, signed his gres with the initials I. H. There are some specimens in the Berlin Museum, and two large vases, dated 171 5, in the Historischen Verrein at Ratisbon. In the XVIIIth Century earthenware was made hereof both lead glaze and stanniferous enamel. Strehla, and other places in the valley of the Elbe. Earthenware, both of lead and tin glazes. This place has been known for its manufacture of pottery of all sorts for many centuries. A pulpit of enamelled earthenware still exists at Strehla ; it is supported by a life-size figure of Moses, and is ornamented with eight plaques of religious subjects and the four Evangelists; at the bottom is inscribed : Jahre Christi Gebtirth 1565 ist diese Kanzel Gott zu Ehrzn gemacht durch Michael Tatzen, Topfer nnd Bildschnitzern zu Strehla, meines alters im 24 jfahr!' Leipzig. In the Convent of St. Paul, which was built in 1207, there was a frieze of large bricks or tiles, covered with stanniferous enamel, representing, in high relief, heads of Saints and the Aposdes, 15 by 20 inches square, 2^ inches thick. On the demolition of the convent, some of these were taken to the Museum at Dresden, the others sold. They are of Byzantine character, and evidendy of the Xllth or Xlllth Century, showing the early use of this enamel in Germany. The enamel is green, shaded gradually with black, very thick and durable ; the hair, beard, and eyes are coloured, the ground also enamelled, {Demmin.) 246 FAYENCE BRESLAU. AUGSBOURG. OBERDORF. Bbeslau, capital of Silesia (Prussia). Earthenware, with stanniferous enamel, of the Xlllth Century. In the Kreutz- kirche (Church of the Cross), built in 1280, is the monu- ment of Henry IV, of Silesia, the founder, erected after his death, in 1290. On a sarcophagus reposes the full length life-size figure of the Duke ; the head is natural and full of expression ; he is clad in a coat of mail, ornamented with Silesian eagles, and partly covered with an ermine mantle, on his brow a Ducal coronet, and he holds a shield of his arms. All the details are minutely pourtrayed ; the colours of the enamel clear and bright, the red is brilliant, and the green, which predominates, is of the same shade as that of Nurem- berg. Round it is the Latin inscription : " Hen. quartus mille tria C. minus X. obiit ille egregiis annis Silesice Cracov. San- domiricB Dux. node joannis!' The artist is unknown. M. Demmin cites these instances at Leipzig and Breslau as incontestable proofs of the knowledge of the Germans in the art of enamelled earthenware sculpture on a grand scale, nearly two centuries earlier than it was known to the Italians. AuGSBOURG. Some recent excavations in the gardens of the ancient Convent of Carmelites have brought to light a quantity of small terra cotta figures, mostly broken and im- perfect. It is supposed they were made here in the beginning of the XVth Century (1420- 1460). They are curious from the variety of costumes of all classes — equestrian figures, war- riors, artizans, the Virgin and Infant Saviour, &c. — all finely modelled. Many of these are in the Berlin Museum. In the Hotel de Ville, at Augsbourg, are three very large monumental stoves, covered with a black stanniferous glaze, ornamented with figures in high relief, the work of Adam Vogt., 1620, signed by him; he was born at Landsberg. Oberdorf (Frontier Bavaroise). Hans Seltzmann, potter. A very fine stove, of stanniferous enamel, of Gothic design, green ground and yellow ornaments, is in an ante-chamber of the Hoche Schloss, of Fuessen, in Bavaria, bearing the fol- lowing inscription : Disser Of en wolgestalt wuurd gemacht da FAYENCE MEMMINGEN. BUNZLAU. HARBURG. 247 man zallt \^i\jaar^ bey Hansen Seltzmann Vogt zu Oberdorf!' (" This stove, so well designed, was made by Hans Seltzmann, Mayor of Oberdorf, in the year 15 14.") Memmingen (near Kaufbeurn, in Bavaria). Earthenware and fayence, with stanniferous enamel. Some very fine stoves were made at this place, sometimes moulded, sometimes modelled, of the XVIth and XVI Ith Centuries, of which many museums contain specimens. The fayence plates and dishes are usually in blue camaieu, of Renaissance patterns, with wide borders, similar to the Italian, for which they are sometimes taken ; some have coats of arms. The fayence of the last century is of common quality, with coloured flowers, in the style of that of Marseilles. BuNZLAU (in Silesia, Prussia). Gres, or stoneware, was made here in the XVIth and XVI Ith Centuries. The pro- ducts of the last century are distinguished by ornaments in relief, flowers, coats of arms, &c., sometimes gilt. At the present time a great trade is carried on in the manufacture of chocolate and coffee pots, usually of brown glaze, lined with white. The late King Frederick William IV. of Prussia, always used this in preference to more costly ware. In the Town Hall of Bunzlau there is preserved a great coffee pot hooped like a barrel, nearly 15 feet high, made in the last century. The manufactory is still continued by Lepper and Kiittner, principally for vessels of domestic use. Harburg (on the Elbe, opposite Hamburg). Johan Schaper was born towards the end of the XVIth Century, and flourished here from 1620 to 1670, the date of his decease. His exquisite paintings of landscapes and figures are usually in Indian ink, or hrovjn en grisaille, the colours being fixed by heat. His name is frequently found minutely written, so as to be scarcely perceptible without a magnifying glass. His fayence mugs are generally of white stanniferous enamel, painted in brown, shaded, the lights being scratched in with a point, carefully and delicately drawn. He also painted on 248 GRES, FAYENCE GRENZHAUSEN. CREUSSEN. GENNfeP. glass in the same style, of which there are several examples in the S. Kensington Museum. Harburg. German jug, painted in T J ^ J L g^^y camaieu, with a landscape signed I Oh ^Chaper, painter. (Marryat Coll.) In the S. Kensington Museum. Grenzhausen (Nassau). Gres. 1780. This stoneware is of a fine quality, and easily mistaken for the more ancient gres de Cologne. The forms are usually plates, dishes, and jugs in which the decoration consists of a fine blue enarnel on grey ground, with champ lev^ or incuse ornaments, executed by hand. There are several specimens of this modern fabrique in the Sevres Museum. {See Brongniart and Riocreux, MusSe Ch^mnique, plate xliv, fig. i.) Creussen. a town of Bavaria, on the Maine, in the Prin- cipality of Culmbach, seven miles south of Baireuth, where great quantities of fine earthenware were made in the XVI Ith and XVIIIth Centuries. gres or stoneware, of a brown colour, is usually found in the forms of mugs or tankards, with figures in relief round the sides, painted in coloured stanniferous enamel ; known in Germany as Creussener stein- gut. The Apostle mugs [Apostel kriige), with the Evangelists and Apostles ranged under arcades, although not uncommon, are much sought after by amateurs. They also sometimes have coats of arms of the Empire and noble families. It may be observed, as a caution, that a great number of these mugs have come from the manufactory of an uniform brown colour, the ornaments and figures not enamelled in colours ; these have been subsequently painted in oil colours by the dealers ; but the fraud is easily detected by scraping them with a knife, which will remove the paint, while the enamel resists. Gennep (German Luxembourg). There are three fayence plates of the XVIIIth Century, with stanniferous glaze, in the possession of Mr. Swaab, of the Hague ; they are 24 inches in diameter, of yellow, brown, and green enamel ; one represents the Sacrifice of Abraham, dated 1712; another the Holy FAYENCE SGHERZHEIM. HANAU. TEYLINGEN. 249 Family; and a third La Vierge de Kevelar (near Cleves). These two last are inscribed with the subject, and the name of the potter, Antonitis Bernardus Von Veklen,'' 1770, 1771. ScHERZHEiM (near Elvangen, in Wurtemburg). The Winter- gursts, father and son, were celebrated potters here, and made fayence with stanniferous enamel from the beginning of the XVIIth Century to about 1710. It is from this manufactory that the table services, of which each piece represents an animal or vegetable, were made. At the Chateau de la Favorite, at Baden, parts of a service may be seen, in the forms of a ham, head of a wild boar, &c. Hanau. Quality unknown. Circa 1650. In a MS. of 1707, an inventory of a Nuremberg mansion, are mentioned, "Zween weiss und Rloue Hanauer Krug mit Zinn beschlagen;" and in the Handbtich der Erfindtmgen von Busch we read, towards the middle of the XVIIth Century two Dutch merchants established a fayence fabriqne at Hanaw, which was purchased at the commencement of the XVIIIth Century by Simon van Alphen. Teylingen (Holland). This place has become celebrated in ceramic history from its association with the unfortunate Jac- queline Countess of Hainault and Holland, and the manufac- ture of a sort of earthenware jug, called the jfacoba Karmctjc. This princess, born about 1400, became wife of John Duke, of Brabant, and after many severe trials, abdicated in 1433, and retired to the Chateau de Teylingen, about five hours' journey from Rotterdam ; while here, according to the tradition, she employed her leisure in superintending the manufacture of stone pots or cruches, and is said to have thrown many of them into the fosses of the chiteau as souvenirs to posterity, that in after ages they might be considered works of antiquity; for this reason these particular cruches found in the foss, and others similar, are called yacoba-Kannetjes; — such is the legend in Holland, which is in some degree verified by the actual discovery of a vast quantity of them on the spot, proving at least that there was a manufactory; however, it is 250 FAYENCE — BEILEN. probable the same description of pottery was made for com- mon use simultaneously in other parts of Holland and in Germany. This manufacture therefore goes back to the com- mencement of the XVth Century. Some archaeologists are of opinion that these vessels were placed before the guests at table, used only once, and when empty thrown into the moat of the castle. This stoneware is of a cheap character and common quality, of coarse grain, and not enamelled or coloured, but still hard and impermeable ; the forms of these cruches are generally globular, with a small handle and a foot, the body and neck being marked by circles or rings with the lathe, and the foot escalloped as if pinched by a finger or thumb; they are otherwise plain and without any ornamentation ; some idea of them may be formed by referring to Nos. i, 8, and 1 1 on page 28, found in London. The Jacoba Kannetje, figured by Marryat in his History of Pottery, is a superb Cologne ware canette with designs and ornaments in relief ; nothing less resembles the real jfacoba than the specimen there given, which is nearly two centuries later in date. Beilen, near Assen, Holland. There is a soup tureen in the Musee de Cluny, No. 3028, which bears the name of C. Jacobus Hennekens, dated 171 7. It is of fayence, deco- rated with escutcheons of arms and the Imperial eagle, and covered with Dutch inscriptions. The Ghemaecket tot Beile cover IS ornamented with lions and C. Jacobus Hennekens, heraldic emblems in relief, and in- anno 1717. scribed Ghemaeckt tot Beile made at and inside Beile C. I. 4- H. Beilen. Within is a long Latin legend and an unicorn, a stag and a peacock. The village of Beilen has been successfully inhabited by their progenitors the Huns, the Frieslanders, and the Saxons, and there still remain tombs or cairns formed of heaps of stones, in which are found pottery, arms, and household utensils. These are known by the name of'' Hunnenbedden" (beds of the Huns). M. Demmin, from whose account this is taken, had not been able to trace the early history of the pottery on the spot itself, the archives having been destroyed in the XVIIIth Century. FAYENCE POPPLESDORF. LAUENSTEIN. METTLACH. 25 1 GoGGiNGEN, near Augsburg. Established circa 1750. Fay- ence with stanniferous enamel. It is usually decorated in blue with flowers, leaves and ornaments, something in the style of Moustiers. Signed at length. Several GOGGINGEN examples in the Collection of the Historic Society at Augsburg. 0 PoppLESDORF, near Bonn. M. L. I Wessel, manufacturer of fayence and 1^ I ^ porcelain. Mark stamped. An anchor ^^n^ is sometimes found on the fayence of Mettlach (Prussia) with the name in full. Lauenstein, near Coblentz. Established about 1760. The grh or stoneware of grey and blue, ornamented with flowers and other ornaments in incuse patterns, graved on the surface, is still made in large quantities, and is carried by the Rhine boats to the markets in Holland where it meets with a ready sale, There were also manufactories of grh in the vicinity of Coblentz, at Niederfell, Langerwche and Vallendar, still ex- isting towards the end of the last Century, specimens of which are in the Sevres Museum, acquired in 1809. Mettlach (Rhenish Prussia). A modern fabriqtie by M. Villerot ; grh with platinie ornaments. Examples with the Sevres Museum. M ETTLACH. M. Boch-Buschmann, maker of fine fayence (painted and printed), and various descriptions of stoneware called " Harts teingtit, Porcelain stcingut',' &c. ; they sent specimens to the Sevres Museum in 1837. M ETTLACH. There is a manufactory oi grh still carried on by Messrs. Villeroy and Boch, who sent specimens to the Paris Exposition in 1867, which is probably the same as those just mentioned. HuBERTSBERG, in Saxony. 1784. The Count Marcolini established a manufactory of earthenware with salt glaze, in the character of English pottery ; where Wedgwood was also imitated. 252 FAYENCE DRYHAUSEN. HOCHST. MAYENCE. MEISSEN. Dryhausen, near Marburg, in Hesse. There were manu- factories here from the XVth Century to the XlXth Century for the gres or stoneware, but we have no particulars respect- ing them. The Hessian wares were largely imported into England in the XVIth, XVHth and XVHIth Centuries. ScHRAMBERG (Wurtemburg). A manufactory of fine fay- ence, specimens of which (a cup and saucer) are in the Sevres Museum, acquired in 1836 ; printed in colours, with a view of the manufactory and the town of Schramberg in the Black Forest. HocHST, near Mayence, Enamelled fayence was made here in the beginning of the XVHIth Century, about 1720. Founded by Geltz, of Frankfort. The mark is a wheel. The arms of the Elec- toral See being, — gules a wheel with six spokes argent^ first assumed by Wittigis, Archbishop of Mayence, who was the son of a wheelright. HocHST. The original manufactory ceased in 1 794, but a potter named Dahl subsequently established one in the vi- cinity, using as his mark the wheel and letter D. There are two figures of cha- racters from Schiller's plays with this mark in Mr. C. W. Reynolds' Collection. Mayence. Fayence of the XVHIth Century, painted with flowers, fine colouring. Meissen, near Dresden. This mark is found on pottery of the beginning of the XVHIth Century, about 1704. It was formerly called "the red pottery of Dres- den," and the mark impressed, is often found on tea-pots of this ware. FAYENCE — ARNSTADT. FRANKENTHAL. MORAVIA. 253 Arnstadt (Gotha). Established about the middle of the XVIIIth Century, ^ . nn where porcelain was also subsequently ycri^ltJb'Jue^el made. This inscription is on a fayence MIS' George and the Dragon, coloured flowers on the sides, purple and green check border at top. In the Collection of the Rev. T. Staniforth, Storrs, Windermere. Arnstadt (Gotha). This mark of two pipes crossed has been assigned to this place by Marry at. Frankenthal. Founded by Hanung in 1753. Some pottery was made here, as well as at Strasbourg, although the manufactory was established for porce- lain ; it was coarse, and generally deco- rated with flowers, called Poterie du Rhin." The last mark has the F, for Frankenthal, and a number, relating, perhaps, to the pattern. Altenrolhau, near Carlsbad. A ma- nufactory, conducted by A. Nowotny. The mark impressed. Some specimens presented to the Sevres Museum in 1836. Moravia (Frain). Besides the usual stamp, the ornamented pieces have an anchor, ribbon, and leaves in colour. Marburg (Hesse). There was a pottery here in the XVIth Century, which has been continued to the present day. The later specimens are terra cotta, with lead glaze, having patterns of coloured earths laid on in relief or en- crusted, which although very effective are produced at a very cheap rate. Conrad Amenhauser, the potter, has issued some pretty models. H A.N. 2 54 FAYENCE TEINITZ. GERMANY. ANDENNES. LUXEMBURG. Teinitz (Bohemia). A small town and castle, with a fme menagerie and convent belonging to Count Trautmansdof, under whose protection this manufactory is carried on by a potter named Welby ; we do not know the date of its establish- ment. This mark is stamped under- neath a fine fayence plate, very well painted in bistre camaieu, with the Dis- covery of Calisto by Diana, an elegant border in grey, with alternate square and oval white medallions of richly gilt de- signs. The gliding of this specimen equals that of Vienna, which it closely resembles. Date about 1800. In the Collec- tion of the Rev. T. Staniforth, Storrs, Windermere. Germany. Unknown mark. On a fayence plate in the Collection of M. Perillieu, of Paris. Germany. Unknown mark. On a fayence scent vase in the Saxon style, painted in colours. Germany. Unknown mark. Fayence of a German fabrique. A. F. 1687. raa-s. CB B. L. i Andennes (Namur). A. D. Vander Waert. Services ; the mark impressed. Sevres Museum, presented in 1809. Andennes (Namur). B. Lammens and Co. Impressed on fine enamelled fayence tea services. Presented to the Sevres Museum in 1809. Luxemburg. Established at Sept Fon- taines, about 1806, by M. Boch. Plates, vases, figures, &c. Sevres Museum. Luxemburg. M. Boch. Some speci- mens in the Sevres Museum, presented in 1809. FAYENCE TOURNAY. TERVUEREN. BELGIUM. 255 Luxemburg. M. Boch. Painted in violet on a figure of a boy; in Mr. C. W. Reynolds's Collection. TouRNAY (Doornix). 1696. There was a manufactory of fayence existing here before the year 1696 ; allusion is made to it in a document among the Archives of Lille. Jacques Feburier petitions for permission to establish a fabrique of ware " a la fa^on (T Hollande]' and of much finer quality than that of Tournay ; this is all the information I have been able to obtain. Tervueren, near Brussels. A manufactory of fayence was established here about i 720, under the protection of the Duke Charles IV. of Lorraine, Austrian Gover- rior the Pays Bas. An authentic speci- V/ V> men is in the Museum of the Porte de CJ^ Halle, at Brussels, a vase ornamented with garlands of flowers in relief, and the arms of Charles of Lorraine ; marked under the foot as in the margin. Belgium. Manufacture unknown. XVIth Century. Terra cotta without glaze, Dutch or Flemish. We must not omit to mention some ornamental red terra cotta bricks used formerly in the construction of the large chimney pieces of the XVIth and XVI I th Centuries. The ornamentation is in relief on one side only, of subjects from Scripture history, and armorial bearings, chiefly of Dutch and Flemish origin ; Renaissance ornaments, and designs for borders, of continuous patterns. Three of these, in the author's possession, selected from upwards of a hundred, which came from an old house at Ipswich, called Cardinal Wolsey's Palace, have The Story of Susanna, Soldiers marching, and medal- lions of classical busts ; these measure — length 5i by 3^:, and are 2 J in. thick. Two others, in M. Demmin's Collection, are dated 1578 and 1598, and bear the arms of Philip II., son of Charles V., from a palace he occupied near Bruges. In the 256 FAYENCE — UTRECHT. LILLE. Cluny Museum is one similar, semi-circular, bearing the arms of Holland, Zetland, and Friesland, dated 1575. There is a Flemish Renaissance chimney piece in the S. Kensington Museum, which cost ^iio. It came from an old house at Antwerp ; the back of the fire-place is constructed of 168 bricks, with various scriptural subjects in relief; on the top is a large triangular headed brick with the arms of Charles V., the motto plus oltre," and the date 1532. Utrecht. Fayence with stanniferous enamel. A manu- factory of tiles, carreaux de revetement," decorated in blue or violet camaieu, was founded in the XVIIIth Century, and carried on by the following proprietors in succession : 1760. The founder, Albertus Prince. 1798. Hendrick Jacob Kraane-Pook and Gerrit Bruyn. 1823. Hendrick Jacob Paul Bruyn and Pieter Ambrose Bert. 1824. Baudewyn and Jacob Van der Mandere. 1839. Baudewyn Jacob Van der Mandere, David Hendrick, and Francis- cus Marinus Royaards. 1844. The Brothers Royaards and Hendrick Camerlingh. The manufactory was closed in 1855, having worked with two kilns and about fifty workmen ; they imitated the ancient tiles of Delft, and, having no mark, they are often sold for real Delft. There are still two manufactories at the Hallsteig Barrier, one belonging to M. Ravenstein, the other to M. Schillemans, for making tiles in imitation of Delft. Lille. Fayence, 1696. There are documents in the mu- nicipal archives of Lille which prove the existence of a manu- factory here in the year 1696. It was founded by Jacques Feburier of Tournay and Jean Bossu of Ghent, the first a modeller of twelve years' experience, the second was a painter of fayence for twenty years. By the petition they promise to make ware a la fa^on cT Hollande, and of much finer quality than that made at Tournay. Jacques Feburier died in 1729, and the manufactory was carried on by the Veuve Feburier and her son-in-law, Francois Boussemart. It was at this time in a very flourishing state, and they were anxious to obtain Royal patronage. We quote the following extract, as it alludes to two FAYENCE LILLE. Other Royal establishments of which we have as yet no further information ; the document commences by stating that the manufactory is " sans contredit la plus importante du Royatune',' and " Us ont lieu d'esperer qice sa MajestS ne leur refuser a pas la grace de Veriger en Manufacture Roy ale, comme elle a erigi ' celle Stab lie a Bordeaux par Jacques Hustin et celle fondSe a Montpellier par Jacqices Ollivier!' In 1732 we find they had three kilns for baking fayence, making every year 1,287,600 pieces. In 1776 M. Boussemart's manufactory employed sixty workmen, and at his death, in 1778, he was succeeded by M. Petit. The second important manufactory of fayence was esta- blished in 1 7 1 1 , by Barthelemy Dorez and Pierre Pelissier, for the manufacture of fayence and porcelain. It continued in active work for nearly a century, but the products, like those of Feburier and Boussemart, cannot be identified, owing to the absence of the marks of the fabriques. The decorations were principally in the style of Delft, Chinese patterns, and frequently similar to those of the South of France. The manufactory was carried on by the children of Barthelemy Dorez, Claude and Francois Louis, who subsequently left Lille to establish a fabrique de faience at Valenciennes. About 1748, a grandson, Nicolas Alexis Dorez, was proprietor. Between 1750 and 1755 it became the property of Messrs. Hereng and Boussemart, and in 1786 it was ceded to Hubert Francois Lefebvre, who continued the works until about 1801. A third fayence manufactory was founded in 1740 by J. Masquelier, who was formerly a maker of Dutch tiles, but he also made fine fayence. This appears to have been carried on in the same family until 1827, when it altogether ceased. A fourth was established in 1774 by M. Chanou, who made otivrages de terres brimes appeUes terres de St. Esprit a la fa^on d'Angleterre et du Languedoc'' but we do not know how long it lasted. A fifth appears by another document to have been esta- blished for the manufacture of fayence stoves by a person 258 FAYENCE LILLE. named Heringle, in 1758; he was a native of Strasbourg, and had worked seven consecutive years at the Manufacture Royale de la terre d'Angleterre a Paris." A sixth manufactory was originated by an Englishman, named William Clarke, in 1773, for earthenware fa^on d'An- gleterre. The document states that he was " natif de Newascle (Newcastle) en Angleterre, disant, qttil possede le secret d'ttne espece de faience qui ne se fait qiten Angleterre, qtd est a pen pres aussi belle qtce la porcelaine et qui a la propriSti de resister au feu sans se filer, que la terre de cette fayence se trouve dans le royaume meme, a portie de cette province." Authorisation was accorded in March, 1773. Lille. A Delft ware painted female figure of the XVIIIth Century, in Oriental costume, seated on four bales of merchan- dize (one of them having the name L Speder, the others the initials only), was bought at Lille, and believed to have been made there ; now in the Collection of Mr. C. W. Reynolds. Lille. Jacques Feburier. These marks Fecit JACOBUS FEBVRiER occur on a portative altar in the Sevres insuiis in Fiandria, Museum, dccoratcd in blue camaieu, alto- Anno 1716. g^^j^^^ ^j^^ -Dyxtoki Style. The name pinxit MARIA sTEPHANus of the Bome family as ceramists seems BORNE Anno 1716. have been well known ; it occurs both at Rouen and Nevers. B Lille. This mark is on a plate painted in blue camaieu, in the style of Rouen. The initials are of Francois Boussemart, son-in-law of Jacques Fe- burier. This mark, probably of a painter, is underneath the F. B. given above. Lille. Another mark on a plate of blue camaieu, of the Rouen design, attri- buted to Boussemart. FAYENCE — LILLE. AMSTERDAM. ^ Lille. This mark is attributed to Masquelier, son-in-law and successor of Lefebvre ; on a plate, painted in blue camaieu, Lille. On an earthenware salt cellar, painted with a blue bird in the centre and flowers, marked underneath in blue, and attributed to this manufactory. Mr. C. W. Reynolds's Collection. N : A Lille. Nicolas Alexis Dorez, a grand- DOREZ son of the founder Barthelemy. The g name occurs underneath a large vase in- ' * tended as a present to an Association of Lace-makers. It is of elegant form, with twisted handles. In the front, surrounded by scrolls, is a medallion representing a woman seated, making lace on a pillow, a child by her side. In M. Jules Houdoy's possession. Lille. This mark is on a tea service with polychrome decoration ; in the pos- ^t//e with figures of lovers and rococo scrolls, gilt borders. Burn Collection. FAYENCE — DELFT. 261 Delft, a town between the Hague and Rotterdam, was celebrated for its pottery at a very early period, Haydn {Dic- tionary of Dates) says as early as 1310, but we have no au- thentic record of its importation into England before the reign of Henri IV. It was probably about the time of the introduc- tion of Chinese porcelain into Europe that the Delft potteries sprang into active existence, although the art was known there long before, and no examples of an earlier date than 1530 have been preserved, or rather can with certainty be identified. Savary des Bruslons, about the year 1723 {Dictionnaire Uni- versel de Commerce) writes, " Les plus belles faiences qui se fas- sent en France sont celles de Nevers, Rouen et St. Cloud, mais elles n'approchent ni pour les dessins, ni pour la finesse, ni pour lemail de celles d'Hollande." The Delft plates and dishes have always narrow edges or borders, like those of Rouen, Strasbourg, Lille, Moustiers and Marseilles, very seldom escalloped and never ornamented on the backs. It may be observed in Delft as well as in the fayence of other countries, that tea and coffee services, such as tea pots, coffee pots, canisters, or cups and saucers, are never found of an earlier date than towards the end of the XVI Ith or begin- ning of the XVIIIth Centuries. In England tea and coffee, although known (through its introduction by the Dutch East India Company) as early as 16 10 — 1620, was not used as a beverage until the reign of Charles II. Samuel Pepys in his Diary, September 25th, 1661, says, "I sent for a cup of tea (a Chinese drink) of which I had never drunk before." In 1666, the price of tea was sixty shillings a pound. The forms of the Delft ware are very varied; amongst other curious efforts of the potters, they have produced musical instruments. There are four fayence violins extant, all painted in blue camaieti, with figures in Dutch costume of the XVIIIth Century, dancing and singing, musicians and kermes scenes, in the manner of Gerard Lairesse, with cupids, and renais- sance ornaments as borders. According to a tradition these violins were made at Delft, by a celebrated modeller, on the occasion of the manage of his master's four daughters to 262 FAYENCE DELFT. four young painters, all celebrated on the same day, and on which occasion the painters, modellers, potters and turners of the establishment, opened the ball, the four bridegrooms play- ing their violins, and many others accompanying them on musical instruments of the same fragile material, made by themselves. The brides preserved in their respective families, from generation to generation, these four instruments, which had all been painted by the four sons-in-law of the potter. These violins are in the possession of M. Pottier, of Rouen; M. Van Romondt, of Utrecht; M. Demmin, of Paris; and at the Conservatoire de Musique, Paris; they have furnished M. Champfleury (himself a collector) with a subject for a novel, entitled Le Violon de Faience." Some specimens of Delft ware, representing fruit, fish, &c., like that of Nuremberg, bear the date 1540, and the style was introduced into Holland from thence. Many of the early Delft pieces have German inscriptions; one was found at Middleburgh, dated 1 546. Towards the middle of the XVI Ith Century, there were nearly fifty manufactories of pottery in operation at Delft, employing more than a fourth part of the entire population, (about 7000 persons), and this was the most flourishing period of its existence. In the middle of the XVI I Ith Century they were reduced to twenty-four, yet making a considerable quantity of pottery. A list of these will be found in the following pages, taken by M. Demmin, from the registry of the Hotel de Ville for the year 1764, describing the names of the potters, their marks or mono- - grams, and the signs by which their manufactories were known, forming a most interesting addition to the scanty information hitherto collected respecting the Delft potteries. Unfortunately the archives of the city were nearly all destroyed by two great fires which occurred there in 1536 and in 1628, and those that are left contain nothing concerning the early manufactories of pottery. At the present day, of all this number of potteries only one remains, and its productions are of a very inferior character, being a yellowish pipeclay, devoid of any attempt at ornamentation. Fine specimens of ancient delft are be- FAYENCE — DELFT. 263 coming very scarce. The decorated pieces of Ter Himpelen, although rarely signed, are much prized; he painted Fairs and Marine subjects, on square plaques, about the year 1650. So also are those of Piet Viseer, about 1 750, a celebrated colourist; and of Van Dommelaar, in 1580, who painted Chinese land- scapes, dragons, trees, butterflies, &c. in gold, red, and yellow, which are now very precious. Ter Fehn, 1590, a sculptor, produced statuettes, cupids, and mythological figures, very much of the Delia Robbia character. Jan Asselyn, surnamed Krabbetje (little crab), a painter, born at Antwerp in 16 10, painted landscapes, generally in blue, on plaques. Abraham Verboom, who flourished about 1680, painted at Delft, land- scapes, &c. on plaques. The following are among the most celebrated pieces of this ware extant: — A large painting on fayence, in a cabaret of the village of Lekkerkerk, near Schonhoven; it is 8 feet high, and represents the famous giant of that name, a countryman of enormous height, in the beginning of the XVIIIth Century. In the Museum at La Hague are two fine plaques, about 3 feet long, painted by Ter Himpelen, after designs by Wouvermans and Berghem. At the Chateau de la Favorite, at Baden Baden, is a complete service of delft, given by the King of Holland. A cabinet in the Chateau de Rambouillet, is en- tirely covered with tiles of Delft ware; and there are also some fine specimens at Hampton Court. Most of the marks on the list which follows are given on the authority of M. Demmin {Guide de V Amateur de Faience et Porcelaiiies, Paris, 1861). XVIth ANDXVIIth CENTURIES. Unknown. Marked in blue. Chinese designs in blue. Unknown. Marked in blue. Chinese -^^"J^-V designs in blue. D Unknown. Marked in gold. Early gilding. 264 FAYENCE DELFT. Unknown. Marked in gold. Unknown. Marked in red. Japanese designs in colours and gold. Unknown. Chinese designs, in blue. Unknown. Shaped pieces, as salt cellars, jugs, pepper castors, small pots, 3 &c., with and without gilding, and finely decorated pieces in blue camaieu. H.S.t H U nkno wn . J apanese designs in colours. Unknown. Japanese designs. SuTER VAN DER EvEN, with numbers. Chinese designs on jugs, flagons, &c. of fine enamel, well painted in blue camaieu. Samuel Piet Roerder. Pitchers, &c., painted in bright colours. p Unknown. Marked in red. Canettes, ' &c. Landscapes. !M*C!, Martin Carolus, letters crowned. Plates like the Castelli ware. J J Unknown. Canettes, &c. Blue fes- ^ toons, &c., on white ground. Unknown. Canettes, &c. Chinese polychrome. Unknown. Shaped pieces. Red and gold. Unknown. Shaped pieces. Poly- chrome; ducks, pikes, &c. on the covers. Jean Brouwer. Shaped pieces. Ara- j _ besques, &c. blue en camaieu. ID CD. VA FAYENCE — D^LFT. 265 If' C. Zachtleven Fa. 1650. On a large tureen, escalloped rim, painted in blue, with medallions of land- scapes and figures. In possession of Mr. Hailstone of Horton Hall. Delft. Mark unknown. The date 1629. Painted in polychrome in the Oriental style. Delft. On oblong and octagonal plates, painted in blue camaieu^ in the Chinese style. Attributed to Suter Van der Even ; on pitchers, flagons and bottles, painted in blue camaieu, or blue and brown, in the Chinese style. Cornelius Zachtleven, born at Rotter- dam 161 2, died 1690. M. de Vilestreux of the Hague has two oval plaques with polychrome borders ; subjects sketched in violet e7i camaieu^ of two men, in the style of Teniers, one holding a scroll, on which is Zachtleven s name. Unknown. Plates, &c., in imitation of Faenza. Berghem. Table services, jugs, &c., with landscapes. Unknown. Dishes, with birds and foliage. Unknown. Landscapes and figures temp. Louis XIV. Unknown. Marked in red, Japanese pattern, in blue. Unknown. French and Dutch designs. 266 FAYENCE — DELFT. Unknown. Services, jugs, &c. ; red decorations. MARKS OF POTTERS DEPOSITED IN THE HOTEL DE VILLE IN 1680. i^DP m Kv K 173/ rB Cornelius Keyser, Jacobus Pynaker, Adrian Pynaker, Associated Potters. The mark of G. K. Leynoven, potter. The mark of Jan Jan Z. Gulicpi, potter. The mark of Martinus Cauda. On a square canister, the ground painted with blue flowers, figures and interiors; on the sides Justice and Plenty in blue camaieu. Mr. Reynolds' Coll. On two pitchers and covers, of ele- gant form, surmounted by a parrot eating fruit, with ornaments in relief, painted in blue camaieu^ with arabesques and medallions, one with the bust of William V, Stadholder of Holland, who reigned 1751, the other that of his wife. Unknown. Plates, blue, en camaieu^ also on a plateau. Turner. Costume figures, and reli- gious subjects. The mark of Isaac Brouwer, potter. FAYENCE DELFT. 267 THE FOLLOWING MARKS WERE DEPOSITED IN THE HOTEL DE VILLE IN 1764. •A . K 0^ 7.D.A LTD. Be ooren w.v.nB. M A. Kiel. De Sterre (the star). Jacobus de Melde. De Pauw (the peacock.) Johannes den Appel. De Vergulde Boot (the gilt boot). Van der Does. De Roos (the rose). Lambertus Sandenus. De Klauw (the griffin). Van der Does. De drie Klokken (the three bells). Dextra. De griekse A (the Greek A). Jacobus Halderus Adraiens. The same. Hendrick von Hooren. De drie porcelaine Tonimi (the three barrels of porcelain.) PiETER Pare. De niataale pot (the metal pot.) Pierre Van Der Briel. Foi-tuyn (Fortune)., Pieter Van Marum. , De Romyn (the Roman). Jan Van der Kloot. Pierre Jan Van der Hagen. T'Jo^ige Morians Hoft (the young negro's head). Geertrug Verstelle. De oiide Mo- rians Hoft (the old negro's head.) 268 P^AYENCE DELFT. ^1 0T» Justus Brouwer. DeByl (the hatchet). This mark is well known. Both fine and coarse ware were produced here.* Hugo Brouwer De drie Flesges {tho, three bottles). Hendrik van Middeldyk. Thart (the heart). An Pennis. De twee Scheepjes (the two ships). Johannes van Duyen. De porcelyne Sc kote I [th-Q, porcelain plate). This mark '^'^ is on a vase, in the possession of Mrs. Alexander of Coleraine. P. Verburg. De veegolde Blompot (the gilt flower pot), "ly^ PiETER Jan Doonne. De porcelyne JLm^ Fles (the porcelain bottle). ToMAS Spaandinck. De twee Schenk- kannen (the two cans). ^J^ ^f^gyfi^ ^^^'^ VisEER. De Kunstenaar (the A ^ artist). The finest colours known ; his ' / ^ 1/ pieces are rare. GOG Unknown. On oblong and octagonal I plates, painted in blue camaieu. r% Unknown. Shaped pieces. Bl * monochrome. I.G.V Unknown. Shaped pieces. Bl C I 30 On a plate, decorated with Chinese landscapes, in blue. In S. Kensington Museum. On a coffee pot, with Chinese figures outlined in blue, embossed with rococo scrolls. Circa 1760. In the possession ' ' of Mr. Hailstone, Horton Hall. On plates, painted with flowers in yellow and green. HThis mark is on a pair of bouquetieres, painted with cupids and flowers, in blue J 2 and red. We have not seen it, but it appears rather to belong to J. Hanung and not to Delft. I 0„ a pair of candlesticks, a CKinese seated figure on the base, with a stag; ^^^^s^/jj/^ flowers in relief; escalloped feet. On a large dish, painted in blue with the view of' a village and a fair, with numerous figures drinking, dancing, I y^QQ fighting, &c. In the possession of Mr. Hailstone, Horton Hall. This mark, in blue, is on a pair of "P \j \J\ jars, painted with Chinese figures, &c., 3/ in orange, green, blue, and brown; 18 in. O high. In the possession of Mr. White- way, of Newton Abbot, Devon. ORIENTAL PORCELAIN. N giving the Marks on Chinese porcelain we must own our obligations to that eminent scholar M. Stanislas Jullien, who has thrown a great deal of light upon the early history of Oriental porcelain by his trans- lation of a Chinese history of the Imperial Mariufactory of King- te-t chin, which is prefaced by a valuable introductory essay on the subject, with extracts from other Chinese authors. M. Stanislas Jullien is of opinion that the porcelain of China was made about 185 B.C. The Chinese have historical annals from the remotest period of antiquity; the first notice they have of pottery is, that it was invented in the reign of the Emperor Hoang-ti, in the year 2698 before the Christian era; but porcelain was first invented under the Han dynasty, between 185 and 80 B.C., or 1600 years before it was known to the western nations of the globe. Its progress was at first slow, but, from the patronage of succeeding Emperors, it gradually increased. The word pourcelaine' has existed in the French language since the XlVth Century, consequently long before the intro- duction of china ware into Europe; the word was applied formerly to the calcareous concretion which lines the interior of marine shells, which we call mother-of-pearl. In the inven- tories of the XlVth, XVth, and XVIth Centuries the word pourcelahie has this signification, and certainly does not apply to porcelain in our acceptation of the term. This appellation ORIENTAL PORCELAIN — CHINESE. was probably given to the ware by the Portuguese, in the beginning of the XVIth Century, from its similarity to these marine shells, and is derived from porcellana^' a word which they apply to cowrie shells, either because it conveyed a good idea of their milky white, glossy, and translucent appearance, or perhaps they may have imagined that the ware was actually made from a composition of those very shells; in fact this was a very general impression at that time, for Edoardo Barbosa, who died 1 5 76, says that it was made from marine shells and egg shells buried in the earth for eighty or a hundred years. Jerome Cardan and Scaliger both state that such was the method of making porcelain adopted by the Chinese. They kept the composition of porcelain a profound secret, and endeavoured to deceive foreigners by all manner of wonderful tales. There are numerous manufactories of porcelain in China, M. Stanislas Jullien enumerates fifty-six, but the principal establishment is that of King- te-tc kin. This was established as early as the Vlth Century, and was then known as N'an- tchang-tchin; but its great importance dates from the time of the Imperial patronage accorded to it in the Ki7ig-te period, when it was called King-te-tchin, or the borough of King-te; this was in a.d. 1004. The Pere d'Entrecolles, a Jesuit, who went into China to establish Missions in many of the pro- vinces, collected some valuable details of the manufacture of porcelain. These he fully describes in a letter to Pere Orry in Paris, in 1712, accompanied by specimens of the two principal ingredients, kaolifi* and petuntse. He visited the Imperial manufactory, and gives the following interesting account: — King-te-tchin wants only to be surrounded by walls to deserve the name of a city, and will bear comparison with the largest and most populous cities of China. There are eighteen thousand families, and more than a million of * Kaolin is the name of a native earth found in China, answering to our china clay; petmitse is a siliceous stone found also in China, answering to our Cornish granite. The word kaolin is said to be derived ixoxax kaou-ling (lofty ridge), the name of a hill where some of the material is found. T 2 ORIENTAL PORCELAIN CHINESE. souls. It is situated on the bank of a fine river. The expense of procuring materials is very considerable, for everything consumed here has to be brought a great distance, — even the wood for the furnaces has to be taken a hundred leagues; provisions also are very dear ; yet numerous poor families find employment who could not subsist in the neighbouring towns. The young and the old, the lame and the blind, all find work, at which they can earn a livelihood by grinding colours or otherwise." " Formerly," says the History of Feou- liang, " there were only three hundred furnaces, now there are nearly three thousand." King-te-chin is situated in a vast plain, surrounded by high mountains from which issue two rivers, flowing into each other, and form a wide open basin. Here are seen two or three rows of boats, tied together stem and stern; these are employed either in ascending the river for materials, or in descending it to take the porcelain to lao-tcheou. It is astonishing that in so densely populated a place, — so abounding in riches, so much property, and such an infinity of vessels, — not surrounded by walls, that it should be governed by only one Mandarin, without the least disorder. But the police is excellent; each street is superintended by one or more officers according to its length, and each officer has ten subalterns, who each take ten houses under their especial charge; if they do not keep strict watch the bastinado is liberally applied. The streets are barricaded, and few, if any, strangers are allowed to sleep in King- te-tc kin ^ but must retire to their boats, unless they can find some well-known inha- bitant to be answerable for their honesty and good conduct. Lord Macartney, Ambassador to the Emperor of China in 1792-4, says that not far from the route taken by the English on their way to Canton, there was an unwalled city called Kin-te-Cki7t, where three thousand furnaces for the baking of porcelain existed, all lighted at the same time, which at night presented the appearance of a town on fire. After reading the foregoing account of the grand centre of the porcelain manufacture of China, it is with feelings of regret ORIENTAL PORCELAIN CHINESE. 2/7 we close its history by stating that King-te-tchin is now a heap of ruins. In the course of the recent disturbances which have convulsed that country, the rebels {Tae-pings) sacked and pil- laged the village, destroying all the kilns and workshops ; giving a fatal and irrecoverable blow to this particular industry in China. Specimens of white porcelain are found engraved with designs, in such a manner as to be seen only when held up to the light. Mr. Turner {Ambassade de Thibet) mentions some fine porcelain cups very thin and quite white. The imperial dragon was only to be distinguished when held to the light, in the same manner as the watermark upon a sheet of paper. We find a notice of porcelain in the travels of Ysbranti Ides, Ambassador to China from Peter the Great in 1692. He states, that " the finest, richest, and most valuable china is not exported, or at least very rarely, particularly a yellow ware, which is destined for the Imperial use, and is prohibited to all other persons. They have a kind of crimson ware, which is very fine and dearer, because great quantities of it are spoiled in the baking. They have another sort, of a shining white, purfled with red, which is produced by blowing the colour through a gauze, so that both the inside and out is equally beautified with crimson spots no bigger than pins' points, and this must be excessively dear, since for one piece that succeeds, a hundred are spoiled. They have a china purfled in the same manner with gold. Also a kind of china which looks like mosaic work, or as if it had been cracked in a thousand places, and set together again without cement. There is another kind of violet-coloured china, with patterns composed of green specks, which are made by blowing the colours at once through a frame pierced full of holes, and this operation succeeds so rarely, that a very small basin is worth two or three hundred pounds. They have a kind of white china, excessively thin, with blue fishes painted on the metal between the cbats of varnish, so that they are invisible except when the cup is full of liquor." 278 ORIENTAL PORCELAIN CHINESE. The most curious vases with respect to manipulation are the reticulated patterns, an exterior coating being entirely cut out or perforated in patterns, and placed over another vase, generally blue. The cups so made are for drinking tea or hot liquids, as they may be held in the hand without burning the fingers. These have been successfully copied at Dresden and more recently at Sevres. Another remarkable decoration is produced by piercing designs of flowers, leaves, and rosettes, on the paste, and filling in the spaces with glaze, giving the effect of an elegant transparent pattern — this is termed " grains of rice " from the usual form of the perforations. This description of ornament is most frequently found on Japanese porcelain. The modern Japanese egg-shell china is occasionally seen painted with landscapes, and interiors, in which the windows and fruits are cut out and filled in with a transparent coloured varnish of a pleasing appearance when held up to the light. Some other curious examples of manipulation are occasion- ally met with, movable bands made so as to turn round on the vase, and vases made of two pieces, which although separate cannot be removed. The wonder is that in the baking, the edges in juxtaposition should not have become cemented together. The Cup of Tantalus " is a small white china cup, with a statuette standing up in the middle, the water is poured into it, but just as it reaches its mouth the cup is emptied by means of a syphon placed inside the figure. Puzzle jugs, in which by means of a concealed syphon the liquid recedes from the mouth of the drinker, and is spilled over his clothes. Also a cup which appears to contain an egg, pierced at its upper extremity, and when filled, a small figure jumps out of the aperture. Tortoises which swim and turn on the surface of the water, &c. An argument in favour of the remote antiquity of porcelain has been adduced, from the circumstance of Chinese bottles of porcelain having been found in the Egyptian tombs at Thebes. These bottles of common ware are painted on one side with a flower, and on the other with a Chinese motto : they are about ORIENTAL PORCELAIN — CHINESE. 2 inches high, and eight of them have been found in as many Theban tombs. RosseHni found one in a tomb which he referred to the Pharaonic period, about 1500 years before the Christian era. These are now known to have been placed there by the Arabs for fraudulent purposes, and exported from China, or as Marryat suggests, they may have belonged to an itinerant Chinese quack doctor, who accidentally died, and his body (bottles and all) were placed in the tomb of the Pharaohs. Sir Gardner Wilkinson, himself, is prepared to abandon all notion of the antiquity of these bottles. The Chinese seals discovered in Ireland have, like the Chinese snuff bottles found at Thebes, caused much discussion. They are generally of pure white porcelain, in the form of a cube, about half an inch square, and the handle of a seated monkey ; sometimes Chinese inscriptions and mottoes are found pressed at the bottom. The question, how they found their way into the bogs, has never been satisfactorily explained, but they are supposed (as was the case with the bottles) to have been surreptitiously deposited by the navvies to test the credulity of archaeologists. A great part of the porcelain made at King-te-tchin was decorated either at Nankin or at Canton. The decorations of the former place are of greater delicacy, and far superior to those of Canton. The most frequent patterns are arabesques and flowers, figures and landscapes, setting all laws-of per- spective and rules of design at defiance ; Chinese deities (notably the god of porcelain, with a very prominent belly), fabulous monsters, and fantastic personages, accompanied by inscriptions, being maxims or quotations from poems. The Chinese peasant, the Imperial tiger, the Celestial dragon, which on pieces destined for the Emperor's use specially is re- presented with five claws, for princes four, and for commerce with three only ; but with all these incongruities they possess the knowledge of producing many brilliant enamel colours and glazes of peculiar tones, which our most skilful chemists have hitherto been unable to imitate successfully, A favourite ornamentation on ancient vases is the crackle, 28o ORIENTAL PORCELAIN — CHINESE. the method of producing it being kept a profound secret. This consists of a series of cracks on the outer surface of the vase in irregular designs, the fissures being sometimes filled in with red. The smaller sort, that is when the network is very minute, is called by the French truitSe, and much prized by collectors ; the larger is called a^aquelies. Dr. Klemm is of opinion that, although the glaze seems at first sight to be cracked, and has quite the appearance of stone ware cracked or marked by long use, yet on close observation it will be found that the surface is perfectly smooth, and that the vein-like numberless cracks are under the glaze and in the material itself. The egg-shell is so called because of its very slight texture, and, although extremely thin, yet it is formed into large vases, and usually beautifully enamelled ; the plates of this make generally have on the back rose-coloured borders. There is a large manufactory of porcelain at Chaou-king-foo, west of Canton. The kaolin used in making porcelain is much softer than the petuntse when dug out of the quarry, yet it is this which, by its mixture with the other, gives the strength and firmness to the work. The Pere d'Entrecolles relates, that some Europeans having procured some petuntse privately in China, upon their attempting to make porcelain when they returned to their own country, could not succeed for want of the kaolin^ which the Chinese being apprized of, said, humorously, that the Europeans were wonderful people, to go about to make a body whose flesh was to sustain itself without bonesT There was more in this saying than even the witty Chinaman himself imagined ; he of course spoke figuratively, little thinking his remark would be literally followed by the admixture of bones with the paste.* * The following analysis of English porcelain, by Aikin, in 1840, shows how largely bones enter into its composition, giving transparency according to the quantity used : — Cornish or Devonshire kaolin 31-0 Cornish china stone 26-0 Flint 25 Prepared bones 40*5 ORIENTAL PORCELAIN — CHINESE. 281 The Chinese themselves are great amateurs, and there are many collectors who pay high prices for ancient examples of porcelain, especially if made by a renowned potter ; as much as 10,000 francs is 'sometimes given at a public sale for a choice piece of china ware. Our account of Oriental porcelain would be incomplete if we omitted to notice the Porcelain Tower at Nankin. This Pagoda was not so ancient as has been generally supposed, but there was a previous tower on the same spot, of what materials, however, it was built we have no record. The porcelain tower of Nankin was constructed by the Emperor Yong-lo (1403- 1424). It was outside the town, and called by the Chinese "the Temple of Gratitude." The tower was octa- gonal, and consisted of nine stages, elevated on a pedestal of the same form ; the wall was 12 feet thick at the base and 8 J at the top. It was built of brick, encased with tiles or bricks of porcelain, enamelled on the exterior, the quality of the ware . being equal to that of which the ordinary vases were com- posed ; each stage had a cornice of 3 feet, and at each angle was a bronze bell, making eighty in all — when agitated by the wind they produced at a short distance a sound like an /Eolian harp ; its height was 261 feet, and was ascended by a spiral stair of 190 steps in the interior. The Emperor Khang-hi visited and repaired it in 1664. This celebrated structure, once the pride of Nankin, has been completely demolished by those dangerous rebels the Taepings, who aJso sacked the town and devastated the whole country. In Oliphant's Narrative of the Earl of Elgms Mission to China and Japan (vol. ii, p. 456) he gives an account of his visit to Nankin in 1858; — ''We passed the spot on which formerly stood the porcelain tower, but not a fragment is left to mark the site of this once celebrated monument." The marks found upon porcelain are of two sorts ; one in Chinese words or letters, designating the period or reign in which it was made ; the other by letters or paintings, indi- cating the painter of the piece, its special use, or the place of its manufacture. 282 ORIENTAL PORCELAIN CHINESE. CHINESE DYNASTIES, FROM A.D. 25 TO THE PRESENT TIME. /Jl Tung-han 25. Hou-han 221. Ti-^'/^ 264. Tung-tsin 317. ^ \^ Pei-sung 420. pf=y ^ 0/ 479. Leang 502. 13 557- 589. Tang 618. ^ "^j^ Hou-leang 907. ^ ^ Hou-tang 924. ^ 1=1 Hou-tsin 936. Houhan . . . . . . 947. 1^ Hou-chao 951. .5'^;/^ 960. Ljr' Nan-Sung 1 1 2 7. ORIENTAL PORCELAIN — CHINESE. 283 A.D. -j^ Yttan (Tartar) . . . . 1279. Ta-meng 1368. ^( Tai-thsing 1644. MARKS INDICATING A PERIOD OF A REIGN, Or mottoes of various Emperors of China, from the time when the Manufactory of Nan-tchang-tchin (originally established in the Vlth Century) became an Imperial Manufactory in the King-te period, a.d. 1004.* The Chinese characters which follow, representing Periods, are placed from left to right, as we are accustomed to read, but the Chinese invariably read from right to left, vertically; the length of the column is arbitrary, but on the vases in- scriptions of six words are disposed in three columns of two, or in two columns of three words, always commencing at the top right-hand corner downwards. The full dynastic inscrip- tion consists usually of six characters ; thus : 'j^ 4^* Ta-Ming tching-hoa nie7i-tchi. In the reign of Tchim-Ti, of fl^ the i^/;/^ dynasty. ^ J p 1 In the Tchhig-Jioa "^^xxoA, 1465 ^ to 1487. Ta-ming sioun-te nien-tchi. In the reign o{ Hioun-Tsoting 5 3 I 642 ^( of the Ming dynasty. In the 7^ huT 0 period 1426 to 1435. These two words, nien-tcJd, signify a T'Y^ number of years, or a period, and are found following the name of the dis- tinguishing appellation assumed by the * We are indebted to Mr, J. A. Tulk for a complete list of the Chinese Dynasties and Periods Irom A. D. 25 to the present time, but our limits compel us to omit the periods previous to A.D. 1000. 284 ORIENTAL PORCELAIN — CHINESE. Emperor, denoting at once the Emperor and the period of his reign. Thus the last reigning Emperor s designation Hterally signifies ''The glory of the right way;" the present Emperors period " Universal abundance." In the following names of Periods we omit the words nien-tchi^ to avoid repitition. The marks of Chinese dynasties and periods given in the succeeding lists, are occasionally found stamped or cut upon bronzes and enamels, on copper as well as porcelain, as shown in the following examples : — A pair of lofty Chinese cloisonne enamel pilgrim's bottles, of flat circular form, with flowers, birds, &c., on dark blue. In Mr. H. Durlacher's possession. I & 2. Dynasty of Tai-thsing. 3 & 4. Period of Khien-long. 5 & 6. Made during Nien-tchi 1736 to 1796. Chinese enamel gourd-shaped bottle, blue ground, white and red flowers, gilt handle and spout. Mr. I. Falcke s Coll. I & 2. Period King-tai. 3 & 4. Made during Nien-tchi 1450 to 1457. The Dynasty of Ming (omitted). SUNG DYNASTY, a.d. 960 to 1127, PERIODS. A.D. King-te 1004. S5 'IS ^ i:^ Tai-chung-hsiang-fu 1007. ORIENTAL PORCELAIN — CHINESE. PERIODS. 285 Tien-shing Ming-tao . Ching-yu a a Chia-ytc Pao-yuan . Chi-ping I?? :^ Hsi-ning . ^ f Yuan-fung . Yuan-yu . Tliao-shing r :t Yuan-fu -EL ^TJ^ I-ho . . . Chunz-ho . Chen c-Jlo Ckien-chuno- L fling- imo . 1 ^ ll'/l-^-fl'i/l-^ ^ Ma Ta-cJman , it Ching-kang A.D. ) 1023. 1064. 1068. ) 1086. I lOI. / IIOI. I 120. 86 ORIENTAL PORCELAIN — CHINESE. NAN SUNG DYNASTY, A.D. 1127 to 1279. PERIODS. A.D. Chien-tan | Shao-hsing \ 1 1 2 7. f ' Limg-hsing .... ^ 1163. * ^ 1 En /■^ '-^^ Ttm-hsi . . . . . 1 Shao-hsi II 90. Ching-yuan .... Chia-tai , . . . . \ II95- Kia-ting ) 1 — ^ Pao-ching \ Shao-ting \ 122^. "^fr, T ^ IK 1265. Te-yu 1275. 1277. Cheang-hsing .... 1278. ORIENTAL PORCELAIN — CHINESE. YUAN DYNASTY (Tartar), a.d. 1279— 1368. PERIODS. Cki-yuan . Yuan-tso . . Ta-te . . . Chi-ta . . . Cheng-yu . Huang-ching Chi-yu . ^ ^-^-^^C Tai-ting-chi-ho Tieti-li . Chi-shan . . Yuan-lung Chi-yuan . . CJii-che7ig . A.D. 1279. 1295. 1308. 1312. 1321. 1324- 1329- 1330. ) 1333. TA MING DYNASTY. PERIOD. A.D. EMPEROR. Hoiing-wou . 1368. Tai-tsou. Kia7i-wen Young-lo 1 399. Chu-ty. 1403. Tching-tsou. 288 ORIENTAL PORCELAIN- PERIOD.. .Hi ^^^^^ ^^^^ Houng'hi Siotcen-te Tching-tung King-tai Tien-chun Tching-hoa Houng-tchi Tching-te Kia-tsing Loung-khing Wan-li Tai-tchang Tien-ki Tsoung-tsu Chzm-tchi . Tschao-wou Loung-wou Ytmg-ly . ■CHINESE. A.D. EMPEROR. 1425. Jin-tsoung. 1426. Hiouan-tsoung. 1436. Ying-tsoung. 1450. King-tai. 1457. Ying-tsoung. 1465. Tchun-ti. 1488. Hiao-tsoung. 1506. Wou-tsoung. 1522. Chi-tsoung. 1567. Mou-tsoung. 1 5 73. Chin-tsoung. 1620. Kouang-tsoung- 162 1. Tchy-ti. 1628. Hoai-tsoung. 1 644. Chi-tsou. 1646. 1646. Thang-wang. 1647. Kouei-wang. ORIENTAL PORCELAIN CHINESE. 289 TAI THSING DYNASTY. PERIOD. A.D. Tien-ming EMPEROR. 1 6 1 6. Tai-tsou. 7TT r /llA} n It Tien-tsoung . 1627. Tai-tsoung. Tsoung-te . 1636. Id. Khang-hi . 1662. Ching-tsou. Yttng-tchijig . 1723. Chi-tsoung. Khien-long . 1736. Koa-tsoung. Hia-king Tao-kouang Hien-fo7ig 1796. Jin-tsoung. 1821. 1841. THE FOLLOWING INSCRIPTIONS ARE OCCASIONALLY FOUND ON CHINESE PORCELAIN. y in-Jio-ko2can. The house of humanity and concord. Those words indicate certain white vases of Tirig-tcheou, III I to 1 125. Tchou-fou-yao. Porcelain of the Palace. The first two words, written on the inside of vases, indicate porcelain made for the Emperor's use of the dynasty of Yoiien (the Mongols of China). 1260 to 1367. Marks of the Sioiien-te period. Three fishes. 1426 to 1435. u 290 ORIENTAL PORCELAIN CHINESE. A Three fruits. 1426 to 1435. Three mushrooms. 1426 to 1435. Fo. The word Happiness repeated five times. 1426 to 1435. Ckeou. Longevity. 1426 to 1435. Thsieou. " Wine." This word, paint- ed in the centre of a sinall white cup, indicates one of the cups for the use of the Emperor Chin-tsong. 1521 to 1566. Tsao-fang. Decoction of jujubes. These two words, painted in the centre of a small white cup, denote an inferior quality used by the same Emperor. 1522 to 1566. Kiang-f ang. Decoction of ginger. These two words are on cups of a com- mon description used by the same Em- peror. 1522 to 1566. Ou-in-tao-jm, Ou, The old man who lives in solitude. These four words painted on the foot of a vase, designate the porcelain of the celebrated potter Hao-chi-khie-oti. 1567 to 16 19. Fou-kouey-tchang-tchun. * Riches, high rank, and an eternal spring. Tching-ling-kiun. Vase destined for celebrated feasts in the district of Tching- ling. * This and the Chinese characters following are placed in their correct positions, and are to be read from right to left vertically, as indicated on page 283. ORIENTAL PORCELAIN — CHINESE. 291 at. Z Tb 5^ Cheou-pi-nan-chan. Fou-jou-toung-hai, (I wish you) a longevity comparable to the mountain of the South and happiness (great) as the Sea of the East. Tchoang-youen-ki-ti. May you be able to obtain the title of Tchouang youen. Souvenir of Ing-chm-youei. ) Me ! I am the friend oi you-tchoimi. Cheng-yeou-ya-tsi. A distinguished reunion of holy friends. Pou-koii-tchin-ouan. Curious objects for connoisseurs of antiques. Ouan-yii, Precious objects of jade. TcJim-ouan. A precious object of pearl. Tai-yu. Pate de jade. Khi-tchi7i-02i-jou. Extraordinary as the five things (precious). Tchoui-ouan. A precious object to offer. u 2 292 ORIENTAL PORCELAIN — CHINESE. □ □ C±l z ^ UL. / m m i Fou-kotcei-kia-khi, A fine vase for the use of the rich and noble people. A bottle with this inscription, painted with blue dragons and wicker ground, is in the Collection of Mr. A. W. Franks. Ting-chi-tchin-khi-chi-pao. Ting, a rare and extraordinary precious stone. Yu-thang-kia-khi. A fine vase of the Hall of Jade (The Imperial Academy). Khi-yu-thang-tchi, Made in the Hall of Jade. Tse-thse-thang-tchi. Made in the Hall of the violet thorn. Tchi-thang-youen-fou. Made in the Hall of the source of happiness. Tchi-thang -hien-mao. veiled Celestial Hall. Made in the Yu-ya-kin-hoa. Splendid as the gold of the House of Jade. Yu-kouo-tien-tsing. When the rain has ceased the sky becomes clear. On blue porcelain, of the date 954. ORIENTAL PORCELAIN — CHINESE. 37 JADE. PEARL. Il4 Pei-tching-tien-kien-ki-tsao. In the shop of Pei-tching (this is sold) made by Kie7i-ki. The Chinese characters signifying yii jade, and tchin pearl, are sometimes met with on porcelain. This mark reads Ta ming-tching-hoa- nien-tchi, made in the Tching hoa period of the yl//';/^ dynasty, 1465 to 1487, and ^ is found on some plates, representing the Siege of Rotterdam. Japanese Palace, Dresden. Specimens of Chinese porcelain, with these six marks, the subjects painted in blue monochrome, are much esteemed in Holland, and bring high prices. Called " porcelain of six marks." On a specimen mentioned by M. Demmin. Six marks on Imperial yellow porce- ^ lain. Apparently of the Ming dynasty. Japanese Palace, Dresden. Mark on blue porcelain, painted with a crab. Japanese Palace, Dresden. 294 ORIENTAL PORCELAIN — CHINESE. Six marks on a cup, painted red. ^ Apparently of the Ming dynasty. In the Japanese Palace, Dresden. Four marks on a hemispherical botde of crackle porcelain, painted with a large blue dragon. Tching-te-nien-tchi. 1506-1522. SUBJECTS PAINTED UPON PORCELAIN, WITH APPROXIMATE DATES AND PERIODS WHEN THEY WERE USED. In the former edition we gave the Chinese characters by which these subjects were designated, but as they do not actually appear as marks on the porcelain, we omit them, lest they should cause confusion. The acorus, an aquatic plant, painted under the foot of a vessel, designates it as being of the manufacture of Kiun, of the finest quality, from 960 to 963. Two fishes painted under the foot of a vessel indicate the porcelain of Long-thsiouen. 969 to 1 106. A long thin iron nail projecting beneath the foot of the vase, covered with enamel, indicates certain porcelain of - lou-tckeou. 969 to 1 106. The sesame flower painted beneath the foot also indicates the lou-tckeou porcelain. 969 to 1106. Two lions playing with a ball, painted in the centre of vases, indicate the porcelain of the first quality of the Young-lo period. 1403 to 1425. ORIENTAL PORCELAIN CHINESE. Two Mandarin ducks (male and female), which, among the Chinese, are emblems of conjugal affection, painted in the centre of bowls or cups, indicate the porcelain of the second quality of the Young-lo period. 1403 to 1425. A flower, painted in the centre of a cup, indicates the third quality of the Young-lo period. 1403 to 1425. A handle ornamented with a red fish is found on cups of the Siouen-te period. 1426 to 1436. An extremely small flower, of dead or matted colour, painted in the centre of a cup, denotes a piece of the Sioueii-te period. 1426 to 1436, The fighting of crickets was in fashion during the Sioiicn-te period. 1426 to 1435. Ta-sieou is the name of a girl, renowned for her talent in depicting these crickets on porcelain vases during this period. An enamelled dragon and a phoenix, painted extremely small, designate vases of the Siouen-te period for the Em- peror's use. 1426 to 1435. A hen and chickens mark the Tching-hoa period. 1465 to 1487. Fighting cocks. Of the 7>///;/^-^^?rt^ period. 1465 to 1487. A sort of grasshopper. Of the same period. 1465 to 1487. Grapes, in enamel. Of the same period. 1465 to 1487. The fruit of the nelumbium speciosum is the mark for wine vases of the same period. 1465 to 1487. The flower paeonia moutan, beneath which is a hen and chickens. Porcelain of the same period. 1465101487. These are also found upon the porcelain of Ting-tcJicou, the first year of the Sung dynasty in 960. A branch of the tea tree, painted in enamel in the centre of a small white cup, denotes one of the cups of the finest quality used by the Emperor, Cki-tsotcng. 1522 to 1566. Bamboo leaves, on vases with blue flowers, made in a street of King-te-tchin. 1567 to 1 6 1 9. 296 ORIENTAL PORCELAIN — CHINESE. A bouquet of the epidendrum. This ornament also desig- nates the same fabrique. 1567 to 16 19. Cups, on which children are seen playing at see-saw. Cups of the great literati, representing two poets sitting opposite a chrysanthemum. A small branch with white flowers, on a certain porcelain of Corea, of pale blue, but little esteemed. THE FOLLOWING CHARACTERISTIC DEVICES OF FABRIQUES ARE FOUND UPON ORIENTAL PORCELAIN. A pearl; a mark used on vases destined for letters. A sonorous stone or Chinese musical instrument ; mark used on vases destined for religious worship. Kiouei. A stone of honour ; this mark is used on vases destined for the magistracy. Kiouei, A stone of honour ; used as in the previous case. The sacred axe; a mark found on green porcelain. Precious articles, paper, pencil or brush, ink, and the muller or stone to grind the colours. A mark found on rose-coloured porcelain. ORIENTAL PORCELAIN CHINESE. 297 Instruments, an ornamental sceptre, a curved trumpet, and a flute. A mark found on antique blue vases. A rabbit. A mark found in blue or red on green porcelain, or with the Nankin glaze. Two fishes. Choang-yn. A mark found upon the chrysanthemum and paeonia patterns, or on the porcelain of Long- thsiouen. 969 to 1106. A butterfly. Univalve shell, helmet or official head- dress. A mark found on blue or green enamelled porcelain. A flower, pencilled in blue, on a basin and cover, painted with utensils on drab ground. Captain Langford's Collection. A flower (Celoise a Crete), emblem of longevity. A mark found on green and blue porcelain. Sesamum flower, an Oriental plant giving oil. Ou-tong. The leaf of a plant, men- tioned by poets ; not the tea leaf 298 ORIENTAL PORCELAIN CHINESE This mark is on a plate of Imperial blue, gilt; at the bottom is represented a gold fish. On a Chinese porcelain basin, painted in blue, with landscapes and figures ; marked in blue at the bottom. On a Chinese porcelain basin, painted in blue of a slight purple tinge, with flowers, wild geese, mountains, &c. ; a fine specimen: On a Chinese porcelain basin, painted in blue, with rocky landscape, boat, &c. On two open-mouthed cups, blue enamel ground and pink May flowers. On two basins, blue camaieu, with large flowers. ORIENTAL PORCELAIN — CHINESE. 299 Ornament marked on porcelain, of chrysanthemum and paeonia pattern. Another ornament, found or marked on Chinese porcelain. Another ornament, found on Chinese porcelain. Another ornament, found on Chinese porcelain. Another ornament, found on Chinese porcelain. This mark of a tripod is pencilled in blue, underneath three blue Nankin saucers, painted with flowers and birds, and flowered border. In the Belgian Minister's Collection, St. Petersburg. This mark, apparently a cornucopia, occurs on a set of five very fine jars and beakers, of blue Nankin porcelain, painted with rocks, flowers, and birds. In the Collection of the Belgian Minister, St. Petersburcr. o On blue Nankin porcelain, the mark placed between two circles or lines of blue. In the Collection of Col. H. Hope Crealock. 300 ORIENTAL PORCELAIN — CHINESE. MARKS ON SPECIMENS IN THE JAPANESE MUSEUM, DRESDEN* * I have obtained the Chinese marks which follow from Dr. Graesse's Collection des Marques de Fabriques, who, from his position as Director of the Japanese Museum at Dresden, has had opportunities of copying them from the specimens in that rich collection, and which doubtless may be relied upon as correct. In fact this is the only portion of his brochure which contains any marks hitherto unpublished. He speaks in his " Avant-Propos " of having accidentally seen the first edition of Marks and Monograms, by W. Chaffers, while his list was in the press ; but he has found time to copy the whole of them without any acknowledgment. His pamphlet is literally a collection of marks of fabriques, without letter-press, or the slightest attempt to give a history of the manufactories, or dates of any kind, and is consequently of little value, even as a work of reference. 302 ORIENTAL PORCELAIN CHINESE. Note. — The preceding marks occur on Chinese porcelain of various kinds, but the meagre descriptions of them given by Dr. Graesse are not sufficiently explicit to enable us to give our readers a separate account of each piece ; or whether any particular mark occurs upon a member of the famille rose, famille bleue, or famille verte, so ingeniously, though somewhat diffiisely, defined by M. A. Jacquemart in his Histoire de la Porcelaine. ORIENTAL PORCELAIN — CHINESE. SEALS. These characters of the square seal form {siao-tchouan) were from the commencement of the XVIIIth Century used on porcelain instead of the inscriptions in regular characters {kiaz). These signs, composed of rectangular lines, are better adapted for seals or stamps, the lines of the ordinary charac- ters being lengthened, and made angular instead of curved to suit the squareness of the seal. This form of the words is very difficult to read even by the Chinese themselves, unless they are taught ; but there is a certain similitude which will assist us in deciphering them. M. A. Jacquemart {Les Merveilles de la Cdramique, p. 105) gives an inscription on a cup belonging to the Kien Long period, 1736 -1795, in Siao-tchoua7t ox sit^S. character, em- ployed in a horizontal line from right to left, which is easily divisible into distinct characters ; it reads thus : — Tchy made Nien in the period Kim Long of Kien Long (iiim-hao, I 736- 1 795)- ^'^^* TJismg of the dynasty of Thsing. 6 54321 The same inscription, grouped in its square form, would be thus represented : 5 3 Nien Kien 6 4 Tchy Long Tai Thsing 736-1795 Hia-king. 1795-182 304 ORIENTAL PORCELAIN CHINESE. 11 i iHilll Modern porcelain. Imperial seal, stamped in red, of the Hia-king period, I 795 to 182 1. Tao-kouang. 1821-1841. Modern porcelain. Tao-kouang period, 182 1 to 1841. Modern porcelain. Imperial seal, stamped in red, of the Tao-kouang ^^^xiodi, 1821 to 1841. Hien-fong. 1 841 -i 851. Modern porcelain, probably the seal of a Mandarin in charge. Modern porcelain. This mark was copied on Worcester china. Modern porcelain, probably the seal of a Mandarin. HE Portuguese traded with Japan as early as the year 1534; but in consequence of their attempts to con- vert the inhabitants to Christianity, their intrigues and secret conspiracies against the Government, and, last not least, their interference with the decoration of the porcelain by painting upon it (or rather inducing their proselytes so to do) sacred subjects, — such as legends of Saints, Scripture histories, &c., — they were eventually expelled the country in 1 64 1, and some forty thousand of their Christian converts pro- scribed and massacred. The Dutch, on the expulsion of the Portuguese, succeeded in obtaining the confidence of the Japanese, and founded a monopoly of the trade with them, deriving from that source a most lucrative branch of commerce, exporting porcelain to all parts of Europe, to the exclusion of every other European power, which, by their non-interference with the religion or government of the people, they have re- tained for more than two hundred years. Dr. Hoffmann, of Leyden, has written a memoir on the principal porcelain manufactories of Japan, derived from a Japanese work of the last century, which is appended to M. Stanislas Jullien's account of those of China. He fixes the date of the introduction of porcelain into Japan at about 27 B.C., but the productions were very inferior, and it was not until the XHIth Century that any decided improvement was made, which he ascribes to the circumstance of a Japanese potter named Katosiro Oiiye-Mon, who, attended by a bonze, undertook a journey to China, with orders from his Govern- 3o6 ORIENTAL PORCELAIN JAPANESE. ment to make himself acquainted with all the secret processes of the manufacture, which was at that time brought to so great a perfection there. On his return, he made such important improvements in the composition and decoration of porcelain that henceforth it became superior, in many instances, to the Chinese, especially in the fabrication of the best specimens, on which much time and labour were bestowed. The porcelain of Japan is very much like that of China, but the colours* are more brilliant in the fine >pieces, and of a different shade, a better finish, and the designs more of the European character, the flowers being more natural, and the kylins, dragons, and other monsters less hideous; the paste is of a better quality, and a purer white, and the subjects are seldom with figures of Mandarins. There are some marks occasionally found upon Japanese porcelain, which are never met with upon the Chinese; they consist of three or more dots or points, in relief, upon the surface of the paste, placed thus on the backs of the plates or vessels : — or or which are caused by the points of support on which the pieces rested in the kiln. The principal manufactories number about twenty-five, and are situated in the province of Fizen, on the island of Kiou Siou. But the most renowned are those in the province of Imari, and at Kio or Miako, a large town in the province of Yamasiro, which was for a long time the capital of Japan, and is yet the residence of the Dairi or descendants of the ancient Emperors. The marks upon this porcelain are not understood ; they much resemble the Chinese characters. This mark is given by Mr. J. Marryat as occurring on Japanese porcelain. ORIENTAL PORCELAIN JAPANESE. These four characters are given by Dr. Graesse, which he attributes to the manufacture of Japan. IThsang-tchun-ting-san-pao-tchy. M ade by San Pao, in the paviHon which en- closes the spring. Inscribed on Japanese pieces of modern make, with chrysanthe- mums, &c. Quoted by Dr. Graesse. These six marks are on a Japanese porcelain bottle, covered outside with )red lac, embossed with birds and flowers in gold. Satsuma or ScHATZUMA. Our attention was more parti- cularly directed to this fine fayence of Satsuma in Japan, at the Exposition in 1867, where it was much admired by connoisseurs. The paste is hard and compact, of yellowish white, slightly tinted with rose colour ; the glaze, which is transparent, is cracked here and there, which gives it a particu- lar and harmonious appearance. The paintings are highly finished in the Euro- pean taste, with landscapes and flowers, but still with the Japanese peculiarity of avoiding regularity as to centres and balance of subjects in their designs. 7 X 2 EUROPEAN PORCELAIN. ORCELATN has this distinguishing characteristic, that when held up to a strong Hght, it appears trans- \ htcent, unlike pottery or fayence, which is opaque, pate dure, ox true porcelain, is of the whiteness of milk, and feels to the touch of a hard and cold nature, and is some- what heavier than soft paste; underneath the plates and other pieces, the rims or projecting rings upon which they rest are left unpolished or without glaze. The properties of porcelain may be thus defined : — Hard. The finest and most valuable has these essential and indispensable properties : The component earths are combined in such relative proportions that proper baking renders the mass translucent, fine, hard, dense, durable, and sonorous when struck with a hard body; a white colour, approaching the tint of milk; a grain fine and close; texture compact, intermediate between the closeness of glass and the obvious porosity of the best flint ware; fracture semi-vitreous, and will sustain without injury sudden alternations of high and low temperature; the presence of an alkaline component, possessing the quality of a flux relative to the others, most economically brings all of them into a state approximating to fusion, and in the kinds varies the translucency, which foreigners try by every method to decrease, and the English manufac- turers seek to increase, while preserving the fine close grain. The biscuit must be adapted to readily absorb water without injury. This is covered with a glaze, clear, white, transparent, indestructible by acids or alkalies, or temperature, beautifully fine to the touch, smooth, and appearing soft like velvet, EUROPEAN PORCELAIN. rather than lustrous or glossy like satin. When first applied to the ware, the water readily permeates, and on the surface the thin coating of components quickly dries into a solid shell, uniformly thick in all parts, and sufficiently firm to bear hand- ling without being rubbed off during removal into the seggars. The pate tendre has the appearance of an unctuous white enamel like cream, it is also to the touch of a soft soapy nature, it is less dense, yet sonorous, translucent, granular, and a very fine porous fracture, harder and less brittle than glass, and will sustain considerable alternations of temperature. Not being able to sustain so great a degree of heat in the kiln, it is consequently softer than the other. The painting upon porcelain is executed after the ware has been baked, and whilst in a biscuit state ; when finished, it is dipped into a glaze and again placed in the kiln, at a certain degree of heat sufficient to harden the glaze. Colours. — The best colours now used in the art, have these components : — Reds — Oxides of gold and iron. Purples — Oxides of cobalt, chromium, tin, and calcium. Pinks — Oxides of chromium, calcium, and tin. Browns — Oxides of chromium, iron, and manganese. Blues — Oxides of cobalt and silica. Mat blue — Oxides of cobalt, lime, and zinc. Yellow and Orange — Oxides of lead, silver, and antimony. Greens : Yellow or emerald — Oxides of chromium and silicon. Blue or celeste — Oxides of chromium, cobalt, silicon, and zinc. Green edge — Oxides of copper and chromium. Black — Oxides of cobalt, nickel, manganese, iron, and chromium.* M. Arnoux, in his Lectures 07t Ceramic Maiiu/acttires, con- siders the soft porcelain commonly manufactured in England as nothing but that which is termed hard, from its greater hardness, modified by the presence of the phosphate of lime contained in the bones employed, which bears, according to Aikin (in 1840), the following proportions: — Cornish kaolin 31*0, Cornish china clay 26*0, flint 2*5, prepared bones 40'5. M. Arnoux, as to the action of bones, remarks that when the * Shaw's Chemistry of Pottery. EUROPEAN PORCELAIN. Other materials begin to combine at a certain heat, the bones, being phosphate of lime, which cannot be decomposed by the silica, melt, without combining, into a sort of semi-transparent enamel, and being intimately mixed in the mass, give trans- parency in proportion to the quantity used." The soft paste of Chelsea, Bow, and Derby must be carefully distinguished from that now made, as other ingredients were then employed, to the entire exclusion of bones, which were a subsequent invention. He observes that about twenty-four factories are chiefly engaged upon soft porcelain in England, the greater part of their products being sold in this country, the exports of it not exceeding (in 1852) 60,000. in value.* The hard porcelain of France successfully competes with the soft porce- lain of England, being cheaper and more durable. In 1852 there were seventy factories of hard porcelain in France, and the value of the exports had risen from ^320,000. in 1846 to, 6 70,000. in 1850, and was still largely on the increase. The amateur must be upon his guard in collecting porce- lain, and not place too much reliance on the marks which he may find upon the ware. When the mark is not indented on the paste, or baked with the porcelain when at its greatest heat (au grand feu), it gives no guarantee for its genuineness. The mark was nearly always affixed before glazing. It is neces- sary in forming a correct judgment of the authenticity of a piece of valuable china, such as Sevres, that many things be taken into consideration. First, above all it is most important to be satisfied whether the porcelain be of hard or soft paste, and whether such description of paste were made at the par- ticular epoch represented by the mark ; then, if the decoration be in keeping with the style adopted at the time indicated ; the colours, the finish, the manner of decoration, and various other indicia must also be taken into account. * The value of the export of English earthenware in 1851 was 1,062,000. The number of pieces exported, including those of British porcelain, was 84,000,000. M. Arnoux states that in 1852, 185 factories were engaged in the manufacture of earthenware and porcelain ; 52 scattered over the country, at Leeds, Stockton, Sunderland, Glasgow, Swansea, &c., and 133 in North Staffordshire, where 60,000 persons were more or less occupied in this manu- facture in the districts commonly known as ' * the Potteries. " FLORENCE. Manufactory of porcelain {soft paste) was established here as early as 1580, under the auspices of Fran- cesco I. (de Medicis), Grand Duke of Tuscany. He established in the Chateau de San Marco a laboratory, where the experiments were made ; the manufactory was in the Boboli gardens. He had the glory of being the first maker of porcelain in Europe ; not, it is true, so hard as that of China, — that is to say, composed of kaolm and petuntse, — but softer, and like what we call translucid, which is one of the principal tests of porcelain. Vasari speaks of the trans- lucid pottery of the Grand Duke Francis ; he tells us that he called to his assistance the celebrated Bernard Buontalenti, and that in a short time he made porcelain vases as fine as the most ancient and the most perfect ; he also relates that Alphonso H, Duke of Ferrara, profiting by the talents of Giulio d'Urbino, applied himself to this industry. M. Jacque- mart* gives a receipt for making the porcelain of the Grand Duke Francis, taken from a manuscript discovered in the Bibliotheca Magliabechiana, compiled by some person in the Duke's employ. The fabrication of this porcelain was aban- doned after the death of its inventor. In the Diarie de Carte of the year 16 13, at Florence, it is said that at a ball there, tickets were issued made of the porcellana Rcgia, on one side * Histoire de la Porcelainc. Paris, i860. 312 PORCELAIN — FLORENCE. of which were the arms of the Medici, and on the other a scimitar. It is called the Medici porcelain, some of the speci- mens having the arms of that family painted upon them. This was the first porcelain made in Europe, and is now very scarce ; there are not more than about thirty pieces known. The mark is painted in blue, and repre- sents the Cathedral of Florence. The first we have here given is on the bottom of a large bowl, painted with small blue flowers on white ground, of very hard and compact fracture, now in the S. Ken- sington Museum ; the second mark is on a plate of the same fabrique, in the pos- session of Mr. C. D. E. Fortnum. The discovery and identification of this porcelain is due to Dr. Foresi of Florence, further corroborated by MM. Piot and Jacquemart of Paris. Florence. The arms of the Medici family. On a vase in the Collection of M. Gustave de Rothschild, and other pieces. The six pellets having initial letters which may be thus read — " Fran- ciscus Medici Magnus Etruriae Dux Secundus," one of the pellets bearing the three fleurs-de-lis of France. LIST OF PIECES OF FLORENTINE PORCELAIN OF THE XVFH CENTURY. With the Medici Arms. 1. Vase, with handle over the top, painted with arabesques, and in front the arms of the Medici. Baron Gustave de Rothschild, 2. Large dish, painted with historical subject. The same. 3. Small jug, without a foot. M. Arondel. PORCELAIN — DOCCIA . With the 4. Bocaletto, Persian decoration. 5. Hunting bottle, Persian style. 6. Plateau, with arabesques. 7. Plate in the same style. 8. Large square bottle, with the arms of Spain 9. The companion bottle, dated 1581. 10. Large bowl, painted in blue flowers. 11. Plate, painted in blue flowers. 12. Plate, painted in blue flowers. 13. Plate, painted in blue flowers. 14. Plate, painted in blue flowers. 15. Plate, painted in blue flowers. Without 16. Oil and vinegar cruet. 17. Hunting bottle, with rings. 18. 19. Cathedral. Baron de Monville. Baron Alphonse de Rothschild. Sevres Museum. The same. The same. The same. South Kensington Museum. Rt. Hon. W. E. Gladstone, M.F. C. D. E. Fortnum, Esq. M, Eoresij Florence. The same. South Kensington Museum. Marks. South Kensington Museutn. M. C. Davillicr. A large flacon of flattened circular form. A flacon, with grotesque head in relief. M. A rondel. DOCCIA. DocciA. This manufactory was founded in 1 735 by the Marchese Carlo Ginori, contemporaneously with the Imperial Manufactory of Sevres. At this early date he commenced making experiments at Doccia, a villa of the family, a short distance from Florence, in the vicinity of Sesto. The Marquis Charles, at his own expense, sent a ship to the East Indies to obtain samples of the materials used in the composition of Chinese porcelain, and in 1737 he secured the services of Carlo Wandhelein, a chemist, who became director of the works, and its first productions became articles of commerce. In 1757 Carlo Ginori died, and was succeeded by his son, the Senator Lorenzo, who enlarged the works, constructed more improved furnaces, increased the number of workmen, and gave it the architectural appearance it now presents ; he was consequently enabled to produce statues, vases, and other objects of large dimensions. These improvements were con- tinued and increased by his son and successor. Carlo Leopoldo, who established a museum for models of the most celebrated sculptors, ancient and modern, and a school of design, which 3H PORCELAIN DOCCIA. may be seen by the improved character of the borders and ornaments, as well as the high finish of the ware of this period. After his death, and during the minority of his eldest son, the direction of the manufactory was confided to the Marchese Pier Francesco Rinuccini, and afterwards to the Marchesa Marianna Ginori, the mother of the present owner of the fabrique, Lorenzo Ginori Lisci, the great-grandson of the founder. The early moulds of the Capo di Monte porce- lain were transferred to Doccia when that manufactory was discontinued in 182 1. It may be observed that in all those countries where similar manufactures were established, they were either of short dura- tion, or were indebted for their prosperity to the patronage and royal munificence of the sovereigns in whose States they were situated, and afterwards became their property. Doccia, on the contrary, sustained itself by the exertions alone of the Ginori family, who first originated it, the only encouragement it obtained from the Tuscan Government was the prerogative of being the only fabrique of the kind in the State, which pre- rogative ceased only in 18 12. During the last ten years, the fabrication of the imitative Capo di Monte ware of the XVIIIth Century, in coloured mezzo-relievo, has been brought to great perfection, as well as the successful imitation of the maiolica of Xanto and Maestro Giorgio of the XVIth Century, by the invention and introduc- tion of the metallic lustres in the colouring. These important results were obtained and perfected by Giusto Giusti, a pupil of the Doccia school, to whom honourable mention w^as accorded in the London Exposition in 185 1, as well as in that of Paris in 1855. He died suddenly in 1858. The Doccia manufactory is particularly distinguished by the variety of its productions and successful imitations of the maiolica of the XVIth Century, of the Capo di Monte porce- lain bas reliefs, the reproductions of Lucca della Robbia, and Chinese and Japanese porcelain. The principal artists from 1770 to 1800 are given by Mr. Marryat : — PORCELAIN DOCCIA. Rigaci, miniatures. Giov. Bat. Fanciullacci, miniatures. Antonio 'WzS\.2.x^^\ flowers. Kntomo'^im^xdXdS.^ figures and landscapes. Angiolo Y\z.%(^\ figures. Giov. G'\\xs\A,fiowers and landscapes. Carlo Ristori, landscapes. Giusep. Ettel, modeller. Gasparo Bruschi, modeller. Gaet. Lici, modeller. Giusep. Bruschi, modeller. Pietro Fanciullacci, painter and chetnist. A. M. Fanciullacci, ^:>^m/j"/. The principal artist at La Doccia is now Lorenzo Becche- roni, who paints exquisite miniatures, &c. Doccia. This mark, in red, is on a porcelain icuelle, the dish painted in the centre with a shield on a cross of the order of St. Stephen, quartered with the Ginori arms (three stars argent on a bend or), supported by an eagle on each side, and festoons of flowers; the borders are elaborately painted with flowers in a very effective manner; the cover has a floral monogram, composed of a large M, G, Z, and a C, the last in blue, being probably that of the Marchesa Mariaiina Ginori Lisci, the C may be intended for her husband. Carlo Leopoldo Ginori. In the Collection of the Marchese D'Azeglio. Doccia. The initials of Pietro Fan- ciullacci, a chemist as well as a painter. On a porcelain sugar basin and cover, painted with peasants and landscapes, in the possession of the Marchese d' Azeglio. Doccia. Hard and Soft Paste. This mark is a star, being part of the Ginori arms; it is in gold on the richest specimens. On a cup and saucer, painted with Florentine arms and medal- lions of landscapes. The same mark is also found on the Nove porcelain, and occasionally on that of Venice. Doccia. The same star, but with more points. Marked in red on a fine specimen, with landscapes and festoons, gilt border; in Mr. Bohn's Collection. 3i6 PORCELAIN DOCCIA. CAPO DI MONTE. DocciA. Another mark, of a double triangle. Stamped in gold on the best pieces. DocciA. The name of the Marchese Ginori is sometimes impressed, which is occasionally abbreviated and only GIN used. DocciA ? This mark is on a highly glazed figure, of ware like that manufac- tured here. In the possession of the Marchese d'Azeglio. DocciA. These marks, a mullet and double triangle, or a modification of the preceding, are in blue or gold on supe- rior quality of porcelain. CAPO DI MONTE. Capo DI Monte. Soft Paste. This manufactory was founded by Charles III., in 1736. It is considered of native origin, as the art, which was kept so profound a secret in Dresden, could, at that early period, have scarcely had time to be intro- duced here, the character of its productions being also so essentially different. The King himself took great interest in it, and is said to have worked occasionally in the manufac- tory. The beautiful services and groups in coloured relief are of the second period, circa 1 760. The earliest mark is a fleur-de-lis, generally roughly painted in blue, as in the margin. These marks have been hitherto considered as denoting the ware made at Madrid only, but the fleur-de-lis was used both at Capo di Monte and Madrid ; in so placing these we are guided by the opinions of several gentle- men well qualified to judge, and who, GINORI. PORCELAIN — CAPO DI MONTE. from long residence in Italy, have come to that conclusion. The groups and ser- vices of this ware yet to be seen in large quantities in Naples — of so common a description that they would not bear the expense of importation — are universally acknowledged by Neapolitans as the ma- nufacture of Capo di Monte, and these are all marked with the fleur-de-lis, pro- bably its earliest productions. The first mark here given has, indeed, been always appropriated to Capo di Monte, and, upon comparing it with those which follow, the similarity will be admitted; it is really a badly-formed fleur-de-lis. The manu- factory was abandoned in 182 1. •.fb N Capo di Monte. So/^ paste. Second period, under the patronage of Ferdi- nand IV., 1759. These marks stand for Naples, surmounted by a crown; they are graved in red or blue on the moist clay. Capo di Monte. This mark occurs on services in the Etruscan style. The initials stand for Ferdinandus Rex; used about 1780. A service, with this mark, painted with copies of frescoes and anti- *X®/G)^ quities of Herculaneum, inscribed Museo jf^ Ercolano'y' is in the possession of Mr. E. Cheney. A book, in the library of Sir Charles Price, gives a description of a service of one hundred and eighty pieces, presented by the King of the two Sicilies to George III., in 1787. The pre- face, by the Director Venuti, states that the subjects are all copied from Greek and Etruscan specimens in the Royal Museum. This service is still in existence at Windsor : it is of white ground, with a red and black border, the subjects painted on the flat surface. 3i8 PORCELAIN — CAPO DI MONTE. MILAN. Capo di Monte. A vase, with flowers in relief, edged with blue and red. The mark in blue (for Fabrica Reale). In Mr. G. W. Reynolds's Collection. The Rev. T. Staniforth, of Storrs, has a delicate cream - coloured cup, of soft paste, with this mark. Sometimes the cipher is found without the crown. Giordano. Capo di Monte. This name, probably of a modeller, occurs indented on a fine statuette in Mr. Fortnum's Collection. Capo di Monte. This modellers name is scratched under the glaze of a pair of soft paste china figures of male and female peasants. Langford Coll. Naples. This monogram is deeply impressed on some Neapolitan china plates, inscribed " II pescatore " and Donna dell' Isola di Procida," painted with costume figures, the views being in the bay of Naples, probably Giustinani. In Mr. J. Loraine Baldwin's Collection. Milan. 1665. In the Philosophical Transactions for the year 1665 we read the following — ''Notice was lately given by an inquisitive Parisian to a friend of his in London, that by an acquaintance he had been informed that Signor Septalio, a Canon in Milan, had the secret of making as good porcelain as is made in China itself, and transparent, adding that he had seen him make some. This, as it deserves, so it will be further enquired after, if God permit." Milan. The ''Manufacture Nationale de J. Richard & C'^" for porcelain as well as fayence, is successfully carried on. Their ordinary mark is in black initials. They have obtained several medals at the recent Expositions. PORCELAIN TREVISO. TURIN. Treviso. There was a manufactory of soft porcelain here, probably established towards the end of the last century ; carried on by the Brothers Giuseppe and Andrea Fontebasso. Sir W. R. Drake has in his collection a coffee cup of soft porcelain, inscribed, Fabbrica di Giuseppe ed Andrea Fra- telli Fontebasso in Treviso, Gaetano Negrisole Dipense, 183 1." Treviso. On a porcelain coffee cup and saucer, the cup painted with a garden scene, with a man and woman holding flowers, the former holding a bird, the latter a cage ; at bottom, Gesner, Id. G.A..P.F. xiii." The saucer gilt only, and marked /^i . underneath "Treviso," in blue, the other Jr^ei^CSO. i3 j-ej In the collection of Mr. C. W. Reynolds. There is also a specimen in the Marchese d'Azeglio's possession. Treviso. Fratelli Fontebasso marked in gold on a porcelain ecuelle, blue ' ' ground, with gold fret borders and oval qJ Tew 'ifo< 1 700 "^^^^^^^^^^ of Italian buildings, landscapes V ^ ^ and figures. In the possession of the Rev. T. Staniforth, of Storrs, Windermere. Turin. Vineuf. This manufactory was established about 1 770. Vittorio Amedeo Gioanetti was born in Turin in i 729 ; he was a professor of medicine, and took his degree as doctor in 1 75 I, and a public testimonial was accorded to him in 1757. He was subsequently elected Professor of Chemistry in the Royal University, and was a successful experimentalist. It was about 1770 that he established a manufactory of porcelain at Vinovo or Vineuf. Attempts had been previously made, but they were unsuccessful, and it was not until Gioanetti applied himself to the manufacture that it succeeded perfectly. In the Discorso sulla fabrica de porcellana stabilita in Vi^iovo. Turin, 1859, will be found a description of the various earths and clays of Piedmont as described by Gioanetti himself It was noted for its fine grain and the whiteness of its glaze, as 320 PORCELAIN TURIN. VICENZA. VENICE. well as the colours employed. The cross alone in brown, is on a cup and saucer, painted with the arms of Sardinia and gilt borders, in Mr. A. W. Franks's Collection. Turin. Vineuf. Sometimes only a cross, and the letter V, for Vineuf. Turin. Vineuf. The words stand for Dr. Gioanetti, Vineuf. These marks are usually graved in the paste, but some- times coloured. Turin. These marks of a cross and a crescent are on an oblong china tray, painted with roses and detached flowers. Loraine Baldwin Coll. ViCENZA. There was a manufactory of porcelain here, but we have no par- ticulars respecting it. This mark is stamped on a dessert plate, and by some connoisseurs referred to this place. VENICE. The discovery of the true porcelain at Dresden (so called from being hard like the Oriental), which was brought to considerable perfection about 1715, on the discovery of the kaolin at Aue near Schneeberg, caused an intense excitement all over Europe, and the Sovereigns of the chief States bestirred themselves to promote and encourage the art of making por- celain by every means in their power. Vienna was one of the first to obtain the secret, which soon spread over Germany. Venice was not long in following the example. Porcelain of soft paste was made here probably about 1720. The first proclamation we have any record of, was made in 1728, offering facilities and privileges to any persons who would undertake such works, and all subjects or PORCELAIN — VENICE. 321 foreigners who desired to introduce into the city of Venice manufactories of fine earth or porcelain and maioHca, in use in the east or west, were invited to compete. At the date of this proclamation a porcelain manufactory- did actually exist in Venice, but the exact time of its establish- ment is not known.* Mr. Rawdon Brown (quoted by Drake, Notes on Venetian Porcelain (tells us the Casa Eccel"'^ Vezzi " was founded by Francesco Vezzi, who was born 9 October, 1651. He and his brother Guiseppe were goldsmiths, and had made large for- tunes by their trade. In i 7 1 6 these two Merchants of Venice" offered the State 100,000 ducats for the honour of being ennobled, and in the same year they were elected and declared Venetian noblemen. Francesco turned his attention to the manufacture of porcelain, ''Early in 1723, he had given up the goldsmith's trade, and was no longer under the protection of the * golden dragon ' which guarded the entrance to his shop ; emerging from the plebeian rank of smelter and banker, he suddenly became a gentleman and a competitor with kings in an artistic and refined trade. Thirty thousand ducats was the sum invested by Francesco Vezzi in a porcelain company, amongst whose shareholders were Luca Mantovani and others, including, there is reason to believe, Carlo Ruzini, who reigned Doge from 1732 to 1735." Francesco Vezzi died on the 4th May, 1 740 ; the site of his manufactory was at St. Nicolo in Venice. Sir W. R. Drake informs us that *'in September i 740 we find Luca Mantovani (his partners. Doge Ruzini having died in 1735, and Francesco Vezzi in 1740,) paying an annual rent of 100 ducats to the brothers Ruzini (the Doge's heirs), not only for rent, but also for the goodwill of the furnace at St. Nicolo, which had existed (probably for earthenware) since 15 15. How long after Vezzi's death the manufactory of porcelain was carried on does not appear, but, judging from the state- A soft paste porcelain cup, pa nted with coats of arms, dated 1726, is quoted below. Y 322 PORCELAIN — VENICE. ments made to the Senate in 1 765, it did not long survive him, and the secret of his process for making porcelain had evidently not been disclosed." There is evidence that in 1735, the Vezzi manufactory had been successfully established in the State, and had succeeded in producing porcelain, the specimens of which were referred to as being on a par with the productions of the principal fabriqttes of Europe. It is also known that the cause ascribed for that manufactory not being permanent, but sinking " into inactivity and decay," was the fact that it was dependent on the purchase of porcelain paste in foreign countries. Materials for making porcelain were to be obtained for the Venetian dominions, but not such as to .produce the hard or Oriental porcelain ; they therefore procured it from Saxony, and probably also some of the workmen ; which will account for the fact that the Casa Eccell""^ Vezzi " produced both hard and soft paste. To the Vezzi m^mufactory we must refer all the pieces marked in red or blue with Ven^. or other contractions of the word Venezia. They are painted with masquerades, grotesque Chinese figures and decorations in relief, flowers, birds, ara- besques, and geometrical patterns in colours, statuettes, &c. ; especially in the Venetian red, which pervades all the deco- rations, the handles, borders, and mouldings being sometimes covered with silver or platina, producing the effect of oxidised metal mountings. Another striking peculiarity in the decora- tion of porcelain of this period is a border of black or coloured diaper work, formed by crossed lines, and in the interstices small gilt points or crosses, bordered by scrolls in the style of Louis XV. These specimens are mostly of hard paste in form of bowls, plates, tureens, &c., and by some connoisseurs have been taken for Dresden, but they are doubtless of Venetian make and decoration ; being unmarked, our only means of judging is by comparison. One fact is however clear, which has hitherto been doubted by some, viz., — that both hard and soft paste were made not only by the Vezzi^ the HewelckeSy and Cozzi, at Venice^ but by the Antonibons at Nove, PORCELAIN VENICE. We are again indebted to Sir W. R. Drake for our informa- tion respecting the following manufacturers : — After the Vezzi manufactory had ceased to exist, we have no documents to prove that any efforts were made to introduce the manufacture of porcelain into Venice until December 1757, when a petition was presented to" the Venetian College by Frederick Hewelcke * and Co., who stated that the sale introduced and directed by them in Dresden, of Saxony porce- lain had been carried on in a very flourishing manner, but that in consequence of the then existing war (the seven years' war which commenced in 1756) they had been obliged to abandon Saxony, and to seek in a foreign country " a peaceful refuge, convenient for the exercise of their art." They prayed that exclusive permission for twenty years might be accorded to them to manufacture in some convenient spot, Saxon porcelain (Porcellana di Sassonia) of every kind, form and figure, with exemptions from taxes for the exercise of their art during that period. The Co." appears to have consisted of Maria Dorothea, the wife of Nathaniel Friedrich Hewelcke, who with her husband in 1758, presented a joint petition, more in detail, asking for rigorous penalties to prevent persons in their employ taking service elsewhere or giving any information, in order that the secret of the manufacture should not become known, &c. The report of the Board of Trade states that Hewelcke was a man well furnished with means and capital, and one of the conditions recommended was, that the concessionaires, the Hewelckes, should countermark the bottom of their works with the letter V, denoting Venice. On the 1 8th March, 1758, the decree granted to the He- welckes the privilege they had requested. In what part of the Venetian dominions they established their manufactory does not appear, but when Antonibon of Nove's application was presented in 1 762, they sent a specimen of their porcelain which they had made in Venice. * The name in the several documents is spelt in various ways — Hewelcke, Hewelike, Hewccken, and liebelcchi. Y 2 324 PORCELAIN — VENICE. The privileges accorded to Antonibon in 1 763 caused a great competition between the rival porcelain makers, which the Board of Trade in their recommendation styled la fortunata e^nulazione, so it may have proved to the State, but to the Hewelckes it seems to have proved eventually ujifortunate, and at the termination of that war which had brought them to Venice, in 1763, they returned to their native country. In 1765 the Senate granted to Giminiano Cozzi, in the Contrada di San Giobbe, Venice, protection and pecuniary assistance in carrying out a manufacture of porcelain.* Cozzi's first efforts were directed to imitate the Oriental ware. He states in his petition, that he founded his anticipations of commercial success, mainly on the fact that he had discovered at Tretto, in Vicentina, in the Venetian territory, clay, suitable for the manufacture. The ' Inquisitor alle Arti,' reported upon Cozzi's fabrique, thus, Concerning the manufactory of Japanese porcelain (Porcellana ad uso del Giappon), it was commenced only in 1 765, your Excellencies were eye witnesses of its rapid progress and therefore deservedly protected and assisted him. He now works with three furnaces, and has erected a fourth, a very large one, for the manufacture of dishes. He has constantly in his employ forty-five workmen, including the six apprentices, whom he has undertaken to educate, and from the date of his privilege in August, 1765, down to the middle of December, 1766, has disposed of 16,000 ducats worth of manufactured goods, &c., so that it may be fairly inferred that he will yet continue to make greater progress both in quantity and quality." This prophecy was fulfilled, and a very large trade was carried on for nearly fifty years. The pieces produced at Cozzi's manufactory were marked with an anchor in red, blue, or gold, and are still frequently met with, although specimens of his best products have become scarce. They consist of statuettes in biscuit, in glazed white porcelain, and of coloured groups, * The Senate granted him 200 ducats towards the expense of erecting a water mill for grinding his materials, and 30 ducats monthly for twenty years. PORCELAIN — VENICF. vases, &c. The gilding on Cozzi's porcelain is especially fine; the pure gold of the sequin having been used in its decoration. We have imitations of the porcelains of other countries, Saxony, Sevres, Chelsea, and Derby. The imitations of the Oriental are astonishing. The Marquis D'Azeglio possesses some examples of the coloured groups, as well as the glazed white figures. In fact specimens of nearly all the varieties of Venetian porcelain we have been describing, are to be found in his historically interesting Collection. Cozzi's manufactory ceased in 181 2. Since that date there does not appear to have been any porcelain made in Venice, but at Nove they still continued making porcelain for more than twenty years later. Lady Charlotte Schreiber has a splendid set of five porcelain vases of the Cozzi period, the centre being 17 inches high, the others 133-, beautifully painted with bouquets of flowers, mask handles with festoons of fruit in relief; all these pieces are marked with the red anchor. Venice. The mark of the " Casa Eccel"'*^ Vezzi," from circa 1 720 to 1 740. This mark is found painted in red ; sometimes stamped, as on a cup and saucer, with raised ornaments and the V GTl • arms of Benedict XIII. (Orsini), who was Pope about i 730, in the Collection of Mr. A. W. Franks. A similar mark is on a cup and saucer, painted with the Ottoboni arms, and the initials G O or P O interlaced, in the possession of the Marchese d'Azeglio. Venice. This mark, engraved and coloured red, is on a porcelain cup and Ven^-A.G.I/^O. saucer, painted in colour, with a large shield of arms of four quarterings (not heraldic), in the possession of the Mar- chese d'Azeglio. It is the earliest dated piece of Venetian porcelain known, made by Vezzi, at St. Nicolo. ^ - ^ Venice. These letters, marked in gold, V • on a specimen in Mr. Reynolds's Coll. 326 PORCELAIN — VENICE. Venice. This fanciful mark, of the Vezzi period, in blue, is on a porcelain saucer, the cup having VEN^ in smaller characters, painted with blue birds and leaves, partly gilt; Reynolds Coll. A cup and saucer, with similar mark, is in ^ the possession of the Marchese d'Azeglio. Venice. This is another singular mark of the " Casa Eccell^ Vezzi the V formed of flourishes in the shape of ^ three cranes' heads and that of a lion, in allusion to the lion of St. Mark. It occurs in red on a porcelain cup and saucer. Venice. The signature of Lodovico Ortolani, a Vene- tian, painted at the porcelain manufactory in Venice. This was the Vezzi fabrique — circa 1740. ^ xi / --v occurs on a saucer, painted in lake jo^uico C/r^oUm /)^nefe camaieu, with a lady seated, holding a (ij^m(intlla7alrici)L<(i bunch of grapes, and a tazza and cupid €!^rce(cunct, irtPenetta (symbolical of Autumn) ; border of leaves, scrolls and birds. Reynolds Coll. Venice. The mark of a painter of the Vezzi period, on an ecuelle painted in Indian ink, with a naked boy looking through a telescope, and extensive land- jfacobus Helchis fecit, scape, rococo border, etched in lines as from an engraving. Reynolds Coll. Venice. The mark of a painter (Gio- G.M vanni Marcone) of the Cozzi fabrique, circa 1 780, on a cup and saucer painted in colours with classical subjects and female figures ; another plate has a similar subject, with border of festoons, flowers and birds. Reynolds Collection. Marcone appears to have painted both at Nove and Venice. PORCELAIN — VENICE. Venice. So/^ Paste. An anchor, painted red ; on specimens much Hke Chelsea. Porcelain of the Cozzi period- Venice. Another variety of the anchor, painted red. Some specimens of Venetian porcelain are so similar to the Chelsea, both as to the paste and decora- tion, as scarcely to be distinguished of the Cozzi fabrique. Venice. This mark, in red, is on a porcelain cup, painted in the Chinese style with flowers. The saucer of the same G pattern, has the Venetian red anchor underneath the letters instead of the ^ star. In the possession of the Marchese d'Azeglio. Mr. C. W. Reynolds has a portion of the same service, so marked, except that the asterisk hasonlysix points instead of eight under the letters A. G. E 'V'^ Venice. These two marks are on two porcelain cups and saucers, in the Jl^ ^^^j^ possession of Mr. C. W. Reynolds. N.B. The establishment of Messrs. Bertolini at Murano was, as we have seen, an important manufactory of maiolica, as well as of glass (p. iii). It has also been supposed they pro- duced porcelain ; but the following notes will prove that none was ever made there. They certainly produced very clever imitations of porcelain, in opaque white glass, called smalto^ which have been frequently mistaken for porcelain, and this was apparently all they ever attempted. Early in the XVIIIth Century they obtained a decree for the sole manufacture of what they called canna macizza and stnalto, both of which were enamelled glass, painted and gilt. Another decree, dated 1738, permits them to construct four additional crucibles iov the same manufacture. In a petition for a decree for ten years, in 1 753, the brothers Bertolini state that they had invented the manufacture of painted and gilt enamel, in imitation of porcelain ("che oltre aver essi inventato le manifatture di smalto dipinte e dorate a somi- glianza di porcellane "). These imitations are not uncommon. Mr. Reynolds has a smalto vase, 14 inches high, painted with Mercury and Minerva, and a cup and saucer with the arms of Doge Tiepolo, both of which have the mark " Ven*," as on porcelain. Sir W, R. Drake (to whom we are indebted for this information) says the Abbe Zaneti, curator of the Murano Museum, showed him specimens of Bertolini's smalto^ or painted and gilt enamel, with Japanese designs; and after every possible enquiry and search in Murano by the Abbe and other competent authorities, " It may be taken for granted that the Bertolini did not at any time make porcelain." 328 PORCELAIN NOVE. NOVE. The manufacture of porcelain at Nove may be traced back as far as the 12th January, 1752, at which time Pasqual Anto- nibon brought from Dresden a certain Sigismond Fischer to construct a furnace for making porcelain in the Saxon style. From this time forward he continued his experiments, and must have made great progress in the art, for in February, 1761, he had three furnaces, of which one was for Saxon (ad 21S0 Sassonia), the other two for French porcelain [ad uso Francia). It was about this time that Pasqual Antonibon possessed, in addition to his ceramic works, a fabrique of waxed cloth {tele cerate), in which he had invested a large capital; it was not, however, a successful speculation; but it did not disconcert his other establishments, they continued prospering, and his porcelain kept on always advancing to perfection.* In 1 762 Antonibon submitted to the Board of Trade speci- mens of his porcelain, and petitioned that the patent rights which had been conceded to Hewelcke should be extended to him. At that time, the report states, Antonibon had at Nove a manufactory, rich in buildings, machinery and tools ; the capital embarked in it was estimated at 80,000 ducats, and he gave employment to 150 men and their families, in addition to 100 people employed in his retail business, carried on at his three shops in Venice, so great was the sale of his products. This extensive manufactory was, however, principally for maiolica. On the 7th April, i 763, a decree was made in his favour, and he appears to have set earnestly to work in his manufacture of porcelain. His competitor, Hewelcke, shortly after deserted Venice ; but he had a more formidable rival in Giminiano * Letter of Francesco Antonibon, dated August, 1869, to Lady Charlotte Schreiber. PORCELAIN NOVE. Cozzi, who obtained a decree for making porcelain in i 765, in which Pasqual Antonibon's manufacture is noticed, the Senate declaring it to be the duty of the Magistrate to make such arrangements as would lead to an amicable understanding between the rival manufacturers and their workmen.* Pasqual Antonibon and his son Giovanni Battista continued the fabrication of porcelain until the 6th of February, 1781, when they entered into partnership with Signor Parolini, always continuing the same manufacture con sommo onore delV arte until the 6th of February, 1802. It was then leased to Giovanni Baroni, and he produced some very charming pieces, both in form and decoration, but in a few years, from being badly conducted, it began to fall off, and by degrees it went to decay and was abandoned. The Fabbrica Baroni," however, lingered on more than twenty years. On May 21st, 1825, the old firm of " Pasquale Antonibon and Sons " resumed the works ; the actual proprietors being Gio. Batt. Antonibon and his son Francesco. They continued making porcelain until 1835, but all their efforts to sustain it were ineffectual ; they could not compete with the porcelain manufactories of France and Germany, so they were compelled to abandon the manufacture,f since which time to the present they confine their attention to Terraglia {terre de pipe), Majoliche fine {fa'ieiice), and ordi?iaire (ordinary wares), which are all monopolized by Rietti, a dealer at V enice. NovE. The mark on the porcelain of Antonibon is usually a star of six rays in blue or red, sometimes in gold. Lady Charlotte Schreiber has a specimen on which the star is impressed, and another star by its side painted in red, also a vase and cover painted in lake camaieu, of St. Roche, with N stamped in the clay. * Drake's notes on Venetian Ceramics, page 33. f Letter from Francesco Antonibon, one of the present proprietors, to Lady Charlotte Schreiber, who has kindly placed it at our disposal. It forms a complete history of the Nove porcelain. 330 PO RCELAIN NOVE. A cup in the Reynolds Collection has a red star and the letter P, probably for Parolini. A star is sometimes found on the porcelain of Venice, but rarely. NOUE. NovE. This curious mark of Antonibon's manufactory is on the centre of a set of three iventail jardinieres of porcelain, beautifully painted with mytho- logical and classical subjects, and garden scenes, elaborately gilt borders, and the arms of Doge Tiepolo. The comet is uncommon ; the painter's name Crlo^tAlurcoTxi jQiny^'.'Lf^ is Giovanni Marconi. In Mr. Reynolds' Collection. NovE ? This mark is on a large porcelain vase of scroll form, painted with flowers, and ornamented at bottom and on the pedestal with leaves and flowers in ^.c, ma//a ^altu ^^1^^^' ^^^^ ^^^^^^ handles, 66 centi- ^ metres (26 in.) high. Date about 1770. This may perhaps be Giovanni Battista Antonibon of Nove. NovE. This mark is on a tea-pot, like Doccia ware, orna- mented with raised flowers and painted bouquets. It is the name of the place in raised letters, re- peated, as in the margin. In the pos- IHI session of the Right Hon. W. E. Glad- stone. Sometimes the word " Nove" is written in red. Nove NOVE Nove. These two marks are also found ; the latter is pencilled on a porcelain jardiniere and stand, green and gold bands, painted with bouquets, marked in gold. S. Kensington Mu- .^j^ seum, £12, PORCELAIN — NOVE. oca NovE. The mark of Giovanni Baroni, successor of Antonibon, 1802-1825. On a porcelain vase with two handles, coarsely painted, pink ground, in the Coll. of Right Hon. W. E. Gladstone. NovE. Giovanni Baroni. On a "pA^^^ porcelain vase, oviform, with coloured vT"" painting round the body, of merchants of European nations, merchandize, and shipping. In Mr. Reynolds' Collection. NovE. Another mark, attributed to this manufactory. This uncertain mark, in gold, is on a porcelain cup and saucer, painted with flowers and two bistre drawings, in imitation of old engravings, laid on the pieces. Two others are in the collections of O. Morgan, Esq. and Rev. T. Staniforth. It is perhaps the monogram of a painter. NOVE NovE or Venice. — ♦ — MADRID. HIS manufactory {Soft Paste) called La China" was founded by Charles III. in 1759, in the gardens attached to his palace of El Buen Retiro, in Madrid. It was organized by workmen he brought with him from Naples. The early ware produced here consequently resem- bles that of Capo di Monte. Madrid. El Buen Retiro. The annexed mark is the mo- nogram of Charles III, the founder, surmounted by a crown. He died in 1787. The Royal Manufactory and everything connected with it was destroyed by the French in 18 12. Ferdinand VII, on his restoration, re-created La China, removing what was left to La Mancha, once a villa of the Alva family on the Manzanares. Madrid. The mark, painted in red, on a porcelain cup and saucer, brown ground, painted with flowers and fruit. In the S. Kensington Museum. Madrid. Buen Retiro. The fleur- de-lis was used as a mark at Madrid as well as at Capo di Monte. It is some- times placed above the letters O.F.L, as here shown. O.F L PORCELAIN MADRID. BUEN RETIRO. ALCORA. 333 X Madrid. This monogram of Charles III. is said to be found on the Buen Retiro porcelain, without the crown. Buen Retiro. This mark js on a very fine vase, 19 in. high. From the family of one of the directors. The upper and lower parts are painted with landscapes, the centre is of mottled lake ground. Buen Retiro. On a soft paste cup and saucer, delicately painted in figures. The lis in blue and gold letters. Alcora, Spain. The Comte de Laborde, in his View of Spain, as recently as 1808, says, "On ne fait de porcelaine (en Espagne) qu a Alcora et a Madrid ; celle d'Alcora est tres commune, on en fait tres peu." In confirmation of this asser- tion, M. Chas. Davillier, in a visit to Spain, saw an engraving of a furnace for baking porcelain with this inscription : " Mo- dele de four pour la porselene naturele, fait par Haly pour M. le Comte d'Aranda. Alcora, 29 Juin, 1756." It is also noticed by Don Antonio Ponz, Viage de Espaiia, in 1793. Alcora. Two large plaques of porcelain, of the latter half of the XVIIIth Century, from the Comte d'Aranda's manufac- tory, both very well painted, are in Mr. Reynolds' Collection. One represents Christ bearing his cross, in colours ; the other, painted in sepia, of costumes of three Spanish provinces, with figures at a fountain. MoNCLOA, near Madrid. A porcelain fabrique was esta- blished in 1827, by M. Sureda, who was formerly Director of that of Buen Retiro. Oporto. Vista Alegre. Hard Paste. Established about 1790 ; directed by M. Pinto Basto. It is marked in gold or colours. The letters are frequently seen 334 PORCELAIN — GERONA. without a crown. A cup and saucer, turquoise with white and gold flowers, marked VA in gold, is in the S. Kensington Museum. The manufacture of porcelain is still carried on at Vista Allegre by Messrs. Ferreira, Pinto and Filhos. Gerona, on the road from Barcelona to Perpignan. The shield of arms of Cordova, and the word Gerona " beneath, is on a tea service in the Reynolds, Bohn, and Baldwin Collections. The arms are surmounted bya female stabbing herself, holding a flag inscribed with ^-^^OTZaJ ''Antes la muerte que consentir vivir (para) un tiranoT By some connoisseurs, this is considered Oriental porcelain, and actually painted in China ; and although admitting the Chinese to be clever imi- tators of European art, yet we are not quite convinced that such is the fact in this particular instance. ♦ DRESDEN. Manufactory was established at Meissen, on the Elbe, about 12 miles from Dresden, by Augustus II. King of Poland, and Elector of Saxony, for the manufacture of hard paste, or true porcelain. The experiments of Tschirnhaus and Bottcher commenced about 1706 ; to the latter is attributed the invention of hard paste. His first attempt produced a red ware, like jasper, which was cut and polished by the lapidary and gilt by the goldsmith. It was made from a kind of brown clay found at Meissen. This red ware, made by Bottcher, was a fine stone ware, having the opacity, grain and toughness of pottery. A square Bottcher ware coffee pot, cut and polished, with flowers and the head of a boy, are in the S. Kensington Museum ; and a bust of Bottcher himself, of the same ware, is in the Right Hon. W. E. Gladstone's Collection. An improvement upon this was a brownish red ware, with a good glaze, on which were placed designs in gold and silver leaf, like the Japanese. In 1 708 Tschirnhaus died, and shortly after Bottcher succeeded in discovering the mode of making white porcelain by the acci- dental detection of the kaolin necessary for the purpose. The story is thus told : John Schnorr, a rich ironmaster of the Erzgebirge, in the year 171 1, riding on horseback at Aue, near Schneeberg, observed that his horse's feet stuck con- tinually into a soft white clay which impeded his progress. Hair powder for wigs, made principally from wheat flour, was 33^ PORCELAIN — DRESDEN. at that time in general use, and an examination of this earth suggested its substitution for the more expensive material, which was sold in large quantities at Dresden, Leipsig, and other places. Bottcher used it among others, and finding it much heavier, desired to find out the deleterious ingredients, and analyzed it, when to his great surprise this ingenious chemist found in it the identical properties of the kaolin, which he alone required to complete his immortal discovery of true porcelain. This white earth was known in commerce by the name of Schnorrische weisse Erde von Atie. The Aue kaolin was exhausted about the year 1850. In consequence of this important discovery, Augustus II. proceeded to establish the great manufactory at Meissen, of which Bottcher was appointed director in 1710. In 171 5 he succeeded in making a fine and perfect white porcelain. The first attempts to paint upon this white body were very imperfect, consisting either of a blue colour under the glaze, or imitations of Oriental china. It has been stated that, up to the period of Bottcher's death, which happened in 1719, only the white porcelain had been made in Saxony ; yet the success of this manufacture occa- sioned attempts at imitation in France, and porcelain works were established at St. Cloud, and in the Faubourg St. An- toine, at Paris. It was under Horoldt's direction, in 1720, that paintings of a superior character, accompanied by gilding, and medallions of Chinese figures and flowers, were introduced, and magnifi- cent services completed. In 1731 Kandler, a sculptor, super- intended the modelling of groups, animals, vases, wreaths, &c., and Lindener and other artists painted birds, insects, copies of paintings from the Flemish school, &c. From 1 73 1 to i 756 the best productions emanated from the Dresden manufactory. A Dresden china figure of a Dutch skipper, of stout build, with a pointed hat, has in front the initials I. F. and the date 1738; in Lady Charlotte Schreiber's Coll. Another figure from the same model has I. F. 1 752, marked in blue underneath with the crossed swords, in the Rev. T.' Staniforth's Coll. " The Dresden porcelain reached its highest development PORCELAIN DRESDEN. 337 under the administration of the famous Count Bruhl, the same, in whose wardrobe Frederick the Great, when he took Dresden, found 1 500 wigs, with suits of clothes and snuff-boxes to match each. His taste for magnificence made itself felt at Meissen, and we owe to him the most beautiful specimens it produced." (Chambers Journal, 1857.) Among the pieces produced about this time, by or under the direction of Kandler, may be especially noticed Count Bruhl's tailor and his wife riding upon goats with all the implements of their trade. To Kandler are also attributed the groups and figures forming when placed together "The Carnival of Venice," composed of Le Boeuf gras escorted by upwards of a hundred different figurines under the forms of Cupids, representing the various professions and trades, as a Lawyer, Doctor, Apothecary, Councillor, Knife-grinder, Gardener, Barber, &c., two carts, each drawn by four horses, full of masked personages, and the centre formed by a large clock, with rococo scrolls. These were all of coloured porcelain and independent of each other, being united or separated at pleasure. A complete set is, of course, excessively rare. Kandler modelled men and animals of the natural size, also peacocks, herons, pelicans, and all sorts of birds. In the rich Collection of Lord Hastings, at Melton Constable, is a whole menagerie, which issued from the Dresden manufactory about this time. Kandler made the twelve Apostles, life size, and worked for five years from 1751 to 1756 on a colossal eques- trian statue of Augustus HL, but it never was completed, in consequence of the invasion of Frederick the Great, and the members of the " Porcelain King," as he was called, were dispersed, nothing now remaining but the head. The china was at that time much esteemed, as we find by a note in the Gentleman s Magazine for May i6th, 1753: — ''This day a ser- vice of Dresden porcelain was sold at Mr. Uhthoff's sale, in Philpot Lane, for ^115." About 1 754 Christian Wilhelm Ernst Dietrich became director, and engaged Luch, of Frankenthal, and Breicheisen, of Vienna, and the sculptor Francois Acier, from Paris, who 338 PORCELAIN — DRESDEN. about 1765 introduced at Meissen the style then in vogue at Sevres. In 1778 the King of Saxony, to give a stimulus to the works, personally superintended the inspection of the establishment, and in i 796 Marcolini was appointed Director, who remained so until 18 14, when M. Von Oppel succeeded him. In 1833 M. Kahn took his place. The establishment is styled Koniglich Sachsische Porzellan Manufactur. In the London Magazine of May, 1753, we read, ''This fabrick, which brings annually great sums of money into the country, is daily increasing in reputation, and is carried to all the courts of Europe, even the Turks come from Constantinople to purchase it, and the rarest pieces that are made, are carried thither to embellish the grand Seignor s and his great officers' houses and Seraglios. " These table services maybe had from 100 to 1000 guineas and upwards, according to the quantity, size, and nature of the painting they are composed of." • Those most commonly bought are about the value of 160 or 300 guineas. The plates are from 8 shillings to 24, and the terrines, dishes, bowl, &c., according to their bigness, &c. The sets of porcelain for tea, coffee, or chocolate may be had for 15 to 60 guineas. There is one particular kind from which they will abate nothing of 100 guineas the set; this is a double porcelain, not made at once, but a second layer added to the first form, resembling a honeycomb on the outside, which is of a pale brown colour, the letts or cavities being all painted as well as the bottoms of the insides of the cups and dishes. This, as all other sorts, may be had, painted with landscapes and figures, birds, insects, fruits, flowers, the first being the dearer, the latter the best executed, being almost equal to nature in beauty and liveliness of the colours. The grounds of all these different sorts of porcelain are various, some being painted on white, others in pink, some in compartments, others without. The spaces between are sometimes of a white, yellow, or pea-green colour, or the whole ground is white with running flowers. This sort, and the pea-green, in compartments, are the newest m^de, and in the most elegant taste. PORCELAIN DRESDEN. 339 " The single figures about 15 inches high are rated from 16 to 20 guineas, and those of 5 or 6 inches as many pounds, and this proportion is pretty nearly observed in the measures between these sizes. When they exceed it the figures grow- much dearer. " The porcelain entirely white, without the least painting, is the most esteemed of all, and with reason. It is not permitted to be sold, but reserved for the King's use, who makes very magnificent presents of it to foreign princes." A note at the end of this account says, " It is with pleasure we can inform the publick, that an undertaking of this kind is carried on in the greatest perfection in our own country, so as to emulate the elegancies of Dresden or China porcelain, particularly at Chelsea and Stratford, near this metropolis." This white porcelain was sometimes ornamented by private persons, especially by a Baron Busch, Canon of Hildisheim, who was the only person possessed of the secret of engraving with a diamond on china. In an advertisement of a sale by auction at Golden Square, by Mr. Owen, in June, 1767, we find "a tea set of the beautiful snow white Dresden with the hunt of the heron and falcon, most curiously engraved by Baron Busch. The valuable service now at Saltzdal, belonging to the Duke of Brunswick, esteemed at ^10,000, was made a present to that Prince by the Baron, as were also the other curious pieces in the cabinets of most of the Princes of the Empire. This set was brought into England by the Secretary of a Sovereign Prince, and some plates framed as pictures, engraved by the same hand, after Rembrandt," &c. Lady Charlotte Schreiber has a cup and saucer etched with birds, trees, and ruins, which was stated to be by Busch ; the etching does not appear to penetrate beneath the glaze, but it is unsigned. Busch also etched on glass, and some pieces we have seen have his name written on them. Among the most distinguished painters of porcelain w^as Angelica Kauffman, and specimens of her painting are occa- sionally met with. In the Marcolini period we sometimes find portraits, formed by the outlines of flowers and leaves, leaving 340 PORCELAIN DRESDEN. the profile on the white ground of the piece. The Rev. T. Staniforth, of Storrs, Windermere, has a 'cup and saucer, gros bleu ground, with medalHons in the centre of bouquets of flowers, containing profiles of celebrated characters, five in each piece. The Japanese Palace of Dresden contains a very fine collection of every description of porcelain, especially Oriental. About 150 of the finest pieces of china in this Museum were the result of a singular bargain between Augustus the Strong, of Saxony, and the King of Prussia in 171 7, by which, in exchange for a regiment of Dragoons, without horses, uniforms, or arms, the King of Prussia ceded this fine collection of china. The ''acquits de livraison',' dated Oranienburg, the 27th April, and Charlottenburg, 1st May, 171 7, are still pre- served among the archives of Dresden. It may be stated that all the pieces of white Dresden porcelain sent from the Royal Manufactory are marked with a cut in the glaze, above or through the two swords, so that those specimens which have been painted elsewhere are easily detected; faulty pieces are also marked with one or more cuts. The same practice is now adopted at Sevres. The merit of the discovery of the manufacture of porcelain in Europe has been usually accorded to Dresden in 1 709, but it was only a revival, for we have shown that so early as 1580 Florence had produced porcelain of a very durable character. Dresden. Meissen. Hard Paste. The first mark used was the monogram A. R., signifying Augustus Rex, and was affixed to all pieces intended for Royal use. It is found upon many imitations of the Oriental porcelain ; used from 1 709 to 1 712. This mark has been recently placed upon modern Dresden, but is easily distinguished from the ancient. - The pieces made for the Kings special use are said to be marked with a number in gold, without the monogram. PORCELAIN— DRESDEN. 34' Dresden. This mark, in gold, is on a drinking cup, beautifully painted with landscapes, and elaborate border, in gold and colours, of scrolls and brackets, figures, birds, &c. In the possession of Mr. Sigismund Riicker. Dresden. The caduceus mark was used from 171 2 to 1720, and it is said to have been placed upon china intended for sale. It is found on pieces in the Chinese style, as well as others. This mark is on a cup and saucer with raised leaves, painted with carnival caricatures of a man and woman dancing, called the Pierrot Chma. In the same Collection. Dresden. This early mark, of the Electoral swords crossed, in blue, with the date 1 7 1 6, is on the bottom of a pure white porcelain female figure of one of the Muses ; the date is impressed at the back. Berney Collection, Bracon Hall. Dresden. Another variety, sometimes painted thicker; used about 1720, when Horoldt was director. Dresden. This rare mark is found in gold, with the swords in blue, on a service made expressly for the King's favourite, the Comtesse Cosel or Koesel. The Japanese Palace at Dresden possesses six pieces of it. She was a celebrated danseuse, called Barberina, afterwards Countesse Cosel, favourite of Augustus III., who assumed the double Sove- reignty of Saxony and Poland in 1733. Dresden, of early date, from a speci- men in the Museum at Dresden. Quoted by Dr. Graesse, Director. X 342 PORCELAIN DRESDEN. 9 k 4 Dresden of about the year 1718. Dresden Museum. Quoted by Dr. Graesse, Director. Dresden of about 1718. Dresden Museum. Quoted by Dr. Graesse,. Director. Dresden, used about 1718. Dresden Museum. Quoted by Dr. Graesse, Director. Dresden. On a cup, sea-green ground, with a small medallion of Chinese figures in purple camaieu, gilt border. In the Sevres Museum. It was not till about 1 72 1 that they commenced making vases. Dresden. The two swords crossed, of this form ; used about 1 740. Dresden. Another mark denoting the King's period, shown by the dot ; used in 1770. These pieces are rare. A fine plate of the Royal period, painted with cupids and emblems of the Arts and Sciences in lake camaieu^ has in addition to the swords, B in italic capitals. Dresden. Another variety of the same, found on porcelain with Watteau subjects, &c. Dresden. This mark was used about 1778, marked, as usual, in blue. Dresden. A star between the handles is always found on pieces of the Marco- lini period, about 1796. PORCELAIN — DRESDEN. 343 Dresden. Other varieties of the crossed swords, the arms of Saxony. On specimens in the collection of the Rev. T. Staniforth, of Storrs, Windermere. Dresden. On a square tray of white X porcelain, with leaves in relief, marked at the back in blue under the glaze, D. 5|: in. (Bandinel Collection) S. Kensing- " ton Museum. Mr. Sigismund Rucker has a cup and saucer of the same date, with leaves in relief, painted with figures TtSoicri //3Q Oriental costume, but without the initials ; and a tea-pot, same date, is in the Rev. T. Staniforth's Collection. Dresden. These initials are on a porcelain statuette of a female allegorical jy Lj Q'M(/ figure, 3 1 in. high. (Bandinel Collection). Sometimes the crossed swords are placed above, the whole enclosed in an oval. / y/ 4 Dresden. The initial letters of Meiss- CtJ/ . «-/ ner Porzclla7i Manufactiir. Dresden. This mark is on a pair of modern Saxon porcelain seaux, with two handles, painted with conversations and flowers, green scale borders, for Sach- et: i^L sische Porzellmi Manufactiir. In the late Lord Cadogan's Collection. Dresden. The mark for Royal pieces. The letters K. P. M. stand for Konmg- lichen Porzcllan Mmiufactiir ; marked in blue under the glaze. Dresden. Another variety of the same mark. H., the painter's initial, in gold, the others blue. Jim. 344 PORCELAIN DRESDEN. Dresden. This inscription is on a trial piece. C. F. Kuhnel, thirty-five 6$ ^ ^fe^t^ SU'ttJt years in service, fifty-seven years old, '^'t ^ ^^^^ ^ P^^^^ ^^^^ inscribed. Dresden. A Meissen cup and saucer of exquisite workmanship, painted with C..rHcroic[ brown and gilt medallions of ruins; on ir\vl; et.-fecL-t ,a. metjse ^hese are placed groups of classical figures »75a. X fiJVpl. of solid gold in high relief of goldsmith's work; the ground embossed with flowers. The inscription written above the crossed swords. This unique specimen is in the possession of Mr. H. G. Bohn. Austria* VIENNA. )His manufactory {Hard Paste) is said to have been ; established by two French adventurers, who had j resided at Meissen, and had probably been inti- mate with Bottcher. A musician, named. La France, and. a billiard marker, named Dupuis, who brought with them to Vienna, in October, 171 7, a certain Christofle Conrad Hunger, who had been employed at Meissen as enamel painter and gilder, and at a later period, ini7i8, they were joined by Samuel Stolzel, one of the directors of the works, who was possessed of the secret. It was a private enterprise, under the direction of Claude du Pasquier, who obtained from the Emperor Charles VII. a privilege for twenty-five years. For this early period there was no mark. In 1744 it was pur- chased by Maria Theresa, the Queen Consort, and this was the period of its greatest prosperity. In 1785, when under the direction of the Baron de Sor- genthal, there were thirty-five furnaces, employing more than 500 persons. After the death of the Baron, in 1805, M. Niedermayer became director. It is now styled " I. R. Porcelain Manufactory of the State." The statistics for the year 1861 are here given : The production of finished pieces 34^ PORCELAIN — VIENNA. from the kiln was 227,230 pieces; employing 200 workmen. The consumption of raw materials for the year was : Cwts. China Clay 1,564 Quartz 559 Felspar 282 Gypsum 199 Marble 80 Fire-proof Clay for Saggers , 14,481 The porcelain kilns are heated with wood. The modern manufacture is remarkable for the application in relief of solid gold. Douglas, speaking of Vienna in 1794, remarks, In one of the suburbs is the manufactory of porcelain, which, though reckoned inferior to that of Dresden and Berlin, is executed with great beauty, but sold at an extravagant price — a service for Lord Spencer, and a still handsomer one for Sir F. M. Eden, I considered as elegant specimens of this fabric. All the porcelain manufactories which I have seen abroad appear to me useless and expensive sacrifices to vanity, as their produce is sold at such a price as must ever prevent its becoming an article of commerce." The Imperial manufactory at Vienna was, in consequence of the great annual expense to the State, discontinued in 1864, and all the implements and utensils sold, the house being now used for other purposes. Some of the principal workmen, however, still continue to decorate porcelain as a means of subsistence. The mark used from 1 744 was a shield of the arms of Austria, painted in blue, occasionally impressed ; and this simple mark has been continued to the present day. Vienna. This mark is in blue, on an old Vienna cup and saucer, green and white, sold at Sotheby's in 1856. PORCELAIN — VIENNA. 347 Vienna. On part of a service of Vienna porcelain, the A faintly stamped. Burn Collection. Vienna. On an old Vienna cup and saucer, coarsely painted with lake fes- toons, edged with blue and gold border and small detached flowers. The mark in blue. In Mr. J. Loraine Baldwin's Collection. Vienna. There are in the Sevres Museum a cup and saucer, with compartments, of all the colours employed in the manufactory in 1806, and another cup, SVi'^y^. with those of 1838, and a plate, painted with flowers, after Van Huysum, by Joseph Nigg, and a plaque by the same artist, about 1800. Mr. R. Napier, of West Shandon, has a plate painted with the Judgment of Paris, by Nigg. Vienna. There are some finely painted pieces by an artist of the name of Lamprecht, about 1 796, who excelled in the representation of animals in the style of LAMPRECHT. Berghem. Mr. Reynolds has a cup and saucer, and Mr. Farrer a plateau, signed with his name in full. He was afterwards engaged at Sevres, and is yet remembered as having but one eye, and always working by candlelight. Vienna. The name of this artist is on a porcelain cup and saucer, finely painted with a nest of six cupids, some beginning to fly, drab ground, richly gilt rerger. border, in Mr. Reynolds's Collection. Vienna. This painter's name occurs FuVStleV. on a beautifully painted plate, repre- senting Ceres. In the Vallet Collection. Vienna. An artist's name on a por- celain plate, with highly-finished paint- VARSANNI. jj^g jj^ centre, of Perseus and Andro- meda, rich gold border. 34^ rORCELAIN VIENNA. ELBOGEN. Vienna. The name of a porcelain J • Wechs painter, on a plate ; subject, a female clipping cupid's wings. Vienna. The art of enamelling on copper was carried to great perfection, the principal artist was Christof J linger. The Countess of Hopetoun has an enamelled tray finely painted with a boy playing on the bagpipes and a girl with flowers, dancing, inscribed Fd^^ Leopold Lied inven\ et pinx^^ ScHLAKENWALD. Hard Paste, This is one of the oldest porcelain manufactories (except Vienna) in Austria ; it was established about the year 1 800. George Leppert was the owner in 1842, and much improved this industry in the State. Some pieces are marked Leppert & Haas." Elbogen (Bohemia). Hard Paste. EstabHshed 18 15, for the manufacture of porcelain ; it is celebrated especially by the works of its director and proprietor, M. Haidinger. The mark is an elbow or arm, holding a sword, stamped without colour. Heraldically or, a dexter arm habited gules, holding a scymitar arg. It is the sixth shield in the collar surrounding the arms of Austria for Sclavonia. There are several speci- mens in the Sevres Museum, painted with landscapes, views of Prague, &c., with ornaments in relief coloured and gilt. Alten-rothau, or Alt-rohlau (near NOWOTNY. Karlsbad). Hard Paste. A manufac- tory of porcelain, conducted by A. No- wotny. The mark impressed without • colour. A specimen with the name in full in Mr. Reynolds's Collection. Herend (Hungary). There was a manufactory of porce- AN PORCELAIN HEREND. PIRKENHAMMER. 349 lain here towards the end of the XVIIIth Century, but we' are not informed of its origin. The author has in his pos- session a porcelain cafetiere, or set of four covered pieces, viz., coffee and milk pots and two sugar vases, fitting into a stand, which has as HEREND. many holes to receive them; painted with large red carnations, gold edges ; marked as in the margin in incuse letters ; date about 1800. Sometimes we find the word herend impressed, and the arms painted as on some pieces in Mr. Loraine Baldwin's Collection. d. Herend. Porcelain manufactory car- ried on by Morice Fischer. The mark used by him is the shield of arms of Austria. Established in 1839. Herend. Another mark of M. Fischer, on a modern porcelain cup and saucer, in the possession of Dr. Wadham. The Hungarian arms surmounted by a crown. Some of the porcelain produced here is of fine quality (hard paste), and the imitation of Oriental is wonderful. There is a cabaret of white porcelain, with compartments in green, with flowers, &c., of the end of the XVHIth Century. This was stated to have been bought in Ispahan in 1804, and pur- chased by the S. Kensington Museum in 1863 as Oriental. It is, however, now placed with the Hungarian productions. Herend. This mark is used by Morice Fischer on his best porcelain. Part of a service of yellow china in Dr. Diamond's Collection. Pirkenhammer, near Carlsbad. Hard Paste. Founded in 1802 by Frederick Holke and J. G. List, of Budstedt, in Saxony ; they directed this manufactory for sixteen years. In 18 18 it was bought by Christian Fischer, of Erfurt, who o PORCELAIN PIRKENHAMMER. PRAGUE. C - Ft F&R PJRAG improved it so much that since 1828 it has ranked as the first in Austria. The mark is C. F., stamped under the glaze; it was afterwards changed to F. & R, the initials of the proprietors Fischer and Reichembach. It is continued by MM. Fischer and Mieg. Two other marks of Messrs. Fischer and Reichembach. Prague. Bohemia. This mark is stamped on the base of a statuette of a German warrior, in white porcelain. A manufactory carried on by MM. Kriegel & C'^-, successor of M. Prager. Prussia, BERLIN. HIS manufactory {Hard Paste) was established by William Caspar Wegeley in 1751. His inven- tion is thus alluded to in the Ge7itle7nan s Maga- zine iox i'] ^2)'- " There has been discovered here (at Berlin) the whole art of making china ware, without any particular kind of earth, from a kind of stone which is common enough everywhere. The fine glossy outward coat is prepared from this, as well as the substance of the china, over which, after it is painted, they throw a kind of varnish, which fixes the colouring, and makes the figures look as if enamelled, without any mixture of metallic ingredients." The manufactory was carried on for about eight years, but never remunerated the originator, and he abandoned it in 1762, when Gottskowski, a celebrated banker, became the purchaser, and, assisted by his capital, it was brought to great perfection. In 1763 it was bought by Frederick the Great, and it became a Royal manu- factory. We read in the Gentlemari s Magazine for i 764, that " The King of Prussia has at a great expense introduced a porce- lain manufactory into his dominions, and has already brought it to such perfection as to rival that at Meissen, near Dresden, which his Majesty, during the late war, in a manner ruined." With a view to encourage the manufacture in his kingdom, 352 PORCELAIN BERLIN. he made presents of superb services of Berlin china to several German princes in the year 1766. When Frederick the Great occupied Dresden, in the seven years' war, he expa- triated many of the best modellers and painters to form his Royal manufactory; among these were Meyer, Klipsel, and Bohme. The King also transported great quantities of the clay and a portion of the collection. Independent of this, and the better to insure employment for the five hundred persons engaged in the processes, he restricted the Jews resident in any part of his dominions from entering into the marriage state, until each man had obtained a certificate from himself, which was only granted on the production of a voucher from the Director of the manufactory, that porcelain to a given amount had been purchased, and that there was reasonable cause for granting the indulgence. Of course the Jews more readily disposed of their purchases than the general dealers, and the device was attended with much success. To insure its success and extend its operations, he embraced every opportunity that was presented; and the establishment was so well supported that in 1776 seven hundred men were con- stantly employed, and it is said that three thousand pieces of porcelain were made daily. Mr. S. Riicker has a beautiful and interesting specimen, being a cup and saucer, part of the service presented by Frederick the Great to the Emperor Joseph II. on his coro- nation ; the saucer has a highly-finished equestrian portrait, and the cup his initials J. H. and the crowns of Austria, Bohemia and Hungary on a velvet cushion. Mr. S. Riicker has also in his collection a presentation piece of Berlin porce- lain, a cup and saucer; the former has a highly-finished miniature portr-ait of Frederick the Great, and the latter his initials F. W. ; equal in quality and finish to anything pro- duced at Meissen. The Berlin Royal Porcelain Manufactory now works seven kilns, and employs three hundred workmen; the annual pro- duce amounts on an average to half a million of finished articles, value 1 50,000 Prussian dollars. The superintendence PORCELAIN — BERLIN. 353 is entrusted to M. Kolbe (who succeeded M. Frick in the direction), under whom are Dr. Eisner as chemist, M. Mantel as master modeller, and M. Looschen as head painter. The porcelain manufactories of Berlin and Charlottenburg are both under the direction of M. Kolbe, Councillor of State, employing at the present time sixteen furnaces and about five hundred workmen. At Berlin wood is used for fuel, at Char- lottenburg coal. At the Berlin manufactory Lithophanie was invented, of white biscuit plaques, the shadows being produced by the graduated thicknesses of the paste, which, when placed against a window form transparent pictures ; also Litfwgdognosie^ or transfer printing on porcelain, by a celebrated chemist named Pott, on which subject he published an illustrated book as early as 1753. One of the finest products of Berlin is the magnificent ser- vice presented by the King of Prussia in 18 18 to the Duke of Wellington. The modern Berlin^mark of the sceptre is sometimes covered with a large gold rose, or a green leaf, by trade impostors, to conceal it. Some of these pieces have a most imposing appear- ance, and are in close imitation of old Capo di Monte and other celebrated manufactories, and are frequently sold at high prices to the unwary. We know of a porcelain tankard with coloured nymphs and satyrs in relief, with imitation early silver mounts, for which a high price was obtained. The deception may be traced to the neighbourhood of Frankfort, whence so many falsifications have of late years emanated. Frederick King of Prussia was very desirous to produce china equal to that of Dresden, and the Berlin mark was fre- quently made to assimilate, as the following extract from a letter written by the Prince de Ligne to the King of Poland will prove : — " One day I turned a plate to see what kind of china it was; on which the King of Prussia said — ' Of what manufacture do you suppose it to be ?' I replied — * Saxon, I think ; but, instead of two swords, I perceive only one ; that is fully as good as the two.' ' It is a sceptre,' said the King. 354 PORCELAIN: — BERLIN. ' I beg your Majesty's pardon, but it is so like a sword that one may easily mistake it.' This was indeed true in every respect." Berlin. The mark of Wegeley from 1 75 1 to 1 76 1, two strokes of the W being longer and crossing each other. Berlin. In 1761, when it became a Royal establishment, the sceptre was used, on painted and gilt porcelain in brown, on white china it was marked in blue. The letters K. P. M. are some- times placed below it. Berlin. Another form of the sceptre, used about the same time. An eagle is sometimes added. Berlin. A special mark, in blue, first used about 1830 on small richly deco- rated pieces. The letters represent J^p^^J Koniglichen Porzellan, or Preussiche, Manufactur. Berlin. The mark of Wegeley, being the first two letters of his name, impressed on an early Berlin vase, painted with a frieze of classical heads round the upper part, and gilt leaves at bottom ; also on ^ a cup and saucer, dark blue with medal • lions of fiowers. In the possession of Mr. Reynolds. Berlin. The crossed sceptres are sometimes found on the old Berlin ware, evidently to imitate the Dresden mark. This mark in blue, as in the margin, with the number 60 in gold, is on an octagonal sucrier and cover, painted with figures, of decided Saxon pattern. In the Collec- tion of Mr. J. Loraine Baldwin. X PORCELAIN BERLIN. CHARLOTTENBURG. MOABIT. 355 X Unknown. On a German porcelain tea pot, decorated with floral arabesques in. blue. XVIIIth Century. Berlin. At the present day the por- celain is marked with the stamp annexed, in blue, to which is sometimes added the painter's mark. Charlottenburg, near Berlin. Hard Paste. Established in 1 760 by M. Pressel. The mark stamped in colours up to 1830. It now belongs to the Govern- ment, and both are directed by M. Kolbe. Ordinary porcelain is made, but of fine quality, for domestic use, which is called Gesundheitsgeschirr, or hygiocirame ; it was intended to serve as a substitute for the pottery with a lead glaze, which was considered injurious, from the poisonous nature of the ingredients. " Charlottenberg was formerly only a small village called Lutzemberg on the Spree, about two miles from Berlin. The consort of Frederick I. being pleased with its situation, began to build here, and after her death the works were continued by His Majesty, who named the place Charlottenberg, in memory of its having been the favourite retreat of his Queen Sophia Charlotte. In this palace, one of the most considerable structures in Germany, is a closet furnished with the choicest porcelain, and a tea table and equipage of solid gold." {Royal Magazine, i 759.) These letters are occasionally placed under the eagle to indicate the Berlin B. P. M. porcelain manufacture. Mr. W. Aylen, of Southampton, has a dejeuner service, with the letters T. P.M. beneath the eagle. MoABiT, near Berlin. Established in 1835. M. Schuman proprietor. The mark in blue. A A 2 356 PORCELAIN — BRANDENBOURG. HOCHST. Brandenbourg. In the commencement of the year 171 3, Samuel Kempe, a miner of Freiberg, who had become one of the principal workmen of Bottcher, escaped from Meissen, and offered his services to Frederic de Gorne, a Minister of Prussia. A workshop was established at Plauen, on the Havel, near Brandenbourg, belonging to M. de Gorne, and they made an inferior sort of porcelain, known as the porce- laine de Brandenbourg," which was taken to Leipzig fair and sold from 171 7 to 1729 ; after which time we have no further account of it. Waldenburg (Silesia). A manufactory of porcelain (hard paste) carried on by M. Krister. Altwasser (Silesia). A manufactory of porcelain is still carried on by M. G. Tielsch and Co. There are some other potters at this place — Messrs. Heuback, Kampe, and Sontag. HocHST. Mayence. Hard Paste. Founded in 1720, by Gelz, a faiencier of Frankfort, assisted by Bengraf and Lowen- fink, but they were unsuccessful, and called in Ringler, of Vienna, who had escaped from the manufactory. In 1740, during the Electorate of Jean Frederic Charles, Archbishop of Mayence, their porcelain ranked among the first in Europe. About 1760 the celebrated modeller Melchior was engaged, and some very elegant statuettes were produced, and effective designs for vases, &c. He left the manufactory about 1785, but his successor, Ries, was not so skilful, and all his figures having disproportionate heads, the so-called " thick-head " period commenced. Christian Gottlieb Kuntze is another celebrated enamel painter of this fabrique. On the invasion of the French under General Custine, in 1 794, all the materials were sold by auction. HocHST. Mayence. The mark is a wheel, — the arms of the Archbishop of Mayence, — sometimes surmounted by a crown ; in gold, red, or blue, according - to the quality. PORCELAIN HOCHST. 357 HoCHST. Mayence. Sometimes the wheel is used without the crown. HoCHST. Mayence. Another wheel, with only five spokes ; an early mark. Those pieces with the letter M. (Mel- choir) are very scarce. HocHST. Mayence. Another mark of the manufactory, in brownish red. NUREMBERG. B^^^Shere was an establishment here for the manufacture of porcelain, as well as fayence, as early as 1712. [E^L^O It was founded by Christopher Marz and Johann Conradt Romeli. This fact has been brought to light by the Director of the Berlin Museum, M. Von Olfers, who has placed in the Museum six oval plaques, 2 feet 6 inches in diameter, painted in blue camaieu on porcelain pate tendre ; four of them represent the Evangelists, and the other two are portraits of the founders themselves, inscribed on the back as follows : — on the one, Herr Christoph Marz, Anf anger dieser alherlic hen Number geschen porcelain-fabrique, an 1 7 1 2 . talis sues 60. Georg Michael Tauber pinxit a. 20. o. 22. November',^ 1720; which in English reads thus: M. Christoph Marz founder of this magnificent Nuremberg fabrique of porcelain, in the year 1 7 1 2," &c. On the reverse of the other is written : " Her jfohann Conradt Romeli, anf anger dieser allhiesigen porcelaine-fabrique, an 1712. In gott verschieden, an 1720," with the name of the painter as before. Mr. Reynolds pos- sesses a large oval fayence plaque, with a portrait of another part proprietor of these works, inscribed on the back : " Herr Johann Jacob Mayer Erkauffer des Ro7nelischen halben An- theils an dieser Porcelaine Fabrique. A no 1 720, talis sue 30. Georg Michael Tauber pinxit Ano 1720 $ di 22 November y M. J.J. Mayer purchaser of Romeli's half share of this china PORCELAIN FRANKENTHAL. 359 fabriqueiVL the year 1720, aged thirty." Marz died in 1731, when the estabHshment was sold, and it afterwards produced a common sort of pipe-clay, ceasing entirely about the end of the XVIIIth Century. M. Demmin has also a square plaque, painted in blue, with the arms of Marz, inscribed as those just mentioned, but stating that he died on the i8th of March, 1731. FRANKENTHAL. Frankenthal. Palatinate (now Bavaria). Hard Paste. Established in 1754 as a porcelain manufactory, by Paul Haniing, who having discovered the secret of hard porcelain, offered it to the Royal Manufactory at Sevres, but, not agree- ing as to price, the offer was declined, and they commenced persecuting him. A decree of 1 754 forbade the manufacture of translucid ware in France except at Sevres, and he was compelled to carry his secret to Frankenthal, and leave his fayence manufactory at Strasbourg in charge of his sons. Ringler, who had quitted Hochst in disgust after his secret had been divulged, became director, and they continued making porcelain until Haniing's death in 1761. It was then purchased by the Elector Palatine Charles Theodore, and, by his patronage, attained great celebrity, which it maintained until he became Elector of Bavaria in 1 798, when it greatly declined, and all the stock and utensils were sold in 1800, and removed to Greinstadt. The following chronogram denotes the year 1775 : — VarIantIbVs-fLosCVLIs'DIVersI-CoLores.fabrIC^- sVb-reVIVIsCentIs-soLIs-hVIVs*raDIIs*eXVLtantIs- In'frankenthaL. ^ It occurs on a porcelain plate, having in the centre the initials of Carl Theodor, interlaced and crowned, within a gold star of flaming rays ; radiating from this are thirty divisions, and on the border thirty more, all numbered and painted with small bouquets, en camaieu, of all the various shades of colour em- 36o PORCELAIN FRANKENTHAL. ployed in the manufactory. On the back is the usual monogram, in blue, and " N. 2," impressed. In the Collection of the Rev. T. Staniforth, of Storrs, Windermere. Frankenthal. The early mark under H anting was a lion rampant, the crest of the Palatinate, from 1755 to 1761; marked in blue. Frankenthal. The mark of Joseph Adam Ranting, and is often found with the lion. Frankenthal. Second period, when it became a Government establishment. The initials of Charles Theodore under the Electoral Crown. A specimen in the S. Kensington Museum — a vase and cover, painted with a mythological subject — has this and the preceding mark of Haniing both together. Frankenthal. The mark of Paul Haniing, frequently scratched under the glaze, or pencilled. Frankenthal. The mark of Haniing, scratched under the glaze, on a figure in the Collection of the Rev. T. Staniforth. Frankenthal. This mark has been attributed to Ringler, but not on good authority. Frankenthal. These two marks, of a lion rampant and monogram of Joseph Adam Haniing, are on a saucer, painted with cattle; the letters beneath are in- dented. In the Collection of the Rev. T. Staniforth. PORCELAIN FRANKENTHAI.. GRETNSTADT. 36 I Frankenthal. This is probably a painter's mark, or that of a modeller; it is placed by the side of the Carl Theodore monogram on a statuette of a man with two faces, holding a medallion on which is a nymph pouring water from an urn. In Mr. Reynolds's Collection. Frankenthal. This mark is placed as belonging to this manufactory by Mr. Marry at. Greinstadt. The stock and utensils of the Frankenthal manufactory were purchased in 1800 by M. Von Recum. This was recently carried on by Franz Bartolo, whose mark was F.B. Neudech, on the Au, and Nymphenburg. Established in 1747, by a potter named Niedermayer. The Comte de Hains- hausen became patron in 1754, and in 1756 he sent for Ringler, who organized the establishment, and it was then placed under the protection of Maximilian Joseph, Elector of Bavaria. In 1758 this manufactory was altogether removed to Nymphenburg. On the death of Charles Theodore, his successor, the Frankenthal manufactory was abandoned, and also transferred to Nymphenburg, which is still in activity as a Royal establishment, and well supported. The colours and gilding of this porcelain are excellent ; the landscapes painted by Heintzmann, the figures copied from the best pictures at Munich by Adler, are very finely painted. Lindeman was also a good artist employed here. The pieces are manufactured in white at Nymphenburg, but chiefly decorated at Munich and elsewhere ; that is the reason why the Nymphenburg mark is frequently found im- pressed, and the mark of some other factory painted in colour. In the Sevres Museum are three cups and saucers, with portraits of Maximilian Joseph, King of Bavaria; his Queen, and daughter, Princess Auguste-Amelie d'Eichstaedt, painted A s FB 362 PORCELAIN — NYMPHENBURG. by Auer; a cup, with a view of Munich, &c., obtained from the manufactory in 1808. On January ist, 1806, the Elector of Bavaria and the Duke of Wurtemberg, after being so authorised by the Emperor Napoleon, declared themselves Kings. Nymphenburg. Mark — the arms of Bavaria — impressed, without colour, on hard paste, the shield is usually of a squarer form than is here given. Nymphenburg. Another form of the arms of Bavaria, also impressed on the ware. Nymphenburg, near Munich. These LI* marks, in blue, are on a cup, of blue and \a red ornaments on white; the two L's impressed. The saucer has the arms of Bavaria only, impressed. These speci- mens are in Mr. Reynolds's Collection. Nymphenburg ? On a German porce- y ^ lain cup, decorated in blue and red with Chinese ornaments, which M. Jacquemart / \ attributes to England, but is probably Nymphenburg, from its similarity to the preceding, or the orb and sceptre of Berlin. Nymphenburg. A tankard, of porce- !• A.. W ^^.in, painted with figures emblematical of J 77 8 ^"^^^ quarters of the globe. Probably D J ^ painter's signature ; it has the arms of ^ Nymphenburg impressed. In Mr. C. W. Reynolds's Collection. Nymphenburg. This name occurs on a plate of embossed basket pattern, C. H, Silbertamer painted with flowers ; inscribed on the lyjl. back as in the margin, perhaps the person for whom it was made. In the Collection of the Rev. T. Staniforth. PORCELAIN NYMPHENBURG. WURTZBURG. BAYREUTH. 363 G. C. LINDEMAN The name of this ^. . artist occurs on a porcelain cup and saucer, painted with landscapes and figures, green and gold border ; stamped with the shield, and name painted in full. In Mr. Reynolds's Collection. 62.^^ Nymphenburg. The shield stamped, J®^. the name and figures in red, probably ittctn the painter's name. 77 Ox, Nymphenburg. This is an early mark, painted in blue, consisting of two inter- laced triangles, with mystic characters at 771 each point of the angle, which vary on different specimens; probably Masonic. Wurtzburg (Bavaria). Hard Paste. XVIIIth Century. Marked in blue, the mitre of the Prince Bishop. No parti- culars are known. {Gresloti.) Bayreuth, formerly a Margraviate, now annexed to Bavaria. Hard Paste. There was a manufactory of pottery here as early the XVIth Century (see page 238). The town is about 41 miles north-east of Nuremberg, and there still exists a manufactory, at which porcelain as well as fine fayence is made, at a village adjacent, called St. George-sur- I'Estang, on the opposite side of the JScivPCltll This mark, in gold letters, is on J a cup, well painted with a view of the 1 ^ ^ 4- town, and figures in costume of the latter part of the last century; in the posses- sion of Sir Henry B. Martin. The letters " P.M.," now defaced are above, and " No. 24," below. There was a manufactory of porcelain established here in 1836, by a potter named Schmidt, who in that year presented some specimens to the Sevres Museum. PORCELAIN BAYREUTH. ANSPACH. Bayreuth. Another mark ; some- times only the letter B is used. Bayreuth. On a well painted porce- lain cup and saucer, gilt fluted base, HctijvcLttfi painted with landscapes and figures S'ejt^Hc^kt round the upper part in lake camaieu. In the Collection of Mr. J. Loraine Baldwin. Anspach (Bavaria). Hard Paste. 1 718. A town which belonged to the Margraviate of Anspach and Bayreuth. The mark of an eagle with wings dis- played is in blue. Specimens in the Sevres Museum. Anspach. The Margraviate crown marked in red on a German porcelain pot and cover, yellow ground, covered with small red annulets and dots. The upper mark is frequently seen on china of the same character. Pieces in the Rev. T. Staniforth's Collection. Anspach. Hard Paste. These marks are given by Mr. Marryat as belonging to Anspach, but he is uncertain whether they belong to Anspach in Thuringia or /""•^[jl.-^ the former Margraviate in Bavaria, most rOv f probably they may be referred to the last- V >of named State. A Anspach. Hard Paste. On a porce- lain milk ewer, beautifully painted in lake camaieu, with a landscape and richly gilt scroll borders, in the Collection of Mr. Sigismund Riicker. PORCELAIN — ANSPACH. Anspach. Another modification of this mark, in blue under the glaze, which M. Greslou erroneously attributes to Meissen, as the monogram of Augustus, King of Poland, surmounted by the eagle. Anspach. Marked in blue on an early German porcelain milk pot, painted with moths, butterflies, and flowers. Anspach. This mark is graved in the clay before baking, on a cup and saucer, painted with female portraits, in the Col- lection of the Rev. T. Staniforth. Anspach or Bayreuth. On a German porcelain cup and saucer, painted with flowers and hearts-ease, in the Collection of the Rev. T. Staniforth. Unknown mark. Germany, perhaps Anspach. On a decorative plate. Brunstoicli, Wurtemljurg, etc. FURSTENBURG. HIS manufactory was established in 1750 by Bengraf, who came from Hochst; he died the same year, and Baron von Lang, a distinguished chemist, undertook the direction of the works, under the patronage of Charles Duke of Brunswick. The manufactory has been carried on by the Government up to the present time. In 1807 the Sevres Museum obtained from the manufactory a plate painted with classical subject, by Briining; a coffee cup, decorated in gold, by Heinze, and other specimens. Mr. Stunkel, director of the fabrique in 1840, also presented other pieces. f^P^ FuRSTENBURG. Hard Paste. The ^1^^ mark is an F, of various forms, pencilled in blue. ■ FuRSTENBURG. On a plate, light green ^J-l ground, perforated border, painted in the y centre in purple camaieu, with figures, \^ !>% after Watteau. S. Kensington Museum. FuRSTENBURG. Other forms of the letter F ; marked in blue. H OXTER. One of the men who obtained the secret from Ringler, named Paul Becker, after having tried in vain to sell PORCELAIN HOXTER. NEUHAUS. LUDWIGSBURG. 367 it in France and Holland, founded a fabrique at H oxter, and produced some fine pieces, sufficient to arouse fears of rivalry on the part of the Duke of Brunswick, who made terms with him, and the manufactory was abandoned. The mark used by him is unknown. H OXTER, near Furstenburg. Hard Paste. This mark, in blue, occurs on some German porcelain cups and saucers, painted with bouquets. It may be, per- haps, the mark of a painter of flowers named Zieseler, who commenced making porcelain here about 1770. Specimens of this tea service are in the possession of the Rev. T. Staniforth, Mr. Reynolds, Mr. Franks, and Mr. Baldwin. Neuhaus, near Paderborn. 1 75a Von Metul, a mixer of colours at the Furstenburg manufactory, escaped with two others, and commenced making porcelain, but they were soon discovered, and obliged to discontinue it. LuDWiGSBURG, or LouiSBURG, Called also Kronenburg porcelain. Hard Paste. This manufactory was established by Ringler in 1758, under the patronage of Charles Eugene, the reigning Duke. It was celebrated for the excellence of its productions and the fine paintings on its vases and ser- vices, as well as for its excellent groups. The mark is the double C, for the name of Duke Charles, ensigned with a high German Ducal crown, surmounted by a cross. The ^ mark of two C's, with a Count's coronet, Ou^ which is frequently attributed to this town, belongs to Niderviller. C^^j) Ludwigsburg. Another mark ; the ■^^^"^ double C, surmounted by a crown and a cross. 368 PORCELAIN — LUDWIGSBURG. LuDWiGSBURG. Two Other marks, of the cipher, without a crown, but they must not be confounded with the inter- laced C's of Niderviller. Although Charles Eugene died in 1793, the same ciphers (CC) were used until 1806, when the letters under the crown were changed to T. R., and in 18 18 to W. R., but these are rarely met with. LuDWiGSBURG. These marks, in blue, are on the bottom of a cup and saucer, painted with the initials V and G in flowers ; the cup has the L only, the saucer the arms of Wurtemburg, the three stags' horns. In the possession of the Rev. T. Staniforth. LuDWiGSBURG. This shield, and the letter K impressed, is on a coffee pot in the S. Kensington Museum. An ink- stand, painted in lake camaieu, with flowers, and marked in blue, is in the Loraine Baldwin Collection. LuDwiGSBURG. The letters T. R., under a crown, were used from 1806 (the first year the king was created) to 1818. LuDWiGSBURG. On a porcelain cup and saucer, drab ground, coarsely painted with Venus and Cupid, border of masks. In the Collection of the Rev. T. Staniforth. LuDWiGSBURG. On a porcelain cup and cover, painted with roses and other flowers; the mark in red, and a D im- pressed. In the Collection of the Rev. T. Staniforth. Also on a cup and saucer with landscapes and figures in brown on yellow ground, in the Baldwin Collection. TH. PORCELAIN HILDESHEIM. FULDA. HESSE CASSEL. 369 LuDWiGSBURG. This mark, the letters W. R. under a crown, were used from LuDwiGSBURG. This mark of a stag's horn, from the arms of Wurtemberg, was used at a later period. A cup and saucer, light yellow ground, with brown scroll border, has this mark in blue ; in the Loraine Baldwin Collection. HiLDESHEiM. Hanover. Hai^d Paste. Established about 1 760. Marked in blue ; sometimes the letter A only. FuLDA. (Hesse). Established about 1763 by Arnandus, Prince Bishop of Fulda, for the manufacture of porcelain. Hard Paste. The mark (in blue) signifies Fiirslisch Fuldaish (belonging to the Prince of Fulda). The best artists were employed, and many grand vases, figures and services produced, of a fine white paste, and handsomely decorated. The pieces are scarce, as the greater part were reserved for the Prince t3ishop and his friends. His successor, Henri de Butler, ip 1 780, abandoned the manufacture, and all the models and instruments were sold by auction. A cup and saucer, ornamented with a bisque medallion portrait, is in the S. Kensington Museum. t Fulda. A cross, the arms of Fulda, is frequently found upon groups of figures. Hesse Cassel. Hani Paste. This mark is sometimes found on porcelain, and has been so attributed. The manu- facture is of the end of the XVHIth Century. A workman B B 370 PORCELAIN — HESSE DARMSTADT. KELTERSBACH. of Ringler's is said to have established a factory here about 1763, which was celebrated for its porcelain. Hesse Darmstadt. This mark is so attributed by M. A. Jacquemart. It occurs on a cup and saucer, with a black portrait of a gentleman and neat border of small flowers ; and the monogram of H. D., without the crown, is on another cup and saucer, pink ground, with the view of a town. Both these are in the Loraine Baldwin Collection. Keltersbach (Hesse Darmstadt). It was about the year 1756 that this porcelain manufactory was founded by a Saxon named Busch, but it was soon abandoned, and no specimens are known. 'Ct)ur(ttg(a, iTZERODE (established 1 759) was the parent of all the porcelain manufactories of Thuringia ; the process appears actually to have originated here. The story told of its commencement is, that in 1 758 an old woman brought some sand for sale to the house of a chemist, named Macheleidt. His son, then a student of Jena, made some experiments and fabricated a sort of porcelain. Improving as he continued his essays, he, in the following year, laid before the Prince of Schwartzbourg satisfactory proofs, and obtained permission to open an establishment at Sitzerode, where he employed four workmen, and in 1762 it was removed to Volkstedt. The manufactory is still carried on at Volkstedt, near Rudolstadt, by Macheleidt Triebner & Co. (Specimens at Parjs in 1867.) Volkstedt. Ha7^d Paste. The porcelain manufactory of Sitzerode was transferred here in 1762, where it was farmed by a merchant named Nonne, of Erfurt, who greatly enlarged and improved the works. About the year 1770 it was carried on by Greiner. The mark is C. V. or G. v., sometimes with a shield of arms, which may be the initials of Greiner, Volkstedt. In i 795 more than 1 20 work- men were employed. Volkstedt. The letter C and V, sometimes interlaced. 13 B 2 372 PORCELAIN VOLKSTEDT. RUDOLSTADT. VoLKSTEDT. Another mark, quoted by Mr. A. Joseph as unknown, but it is probably of the same manufactory. These marks have been attributed by Mr. Marryat to Kloster Weilsdorf, but apparently without sufficient authority. The letters C and V, it may be remarked, whether separately or interlaced, could scarcely represent this fabrique, for in all the geographical dictionaries the word " Kloster" is spelt with K, and " Veils^ dorf," according to the German language, would have W for its initial letter. ^ VoLKSTEDT. On a milk pot and cover, \^ \ \\ V painted with landscapes on a border of flowers. S. Kensington Museum. RuDOLSTADT (ScH wartzburg). Hard Paste. Established 1758, originally at Volkstedt, and afterwards removed to Rudolstadt, near Jena. The mark was R, for the name of the place. Gotthelf Greiner had the direction of several of the Thuringian manufactories ; he died in 1597. This establishment still exists, but only common blue and white ware is made. This rhark is in blue. Rudolstadt. This mark, a hay fork, is part of the arms of Schwartzburg (a hay fork and curry comb). It is on a pair of candlesticks with blue flowers, in possession of the author ; also on a tankard in mounting of the last century, in Mr. Reynolds's Coll. Rudolstadt. The same mark crossed, is on some pieces of porcelain, in posses- sion of the Rev. T. Staniforth. Rudolstadt. This mark is made expressly to imitate the Dresden ; the style of the Marcolini period being closely copied, as well as the form ; gilt ring R PORCELAIN — REGENSBURG. RAUENSTEIN. GROSBREITENBACH. 373 handle at top, and angular handle. It is on a cup, cover and saucer, beautifully painted with groups of flowers; in Mr. J. Loraine Baldwin's Coll. Regensburg (Ratisbon). This mark, in blue, is on a cup and saucer, with landscapes in bistre on white ground; there is also the letter Z or N on both pieces, but it does not belong to the mark before mentioned, and may be the painter's initial. In Mr. Reynolds's Coll. Ratisbon, formerly Regensburg. A porcelain fabrique of Mr. J. A. Schwerdtner; some pieces painted with the Cathe- dral, and landscapes, are in the Sevres Museum. Rauenstein, in Saxe Meiningen. Es- tablished 1760. Hard Paste. Marked in blue. This mark is on a cup and saucer, painted with flowers, in the Collection of the Right Hon. W. E. Gladstone. Saxe Coburg. Hard Paste. Established Haman in 1 762. This mark is given by Marryat, but there are so many W's that it is difficult to identify their loca- lities with any degree of certainty. Grosbreitenbach. Hard Paste. Esta- blished about 1770 by Greiner. The demand for his porcelain was so great, that not being able to enlarge his works at Limbach, he purchased this as well as Weilsdorf and Volkstedt. Grosbreitenbach. This mark is frequently imperfectly formed, and hardly to be recognized as a trefoil leaf. The Rev. T. Staniforth has a box of white toy china tea and coffee service; on the outside of the case is a view of the ma- nufactory and a trefoil leaf. Wallendorf. by Greiner and w PORCELAIN — GROSBREITENBACH. THURINGIA. Grosbreitenbach. Another mark of the same manufac- tory. These marks are usually in blue, but sometimes in red or in gold. A great many specimens of the ( 1 Thuringian manufacture have two or /jV^ three rows of vertical ribs in slight re- lief over the surface, painted over with flowers, &c. Thuringia. These marks are painted . 1 in blue on the bottom of a cup and saucer, , of coarse blue Chinese pattern flowers, 0-* UjC apparently of Grosbreitenbach or some ' ' Thuringian fabrique. In Mr. Reynolds's Collection. Thuringia. On a cup and saucer, very similar to the Berlin porcelain, with me- dallion of eight figures. Thuringia. Marked in blue on a cup and saucer of coarse porcelain, orna- mented with pale blue floral pattern, Ja- panese style, white ground; apparently German. Mr. Reynolds's Collection. Thuringia. This mark, in blue, is frequently found upon German porcelain. It is on a cup and saucer in the possession of Mr. Reynolds, painted in purple ca- maieu, with landscapes and figures of views in Germany. Another cup and saucer, with landscapes and flowers, has this mark in blue, accompanied by a small painter's mark of an arrow in red ; in the possession of the Marchese d'Azeglio. Thuringia. This mark, in blue, is seen on some German porcelain, similar to that of the Thuringian manufactories, but we cannot state from which it emanated. A cup and saucer, painted with ruins and landscape in lake camaieu, as well as a tea pot with flowers, so marked, are in the Loraine Baldwin Collection. 3. PORCELAIN — LIMBACH. 375 LiMBACH. Saxe Meiningen. Hai^ci Paste. This manu- factory was also under the direction of Gotthelf Greiner. Established about 1761. The marks Lj^ are said to be a single or a double L; .Ay but there appears to be some confusion . c^f^,^ in the appropriation, for the same letters are also assigned to Ilmenau and Breiten- ^ bach. O O Limbach. Another mark. LiMBACH. On a cup and saucer, painted in lake camaieu, with landscapes and figures; the mark also in red. In Mr. J. Loraine Baldwin's Coll. Limbach. This mark is on a cup and saucer, painted with a cottage in a land- ^ scape in Indian ink. In Mr. J. Loraine Baldwin's Coll. Limbach. These marks, painted in blue, are on an ecuelle and its dish. The ware is very heavy, but finely glazed and brightly coloured, with blue bands and borders, flowers between, white ground. In Mr. A. W. Franks' Collection. The mark of Limbach is said to be a cross 9 • V with four dots, or a double L, with which this mark corresponds, but the ware is ^ of soft paste, and has the appearance of English porcelain. Limbach ? This mark, in violet, is on a porcelain cup and saucer, painted in \J violet, in the Coll. of Mr. Reynolds; and i / \ I on a service in the possession of Messrs. Litchfield and Radclyffe. Limbach. This mark is a double L, / ^\ and is frequently found on German por- ^-^^^^ ^^ '^ celain; it is probably Limbach. 376 PORCELAIN LIMBACH. GERA. GOTHA. ALT HALDENSTEBEN. W LiMBACH. On white porcelain; the A/\ V mark in blue, under the glaze. Another ^ variety of the L. LiMBACH. On porcelain ; painted with detached flowers in blue, dark blue edges. Marked in blue. LiMBACH. On a porcelain cup and saucer, painted with landscapes in lake camaieu, embossed borders. In the Col- lection of the Rev. T. Staniforth. a G Gera. Hard Paste. A manufactory was founded here about 1 780. This mark of Gera is in blue, on the bottom of a porcelain compotier, painted with a view of the town, in g violet colour on green ground ; on the saucer is represented a letter addressed to ^''Madame Kessler, nSe Schwinge a Freybourg!' In Mr. Reynolds's Coll. GoTHA. Hard Paste. Founded 1780 by Rothenberg, and afterwards (1802) conducted by Henneberg. The mark, a G, for the name of the town, of this form. GoTHA. The name thus, on a cup and saucer, with two views of Gotha, in Mr. Reynolds's Coll. Marked in blue. ■ Gotha. According to the German 1 ^ Cyclopaedia, a Roman R was also used, •J. perhaps to represent the founder, Rothen- berg's, name. HiLDBURGHAUSEN. A fabrique of porcelain was established here in 1763 by Weber, but we do not know what mark was adopted. Alt Haldensteben. Hard Paste. Manufactory of M. Nathusius. Stamped in blue. I PORCELAIN BADEN. 377 Baden-Baden. Hard Paste. Esta- blished in 1753 as a porcelain manufac- tory by the widow Sperl, and workmen from Hochst, with the patronage of the reigning Margrave, under the direction of Pfalzer. It ceased in 1778. The mark is an axe or the blade of an axe, in gold. Baden. The mark of the widow Sperl at the Grunenwinckel, 1 gold, on four porcelain figures of females, emblematical of Sculpture, Architecture, Poetry and Paint- ing ; coloured and gilt, 10 in. high. In \ / * the Collections of the Rev. T. Staniforth, ^ / Mr. Reynolds, and Mr. Bohn. Baden. This mark, the checks in gold, on blue ground, is on a china mug painted with flowers and birds, blue and gold border. Burn Coll. HE Nyon manufactory was in full work towards the end of the XVIIIth Century. It is said to have been established by a French flower painter named Maubree, and several Genevese artists painted on the porce- lain, occasionally marking it with a '*G" or ''Geneva" in full; sometimes with and sometimes without the fish. There never was a manufactory of china at Geneva. The most celebrated painters were Delarive, Hubert, Gide and Pierre Mtilhoitser : the monogram of the last named is here given. His paintings were good, with figures and flowers in the Dresden style. Nyon. Canton de Vaud. Hard Paste. A cup and saucer of Gide's is signed thus. A son of his, or grandson, is a cele- brated ^z^w^/ at the present day. The ^^'c/e y/cf^, l3.te director was M. Gonin, who died ^ 1863; he was succeeded by M. Burnand. Nyon. On a porcelain cup and saucer, bought at Geneva, and believed to be made at Nyon ; the subjects are painted in bistre; the cup has a tablet inscribed, " Un coeur comine le votre another on the saucer continues the sentence, ''est faite pour Vamitisy In Mr. Reynolds's Collection. PORCELAIN— NYON. ZURICH. 379 Nyon. 1790 to 1800. L. Genese manufacturer. The mark is a fish, in blue, in allusion to its situation on the banks of the lake of Geneve. Nyon. Another mark, but ruder than the preceding. Sometimes the lines are so carelessly drawn as to make it difficult to identify the fish. Zurich. I/ard Paste. Established about 1759 by one of the workmen from Hochst, perhaps Ringler ; after a few years it was abandoned, and left under the direction of Sprengler and Hearacher from 1763 to 1768. In 1775 it was ' conducted by Trou. It has much the character of German china. The mark is in blue. flollanli mtj Belgium, |HE first manufactory for porcelain in Holland was at I Weesp, near Amsterdam. It was established in I 1764 by the Count Gronsveldt-Diepenbroek, who had by some means obtained the secret of the composition of hard paste. Having bought the materials of the old fayence works of Overtoom, he proceeded to make porcelain, and produced some fine white and transparent specimens ; it only lasted seven years, was closed in 1771, and the materials publicly sold. Notwithstanding the unsuccessful result in a commercial point of view, it was reopened by a Protestant minister, the Rev. De Moll, of Oude Loosdrecht, associated with some capitalists of Amsterdam, but the next year it was removed to Loosdrecht. The decorations are very much of the Saxon character. Weesp. Hard Paste. The marks are a W, and two crossed lines, or swords, with dots, in blue. The latter has been assigned to Arnstadt, but is now authen- ticated as belonging to this manufactory. Weesp. This mark, in blue, is on a porcelain tea pot, painted with medal- lions of garden scenes and figures, lake borders and edges. rORCELAIN WEESP. LOOSDRECHT. ARNHEIM. 38 1 W Weesp. These marks are on a cup and saucer ; the W in blue, the name Cl% (perhaps that of the decorator) in gold. U^nCldgy in the CoH. of Mr. Reynolds, who has also a coffee pot of this manufacture. Weesp. This mark is on a porcelain cup and saucer, canary yellow ground and 0 ki gilt borders, which seem to be of Dutch manufacture, and is probably of this fa- brique. Specimens in the Collections of Mr. Franks and Rev. T. Staniforth. LoosDRECHT, {Hard Paste), situated between Utrecht and Amsterdam, was the next town where porcelain was success- fully made. It sprung from the ashes of Weesp, and in 1772 became a proprietary, with the Rev. De Moll at its head; after his death, in 1782. the concern passed into the hands of his partners, J. Rendorp, A. Dedel, C. Van der Hoop, Gysbz, and J. Hope, and was by them removed, in 1784, to Amstel. The ware is of fine quality, decorated in the Saxon style ; specimens are frequently met with, having gilt borders and a light blue flower between green leaves. The letters M. o. L. stand for Manufactur oude Loos dree hi," marked in blue or impressed on the JJ«L O -L* ware ; the best pieces have a star also. By a singular coincidence it happened that the establishment was under the ^ ^ direction of the Rev. De Moll. Some- 0 ^ times the letter M. is divided from the two last letters by two dots, which may mean " Moll: otcde LoosdrechC . There are a set of five vases, painted with conversations from Watteau, the necks of open-work trellis, in Mr. Sigismund Riicker's Collection, thus marked. Ji M:o-£ Arnheim. M. Jacquemart thinks that the simple A may probably be the mark of Arnheim, rather than Amsterdam. 382 PORCELAIN — AMSTERDAM. OUDE AMSTEL. NIEWER AMSTEL. There was a fabrique of porcelain here about 1772, which was soon abandoned. Amsterdam. M. Jacquemart places this mark to Amster- dam, being the ancient arms of the united provinces, — the Batavian lion, traced in blue, — and ^ ^ quotes a specimen in the Museum of l^"^^ Sevres. Mr. C. W. Reynolds has a pair ^% of elegant bottles, painted in lake camaieic with birds and trees, bearing this mark in blue. Mr. Marryat gives this mark as a variety of the lion used in the Pala- tinate, and attributes it to Frankenthal, but the latter is always crowned, that of Holland never. Oude Amstel. Hard Paste. In 1782, on the death of De Moll, the manufactory of Loosdrecht was removed to Oude Amstel (Old Amstel), near Amsterdam, and carried on with redoubled zeal by the same Company, directed by a German named Daeuber, about 1784. It flourished under his direction for a few years, and a fine /) description of porcelain was produced, ^.y^fhSt encouraged in Holland, and gradually declined, in consequence of the large importations from England which inundated the country. It was again offered for sale in 1789, and came into the hands of J. Rendorp, C. A Van der Hoop, and Gysbz, still remain- • \7Xj\ ing under Daeuber's direction, but was C^ycjO^ entirely demolished at the close of the last century. Sometimes the initials of the director, A. D., are found. Niewer Amstel (New Amstel), Hard Paste, still nearer the capital, was established for the manufacture of porcelain, under the name of George Dommer and Co., which was in some degree supported by the King of Holland, and in 1808 PORCELAIN LA HAVE. a medal was awarded them by the first Industrial Exposition at Utrecht as an encouragement, being the only porcelain fabrique in Holland. The King, wishing ^Ji to save it, accorded an annual grant of ^'tM/SlfJL 20,000 florins, but it was not the money so much as an experienced director that was required. It was of short duration, and ceased entirely in 18 10. No porcelain has since been made in Holland. La Have (The Hague). Among the Decrees (arrets) of the States General of the 4th of April, 1614, the following entry occurs, which is supposed to refer to an early manu- factory of porcelain at the Hague : — " Brevet d'invention de cinq ans pour tous les Pays-Bas, accorde a Claes Jans. Z. Wytmans, natif de Bois le Due, pour la fabrication de toutes sortes de porcelaines, pareilles en matieres et en decors a celles des pays etrangers." M. Demmin, from whose pamphlet* this account is taken, observes : — " It may be urged that the word porcelain was often used at this early period to describe all sorts of enamelled pottery, especially fine fayence. On the other hand, it must be remembered that the establish- ments of Delft had already, since 1530, been actively engaged in the fabrication of fayences, which would render inadmissible a brevet granted for the fabrication of this pottery. In any case, the manufactory here spoken of could not have been at Bois le Due, for that town did not belong to Holland until 1629." This same Wytmans had already obtained, on the 9th of January of the same year, a brevet for twenty years for the manufacture of glass. About the year 1775, a porcelain manufactory for both hard and soft paste was opened at the Hague, under the direction of a German named Leichner of Lynker ; it was first situated in the Bicrkade, and later in Niewe Molstraat. A corre- spondent in the Navorscher says : In colour, painting, and whiteness it is very much like Saxon, but the substance is * Rcchcrchcs sur la Prioritc de la Renaissance de VArl Allcinand^ &c. Paris, 1862. IJy Auguste Uemmin. 384 PORCELAIN — LA HAVE. LILLE. thicker. Tea and table services of this fabrique are to be met with, though scarce, for the undertaking failed, probably owing to the dearness of the material, or the wages ; they were unable to compete with foreigners. The drawing and painting, both of landscapes and flowers, are in good taste. There are cups and saucers, on each of which the same group of flowers is represented from a different point of view ; but the gilding from being placed upon the edge instead of below it, is worn off. In 1809 or 18 10, when it was the fashion for ladies to paint china, which was afterwards glazed, I remember seeing a workman in Amsterdam painting china who had formerly been painter at the Hague manufactory." In the Museum at S. Kensington are some specimens of this china. The decorations as well as the forms* are of the Saxon character, and the paintings well executed. It has been said that white porcelain, some even of soft paste from Tournay and other places, were pur- chased by the director, and decorated by the Hague painters, marked with the stork, and sold as his own productions. The fabrique was not very important, there being only one furnace, employing from fifty to sixty workmen and painters. The works ceased in 1785 or 1786. The mark is a stork, the symbol of the town, in grey or gold. La Have. This mark is on a porce- lain milk jug, painted with flowers, in Captain Langford's Collection. Lille. Pate Tendre, This porcelain manufactory was established in 1 711 by Sieurs Barthelemy Dorez, and Pierre Pelissier, his nephew, natives of Lille. In their request for leave to found the manufactory, addressed to the Mayor and Council, they promised it should be the second fabriqtte in Europe, where, up to that time, similar ware had been PORCELAIN LILLE. 385 made out of China itself, — the first being St. Cloud. On the 25th of April, 1 71 1, their request was acceded to, and a house granted them, but, in consequence of its being unsuitable, another was accorded, situated on the Quai de la Haute- Deule, and the privilege given for the fabrication of porcelain at Lille. A second request for the exclusive right of making porcelain was refused ; but as it contains some interesting remarks, we give the following extract : — " II vous supplie. Messieurs, de lui accorder, le privilege exclusif a tous autres, vous assurant etre le seul, avec M. Chicanneau de St. Cloud, qui ait le veritable secret de la faire pareille aux echantillons qu il a eu I'honneur de vous produire. Le maitre de la manu- facture de Rouen ayant cru avoir p6n6tre dans le secret s'dtait inger6 de faire et vouloir faire vendre a Paris, pour fabrique de St. Cloud, ce qui donnait une mauvaise reputation a cette derniere, par sa mauvaise qualite. Tabus s'^tant decouvert, il a ete contraint de n'en plus fabriquer, et c'est a cette exemple que le suppliant vous supplie. Messieurs, de lui accorder le seul privilege en cette ville, et au Sieur Pelissier, son neveu." The potter of whom he so disdainfully speaks was Poterat of St. Sever, at Rouen. In the books of the receipts, the amount of 300 florins for rent appears annually in their joint names, but in the year 171 7 the name of Dorez alone occurs. In an ArrH du Co7iscil Etat, dated 1720, granting certain privileges, and being desirous of assisting the pro- prietors in so considerable an enterprise, a reduction of the tariff of 1664, in which they were excluded, was made (Lille belonging at that time to Holland, previous to the treaty of Utrecht, when Lille was ceded to France), and permission to introduce their wares into the Kingdom of France at a reduced rate, so that they could fairly compete with foreign manufac- turers, who were in a better position, being able to get the tin and lead from England at a cheaper rate. By this decree we find that porcelain was still made, but Barthelemy Dorez' two sons, Francois and Barth616my, had succeeded him. The porcelain {pate lendre) of this time was like that of c c 386 PORCELAIN LILLE. St. Cloud, but in the Delft style, the favourite ornamentation being Chinese designs, but no mark is known. At a later period (in 1 784) a manufactory of hard porcelain was established by Leperre Durot, under the patronage of the Dauphin; it was styled " Manufacture Royale de Monseigneur le Dauphin." Leperre Durot is thus spoken of in the decree: Applique depuis sa jeunesse a la fabrication de poterie, terre de gres, faiences et meme de la plus fine porcelaine ; " and it goes on to state that, considering the immense expense in the consumption of wood employed as fuel, he has, after many attempts, succeeded in substituting coal, and he is authorized to manufacture porcelain and fayence at Lille, with exemption from duties and other exclusive privileges, for fifteen years. The porcelain of Leperre Durot is richly adorned with gold and carefully painted bouquets of flowers. There is a saucer in the Sevres Museum, bearing three rows of chemical cha- racters and signs ; under the foot it bears the following inscription : " J^ai^ a Lille en Flandre, cuit au charbon de terre, 1785." In 1790 the manufactory changed hands, and several attempts were made to insure its success, without avail, and about 1800 it altogether ceased. M. Roger succeeded Le- perre Durot, and in 1792 he sold his interest in the works to Messieurs Regnault and Graindorge, who were ruined, and the establishment soon closed. There is an ecuelle in the Sevres Museum of Roger's fabrication, about 1795. Lille. The mark on the hard porce- lain of Leperre Durot, was a crowned dolphin, the emblem of the Royal pro- tection ; it is in red, either pencilled or stencilled, but seldom seen so perfect as this. These pieces are rare, in conse- quence of the short duration of the manu- facture. They are sometimes marked a Lille'' only. PORCELAIN LILLE. TOURNAY. 387 Lille. Modern porcelain. On a com- 'fotlt t)CUr potier, with gold ornaments on white, P /r / yj),// and landscapes painted in Indian ink, in ^mnaSM^ Mr. Reynolds' Collection. TouRNAY. Soft Paste. Established in i 750 by Petdrinck. In 1752 about one hundred workmen were employed, which in 1 762 increased to as many as two hundred. For some time previous to 18 15 the works were carried on by M. Maxi- milian de Bettignies, who, in consequence of the annexation of Tournay to Belgium, ceded it in that year to his brother Henri, and established another at St. Amand-les-Eaux. Soft paste, which has been discontinued many years in every other fabrique in France, is still made at both places, and they conse- quently produce the closest imitationsof old Sevres pdtretendre. ToORNAY. The marks annexed are found on porcelain of a similar quality to that known as Tournay ; it has been called porcelaine de la Tour, and its origin unknown, but referred to Vin- cennes or Tournay. The two first marks are painted in blue. There are two spe- cimens in the Sevres Museum which, as well as others marked in gold, may be assigned to this manufactory ; used be- fore 1755. The third mark, usually in gold, appears to represent a potter's kiln with the flame issuing from the chimney. Tournay. Marked in gold on a cup and saucer, painted with animals and birds illustrating Fontaines Fables, in the collection of the Rev. T. Staniforth. G Tournay. On a plate painted with flowers and embossed wicker pattern border. c c 2 388 PORCELAIN. TOURNAY. BRUSSELS. TouRNAY. This mark was used after 17555 S^^^ ^^^^ quality, in blue or red for inferior specimens. TouRNAY. These marks are said to 'J^Q be occasionally found placed separately ^ on Tournay porcelain. Brussels. Hard Paste, There was a manufactory of porcelain here towards the end of the last century. This mark is on a tea-pot, with a band of roses in the centre and two belts ■ ■ of silver, with gold borders; on a cup and J ^ saucer of the same service is the name 4 V I ^ ^ L. Cretti',' painted in red. These are in Mr. Reynolds's Collection. Brussels. This name is on a service, JjCi^^tte cleSi^uxelied some pieces of which have only the name ' With the name and address, are m the Collection of the Rev. T. Staniforth. Brussels. This mark of L. Crette is on a cup and saucer ; the former has a soldier with a musket, the latter the Belgian lion rampant, holding a spear, on the T end of which is the cap of Liberty ; J I marked in red. In the possession of the Rev. T. Staniforth. Brussels. The initials of L. Crette jf^ ^ alone in red, are on nearly all the pieces of a tea service painted with military SicnfCetTL figures and trophies, and vive brabant ; but one was signed with the painters name Ebenstein, as in the margin. Brussels. These two first marks are on a pair of porcelain candlesticks, the stand of each is marbled, with medallion busts in pink of Neptune ; the upper part is formed of two dolphins, the tails D twisted upwards. They were purchased B.L PORCELAIN LUXEMBURG. 389 in Belgium. The third mark has been usually placed among the unknown marks, but doubtless belongs to the Brussels manufactory. Luxemburg. Hard Paste. Esta- lished at Sept Fontaines about 1806, by M. Boch. Both pottery and porcelain were made here; plates, vases, figures, &c. Luxemburg. M. Boch. On a speci- men in the Sevres Museum, attributed by M. Riocreux to this manufactory. Luxemburg. M. Boch. Painted in violet on the figure of a boy, in Mr. Reynolds's Collection. B^ussta ant) ^olatili. N Imperial china manufactory, established in 1744 by the Empress Elizabeth Petrowna, with work- men from Meissen. Catherine II. patronized the porcelain works, and in 1765 enlarged them considerably, under the direction of the minister, J. A. Olsoufieff, since which this fabrique has held a distinguished place among European manufactories ; an artist named Swebach superin- tended the decorations, and in 1825 two workmen were sent from Sevres to assist in the manufactory. The paste is hard and of a blueish cast, finely glazed. It always shows its Dresden origin, and the imitations of the china of Saxony are wonderful in making up portions of sets which have been broken. We read in the Connaisances Politiques de Beausobre, Riga, 1773 (vol. i. pp. 2 10-2 J 8) : II existe une fabrique de porce- laine, situee sur la Neva, route de Schliisselburg, a quatorze verstes de Petersburg. Elle fabrique des porcelaines telle- ments belles et fines, qu'elle ne le cedent en rien a la porce- laine de Saxe, soit pour la blancheur et la finesse de Femail, soit pour la beaute du decor. Sa blancheur est meme supe- rieure a celle de Meissen. Le directeur, I'inspecteur, tous les maitres et ouvriers sont a la solde de la cour," &c. &c. St. Petersburg. Hard Paste. This mark, of three parallel lines, is in blue on two specimens in the S. Kensington Museum, formerly in the Collection of PORCELAIN ST. PETERSBURG. G 0 Mr. Bandinel, which he attributed to St. Petersburg. The former has in addition the letter K, in gold. Mr. J. Loraine Baldwin has a cup and saucer painted with flowers, bearing this mark in blue, which came from Russia, and evidently of that fabrique. It differs from this mark only in having a dot over the centre line. St. Petersburg. This mark, in blue, is attributed to this manufacture. It is found on statuettes and groups. This mark is a variation of the preceding, which we have frequently seen on Russian porcelain of early make, and coarsely painted with roses. A Russian plate of this character, brought from St. Petersburg, thus marked, is in the Baldwin Collection. St. Petersburg. Another mark, said to be of the Imperial manufactory, in blue, but we have never met with a specimen. St. Petersburg. The mark of the ^*s^ Empress Catherine II. {Ekate7'ind),{xom 1^1^ 1762 to 1796. This is on the back of a t II f cup and cover, with well painted figures ^^•^^ on dark blue ground, in Mr. Bohn's Collection ; marked in blue. £St. Petersburg. A porcelain dish, bearing the mark of Catherine II. in blue, has also the letters n : K. * in lake colour, probably the initials of the painter. In Mr. A. VV. Franks' Collection. 5 n-.K MM n St. Petersburg. The mark of the Emperor Paul, from 1796 to 1801 ; on a piece of porcelain in the possession of Colonel H. Hope Crealock. 392 PORCELAIN — ST. PETERSBURG. St. Petersburg. This mark, of the Emperor Paul, is on a porcelain tureen, painted with views in Italy, of the Port of Alicant and the Mole of Girgenti, with border of roses, in the possession of Mr. A. Joseph. Other portions of the same service are in the Col- lection of Mr. Reynolds, marked with the E. of Catherine II. St. Petersburg. The mark of the Emperor Alexander I., from 1801 to 1825 ; on an openwork basket dessert dish, white, with wreaths of roses, in the possession of Colonel H. Hope Crealock. St. Petersburg. The monogram of Nicholas I., 1825 to 1855, (the Russian H corresponds to the English N), marked in blue. It is on a cup and saucer, green ground, painted with flowers, -in the S. r^y^ Kensington Museum ; and a plate pre- ^ sented by the Emperor to the Sevres Museum, finely painted by an artist named Stechetine. 6 St. Petersburg. Another mark of Nicholas I. ; on a pair of may-flower vases, formerly in the possession of Captain Langford. St. Petersburg. The monogram of Alexander II., from 1855; marked in blue on a tea service in the Sevres Museum. St. Petersburg. A manufactory of porcelain established in 1827 by the y Brothers Kornilofte. On a specimen in IVOpHliAOBLIXIi possession of M. Grigorovitch, of St. Petersburg. BPATLEB'L PORCELAIN — MOSCOW. 393 Moscow. 1720. The potter, Eggebrecht, who had under- taken a mannfactory of Delft ware at Dresden, by direction of Bottcher, had, after that was discontinued, left to go to Moscow, and, being acquainted with some of the processes for making porcelain, commenced manufacturing it at Moscow. The Russians had, in 1717, endeavoured to entice one of Bottcher s best workmen, named Waldensten, and were un- successful; but, it is said, another workman, a few years after, named Richter, assisted them in their operations, but no traces are to be found of their subsequent history. Moscow. A porcelain manufactory was established at Twer, by an Englishman named Gardner, in 1787. His name, in Russian letters, is found im- pressed on a porcelain cup and saucer, green and gold, ribbed, in the possession of Mr. H. G. Bohn. Moscow. The initials of A. Gardner in monogram, are sometimes found alone. Moscow. Founded 1830. The mark of A. Popoff, who also signed his pieces with his initials in monogram. It is underneath a cup and saucer, painted with a view in Moscow, to which is attached a paper in Mr. Bandinel's writing : " Porcelain of the fabrique of A. Popove, warehouse No. 7, Moscow, on the river Fluxa, in the home of Buitschow. The view is of the Place Ronge, at Moscow, to the right the monument of Minine and Pojarsky ; the Cathedral in the background." In the S. Kensington Museum. y|— I Moscow. This monogram of A. Popoff I is on a fine specimen, of a lobster lying on a dish shaped like a basket, in coloured porcelain, in perfect imitation of nature, in the possession of Colonel H. Hope Crealock. The same mark is on a statuette of a Russian peasant making a list slipper, in the Loraine Baldwin Collection. rAPAHEPZ nonoBm 394 PORCELAIN MOSCOW. KIEF. KORZEC. Moscow. Manufactory of porcelain ^J^r letters stand for Fabrica Gospodina, followed by his name JXALIHA. in Russian characters. The mark im- pressed and coloured. It is on a tea-pot coarsely painted with large roses and blue bells. Brought from the Crimea on the i6th August, 1854. Purchased at the sale of the Crimean Relics, at the Globe, Leicester Square, 1861. In the possession of Mr. Chaffers. Kief, a town in the south of Russia, J^J where there is a manufactory of fayence. The name is marked at the bottom of I 3 specimens, one a large tazza-shaped J J vase, on pedestal, of cream-coloured ware, 12 inches high, with ornaments etched or printed on it, and a blue line round the edge; and a very fine plate, with pierced border and basket pattern ; date about 1780 or 1790. In the Collection of Colonel Crealock. KoRZEC (Volhynia). Poland. Hard Paste. About 1803, Merault,a chemist, of the Sevres manufactory, went to direct the fabrique at Korzec, taking with him an assistant in the laboratory named Petion. After carrying it on for a few years y^s. Merault abandoned the direction, and returned to France. Petion, having suc- KOT'Z'^^C ceeded him, sent a specimen of his manu- facture to M. Brongniart, in 1809, which is now in the Sevres Museum, viz. a hard paste coffee cup and saucer, decorated with gilding. The richness of the gilding equals that of Vienna; the taste is beautifully white, the decoration elegant. KoRZEC. This mark, of an eye within a triangle, in blue, beneath the glaze, is very similar to the preceding, but more perfect. It occurs on a pate dztre cup PORCELAIN POLAND. 395 arid saucer, the cup painted with a medallion portrait of a lady, en grisaille, richly gilt borders and ornaments, doubtless executed by one of the Sevres decorators taken there by Merault; in the possession of the Rev. T. Staniforth. Poland. Baranowka or Baranufka, a town in the province of Volhynia, now belonging to Russia. This name is on a 't^dbctTCl KOM^l^CL P^^^^^^^^ milk pot, hard paste, blueish ^ white glaze, painted in bistre camaieu / f • with flowers, outlined in gold, similar to Dresden. In the possession of Mr. A. Joseph. Turkey. These marks in brown (under the glaze) are on a Turkish por- celain cup and cover, painted in rude flowers in red, blue, green, and yellow. The first mark is on the cup, the crescent on the cover. In the Baldwin Collection. ARiEBERG. This manufactory produced porcelain (soft paste) as well as fayence, and a great many specimens have recently come under our notice, the marks on some being similar to those on fayence. The quality of the porcelain, as well as the decoration, are like that of Menecy Villeroy in France. It was established by M. Ehrenreich under the patronage of Count Scheffer, Councillor of State in 1750, and altogether ceased about 1 780. IVB Marieberg. This mark is impressed under a porcelain compotier and cover, painted with flowers, in the possession of Mr. A. Joseph, and on another in the S. Kensington Museum, presented by M. Christian Hammer, of Stockholm. Marieberg. On a porcelain compotier and cover, in the possession of Mr. Louis Huth. The mark is the three crowns of Sweden. The M. B. for Marie Berg, and F, probably the name of the decorator. Marieberg. Another mark on a compotier and cover. The letter S. is probably the name of a painter. In the t) possession of Mr. Louis Huth. PORCELAIN MARIEBERG. COPENHAGEN. 397 Marieberg. This mark occurs on a \lr \i/ porcelain compotier and cover, painted t \lf in pink camazeu, with roses and china- asters, gih leaf borders, in the possession of Mr. Horace Marryatt. Another is in the S. Kensington Museum, presented by M. Christian Hammer, of Stockholm. RoRSTRAND is a suburb of Stockholm, and the porcelain manufactory is now carried on by Messrs. B. R. Geyers & Co. (See page 234.) Copenhagen. Hard Paste. This manufactory was com- menced by an apothecary of the name of Miiller, in 1772. The Baron Von Lang, from the Furstenburg manufactory, is said to have been instrumental in forming this at Copen- hagen ; it is at least known that he entered the Danish service about the same time. Among the artists employed in painting porcelain about the time of its first establishment were Gylding, Seipsius, and Ruch. The capital was raised in shares, but, not being successful, the Government interfered, and it became a Royal establishment in 1775, and has ever since been main- tained at considerable loss. The mark is in blue, of three parallel wavy lines, signifying the Sound and the Great and Little Belts. There is a fine tea service of Copenhagen china — the plateau has a beautifully executed portrait of Raphael, the other pieces painted with portraits of all the most celebrated painters, — in the possession of the Rev. T. Staniforth, of Storrs. Copenhagen. The name of a painter, TIl|> pencilled in pink on a square jardiniere, painted with figures and trophies of vases, garlands, &c., bearing also the three wavy lines in blue. In the possession of Mr. A. Joseph. Copenhagen. This mark occurs on a china dSjeuner, with portraits of the Kings and Queens of Denmark, probably 398 PORCELAIN — COPENHAGEN. made here, although not authenticated. At the Queen Dowagers sale at Marlborough House there were some curious specimens of Copenhagen china, — black jugs, with a large gilt Latin cross on each side, embossed. Copenhagen. Porcelain manufactory, B & G established in 1653, carried on by Messrs. Bing and Grondahl, celebrated especially for biscuit groups and figures after Thorwaldsen, for which they obtained a medal in the International Exhibition of 1862. PORCELAIN UNCERTAIN MARKS. 399 UNCERTAIN MARKS. Unknown. Fayence ; about 1780. Unknown. Unknown. Of some German manu- factory. It occurs on an octagonal box and cover of Dresden pattern, painted with flowers. In the Loraine Baldwin Collection. Unknown, but probably a mark of ^^^Y Limbach. Unknown. This mark is on a German porcelain cup. Unknown. On a cup and saucer ; with cupids supporting a shield, and a French motto. Unknown. 7 Unknown. Fine fayence. This mark is on a specimen in the Sevres Museum. 400 PORCELAIN — UNKNOWN. jk A Unknown. On a German plate, with ^ ^ \ landscapes in blue. C-Y Unknown. On a German fayence jug, ^1 in the shape of a helmet, in blue cameo, J ,S of the XVIIIth Century. Unknown. On a German fayence jug of the XVIIIth Century, finely painted y ^ en camaieu with landscapes and figures, in , the Sevres Museum. Unknown. On a tea pot, of European K ^^Sy ^ manufacture, in imitation of Oriental ; blue ^ V flowers and gold ornaments. The mark in gold. In Mr. H. G. Bohn's Collection. N Unknown. German porcelain. This ^ mark is on a tea service, painted with nymphs and satyrs. A tea cup and saucer, in the Rev. T. Staniforth's Col- lection, has in addition CA impressed -f another, in that of Mr. Reynolds, has P. G. There is another in Mr. Napier of Shandon's Collection, and in that of the Marchese d'Azeglio. The same mark occurs on a milk pot, painted with Carnival figures and garden scene. Uncertain. The mark of a painter, on a German porcelain (?) cruche or mug, 0 NX/e D\N painted in purple camaieu with landscape lyjo and figures round the drum, and the monogram and date. S. Kensington Museum. Unknown. On a German porcelain ecuelle, painted in the Chinese style, the 175^' initials and date in red. Sevres Museum. Unknown. On a porcelain cup and ET) cover, painted with a vase of flowers, Yj brought from Spain and supposed to be Spanish. Rev. T. Staniforth's Collection. PORCELAIN UNKNOWN. 4OI Unknown. German porcelain. On an "O ecuelle, beautifully painted with Mytho- • • logical subjects ; signed at bottom, in 1783- gold letters, G. B. F (for fecit), S. Ken- sington Museum. Unknown. On a German porcelain tea service, green ground, gilt borders, with medallions, painted with playing cards, in the Collection of the Rev. T. Staniforth, of Storrs. Something like Hanung's mark. D D — ♦ — ST. CLOUD. R. Martin Lister, an English physician and eminent naturaHst, who visited Paris in 1698, says: " I saw the Potterie of S. Clou, with which I was marvellously well pleased, for I confess I could not distinguish betwixt the Pots made there, and the finest China ware I ever saw. It will, I know, be easily granted me, that the Paintings may be better designed and finisht, (as indeed it was) because our men are far better Masters in that Art than the Chineses ; but the Glazing came not in the least behind them, not for whiteness nor the smoothness of running without Bubles ; again the inward Substance and Matter of the Pots was to me the very same, hard and firm as Marble, and the self-same grain, on this side vitrification. Farther, the Transparency of the Pots the very same." He adds, that although its proprietor, M. Morin, had been practising the secret of his paste for more than twenty-five years, it was only within the last three years that he had suc- ceeded in bringing it to perfection ; we may therefore safely place its introduction in 1695. Although the ware was so much praised by Lister, the specimens of that period in the Sevres Museum are very coarse and little better than fayence, and no really fine porcelain was made until Chicanneau became director of the works. It must be observed that Lister only speaks of Morin as proprietor, who was evidently living and carrying on the works at the time of his visit in 1698. He was a chemist of Teulon, PORCELAIN ST. CLOUD. and although it is difficult to reconcile this statement with the letters patent of 1702, it is not improbable that Morin was actually proprietor, and supplied the capital for the new specu- lation, and Chicanneau, father and son, had been directors from the commencement, and at his death or retiremertt, about 1 700, they became sole proprietors, Chicanneau himself dying shortly after. In the letters patent of 1702, granted to the heirs of Chican- neau, we find that his widow, Barbe Courdray, and her children Jean, Jean Baptiste, Pierre and Genevieve Chicanneau, were interested in the works ; that their father had applied himself many years past in the fabrication of fayence, which he had brought to a high state of perfection, and had made many experiments and attempts to discover the secret of true porce- lain, and from the year 1696 had produced some nearly equal to the porcelain of China. His children to whom he im- parted the secret had since his death successfully continued the fabrication, and they were permitted individually or col- lectively to fabricate porcelain at St. Cloud, or any other part or parts of the kingdom, except Rouen and its faubourgs ; this privilege was for ten years. In 1712 a renewal took place for ten years, and in the meantime the widow Barbe Courdray had married a M. Trou. This document also informs us that a similar privilege was previously granted in 1673 to St. Etienne, of Rouen (Louis Poterat). In 1722 letters patent were granted for twenty years more to Jean and Jean Baptiste Chicanneau, Marie Moreau, the widow of Pierre Chicanneau (third son) and Henri and Gabriel Trou, children of Barbe Courdray by her second marriage. About this time serious disagreements occurred between the two families, and they separated, Gabriel and Henri Trou remaining at St. Cloud, patronised by the Duke of Orleans ; and Marie Moreau opened another establishment in the Rue de la Ville I'Eveque, Faubourg St. Honore, directed by Do- menique Francois Chicanneau. In 1 742 another arret granted privileges for twenty years to both these establishments, and Marie Moreau dying 1743, left Domenique her business. D D 2 404 PORCELAIN — ST. CLOUD. The manufactory at St. Cloud was destroyed by fire (the act of an incendiary) in 1773, and the manufacture ceased, the proprietors not being able to raise sufficient funds to rebuild it. In the catalogue of the Strawberry Hill Collection, by Horace Walpole, 1 784, we read of A tea pot, milk pot, and ten cups and saucers of white quilted china of St. Cloud." St. Cloud. So/^ Po.ste. The mark of this first period was the Sun in his splendour," in compliment to the King. St. Cloud. The fleur-de-lis impressed on the ware. On a cup and saucer of soft paste of this fabrique, in the posses- sion of Mr. C. W. Reynolds. St. Cloud. Soft Paste, The mark used from about 1730 to 1762 was S^ C, and T for Trou, the director, either blue or graved in the ware. A very early specimen of St. Cloud porcelain, a custard cup and saucer of overlapping leaves, has these letters stamped, and a blue cross under the glaze; in Mr. Loraine Baldwins Collection. T CM P.E { St. Cloud. The mark of Veuve Chicanneau nee Marie Moreau. St. Cloud. The Baptiste Chicanneau. mark of Jean -t- LL. + These marks in the margin are found upon the porcelain of St. Cloud which belong to some of the successors of Trou. From Jacquemart and Le Blant's His- toire de la Porcelaine, PORCELAIN ROUEN. Rouen. Soft Paste. Louis Poterat Sieur de St. Etienne, of St. Sever, at Rouen, obtained letters patent in 1673, stating that he had discovered processes for fabricating porcelain similar to that of China and wares resembling those of Delft, but the former was of a very rude character and never arrived at any perfection. In the letters patent granted to the heirs of Chicanneau at St. Cloud, reference is made to the previous grant to Louis Poterat de St. Etienne in these terms: **We formerly considered the manufacture of porcelain so advan- tageous to our kingdom that we accorded privileges to a person named St. Etienne, at Rouen, but the said St. Etienne did nothing more than approach the secret, and never brought it to the perfection these petitioners have acquired, and be- cause they now only make person ; and since his death, some years since, his widow has always continued to make fayence only, and as no person, on her part, has made any porcelain, we can without injury to the said St. Etienne accord the petitioners the like privilege, being sure that no persons in the kingdom can make, or ever did make, porcelain equal to theirs.'' After the establishment at St. Cloud had commenced selling porcelain, the Rouen manufactory appear to have revived their porcelain in the hopes of competing with them, but with no good result. In the petition of Dorez and Pelissier to esta- blish a similar manufactory at Lille, in 171 1, they speak very disdainfully of the Rouen fabrique, thus : " The master of the manufactory at Rouen having believed he had penetrated the secret, sent his ware to Paris, to sell as that of St. Cloud, which gave a bad reputation to the latter, in consequence of its bad quality, but the fraud being discovered he was con- strained to relinquish its fabrication. M. Pottier, of Rouen, has a specimen of what he considers to be Rouen porcelain ; and there is another so classed in the Sevres Museum, but both being unmarked the attribution is very conjectural. " Reaumur's Porcelain." 1729. Rene-Anthony Ferchault, Lord of Reaumur, born at Rochelle in 1683, died 1758, made 4o6 PORCELAIN CHANTILLY. a great many experiments with a view of ascertaining the properties of Oriental porcelain between the years 1727 and 1729. Upon carefully observing fragments of glass porcelain and pottery, he became convinced that china was nothing more than a demi-vitrification, which might be obtained either by exposing a vitrifiable matter to the action of fire, and with- drawing it before it was perfectly vitrified, or by making a paste of two substances, one of which was vitrifiable, the other not. It was therefore very easy to discover by which of these methods the porcelain of China was made ; nothing more was necessary than to urge it with a strong fire ; if it consisted wholly of a vitrifiable matter, half vitrified it would be con- verted into glass ; if of two subtances, one of which was not vitrifiable, it would come out of the furnace the same as it went in. This experiment being made, the Chinese porcelain suffered no alteration, but all the European porcelain was changed into glass. But when the Chinese porcelain was thus discovered to consist of two different substances, it was further necessary to find out what they were and whether France produced them. M. de Reaumur subsequently procured from China the petuntse and kaolin, and although he did not perfectly succeed, he pointed out the way for the Comte de Brancas Lauraguais, Macquer and others, in the successful production of the hard paste, or only true porcelain, which was introduced at Sevres in 1769. He also contrived a new species of porcelain, which was called by his name, consisting only of glass annealed a second time, or allowed to remain for a certain time in the oven at a red heat, when it became a milky white, much less beautiful than porcelain, but a discovery more curious than useful. This attempt at making porcelain was similar to some of the first essays at Meissen, about the year 1 707, but which were immediately abandoned as a bad fabrication and not worthy the name of porcelain. The Germans call this substance Milch Glass. There is a speci- men in the Japanese Palace at Dresden. Chantilly (Oise). Soft Paste. This manufactory was founded in 1 725 by Ciquaire Cirou, under the patronage of the PORCELAIN CHANTILLY. MENECY-VILLEROY. 407 Prince de Conde, as appears by letters patent dated 1735, who was succeeded by Antheaume and others. This porcelain was highly esteemed, and there was hardly any object which they did not produce, from the lofty vase to the simplest knife handle. The Chantilly pattern was a great favourite for ordinary services, called also Barbeau " a small blue flower running over the white paste. The mark is a hunting-horn in blue or red, ^(^^ y frequently accompanied by a letter, indi- ^^-^^ eating the pattern or initial of the painter. Sometimes the horn is impressed and marked in blue on the same piece, as on a specimen in Mr. Loraine Baldwin's Coll. In 1803 it was under the direction of Potter, producing a fayence (terre de pipe) in imitation of the English and especially the productions of Wedgwood. Mr. Marryat has a hard paste saucer marked Chantilly P. & K" N Chantilly. This mark with the name ^ another manufacturer here. Some pieces in the S. Kensington Museum. IsiGNY (Calvados). A manufactory of hard porcelain and stoneware, conducted by M. F. Langlois. There are some specimens in the Sevres Museum, acquired in 1843. Bordeaux (Gironde). The English porcelain made here is under the direction of M. Veillard, a Frenchman, and Mr. Johnston, an Englishman. It is of fine quality and a very clear white, frequently decorated with bright blue. A pair of splendid vases, nearly 5 feet high, painted in the best style of Moustiers ware, obtained the large medal at the Exposition in London in 1862. The mark of the fabrique is the three intersecting crescents of Henri II, enclosing the words " Veil- lard," ''Johnston," ''Bordeaux." PORCELAIN —TOURS. VALENCIENNES. Bordeaux. The porcelain manufactory here was, according to M. Jacquemart, carried on by a M. Verneuille, who used this mark and the A and V crosssing each other (see page 419), which was formerly ^ * attributed to Vaux, near Meulan. There seems, however, to be some confusion between the names Veillard and Ver- neuille^ which we cannot at the moment rectify. There are some specimens in the Sevres Museum, and M. de St. Leon possesses a service on some of the pieces of which both these marks occur. 10c Tours (Indreet Loire). Established in 1782. Noel Sailly, a fayence maker of this place, applied for permission to make porcelain, having constructed a furnace for the purpose, which was granted. The demand is said to have exceeded the supply. He died in 1783, and the manufacture was continued by his son. We have not been able hitherto to indentify any of the pieces. Valenciennes (Nord) 1785. By an Order of Council, dated 24th May, 1785, Mons. Fauquet is permitted to carry on a manufacture of porcelain at Valenciennes. In 1775 he married a lady named Lamoninary. The initials of their names as well as the letter V, appear on some speci- mens. M. Fauquet was originally established at St. Amand in the manufacture of fayence as early as 1775, and probably carried on both simultaneously. Both these ciphers ap- pear on pieces of the same service, one in blue and the other in brown, under the ^■/^ CL^ glaze, in the possession of Mr. Reynolds. J^f^ In the Sevres Museum are some pieces with the cipher L. V. and the word Valencien, written in blue. The manu- factory ceased about 1798. The last mark is on a chocolate pot in Mr. Loraine Baldwin's Collection. 42 2 PORCELAIN — ST. AMAND LES EAUX. CREIL. St. Amand LES Eaux (Nord) France. Founded by M. Maximilian De Bettignies in 1815, for the manufacture of porcelain pate tendre, like the old Sevres. He was formerly proprietor of the Tournay manufactory, which he ceded to his brother Henri when that city became re-annexed to Belgium. Of all the manufactures of pate tendre these are now the only two in Europe which continue the speciality, and from the nature of their products they more closely resemble the vietix Sevres than any other. Some specimens of modern manufacture were sent to the London Exposition in 1862. *'M. de Bettignies of St. Amand les Eaux, where the manufacture of soft paste has never been discontinued from the last century, has furnished the Parisian trade with all the vases painted in imitation of old Sevres, thus proving that it was possible to manufacture it commercially on a small scale ; however, the difficulties to be overcome in making large pieces, and particularly articles for use, such as dishes, rendered the workmanship very expensive. Fortu- nately, the introduction of phosphate of lime, which is obtained from bones, in the paste of the porcelain — a discovery essen- tially English — has supplied a means to obtain a fine trans- parency, and, without affording all the plasticity of the hard porcelain, it does not prevent the mixture being cast, moulded, or turned easily by the ordinary processes." — Arnoux, Report 011 Pottery, Paris Exhibition, 1867. Creil (Oise). Established in the last century by some English potters, and continued by Le Beuf, Milliet, and Co., and M. de St. Criq and Co. The paste ©I^EBLi ^ ^^^^ demi porcelain and opaque >^tT3)'/^^ cream-coloured ware, like that of England. ^ Cffs^^^ '^^^ word Creil is impressed on the ware, ^ V and the initials, in cipher, of the agent \s!siP J? stencilled — Messrs. Stone Coquerel et %^^^%/ Le Gros of Paris. Mr. W. Chaffers has ^*-4a/0. several plates, with lightly printed views of the principal edifices of Paris. PORCELAIN NANTES. CHOISY. LIMOGES. 423 Nantes (Loire Inferieure). Porcelain manufactory, esta- blished 1780, by Jacques Fourmy, son of Mathurin Fourmy; he passed his youth in the Manufacture Royale de Faience de Nantes, which was carried on by his father. In the year 1779 Nicolas Fournerat de la Chapelle, porcelain maker at Limoges, made attempts to produce hard porcelain like that of Saxony, which perfectly succeeded. From the 4th of January, 1 780, a contract of partnership was entered into for seven years, between him and Pierre Auguste de Rostaing de Nivas and Jacques Fourmy, under the title of Fourmy fils, Fournerat, & de Rivas." The initials of each of their names interlaced into a monogram and traced in red served as the mark of this Nantaise porcelain. Fournerat, being of a rest- less disposition, seceded from the firm in 1781. It went on prosperously until the insurrection in La Vendue, and the Revolution entirely put a stop to the sale of objects of luxury, and the works were closed about the year i 790. In 1809 some specimens of porcelain pate dure (coffee cups) were sent to the Sevres Museum from the fabrique of M. Decan, of Nantes. Choisy. Hard Paste. Established in 1 786 by M. Clement. The manufactory belonged to M. Lefevre. A table preserved at Sevres indicates the existence at Choisy of another manu- factory, directed by M. Seillctz, but whether this or a distinct fabrique is not known. Limoges (Haute Vienne). M. Massie, who had obtained, authority to establish a manufactory of fayence at Limoges, subsequently associated himself with a person named Fournerat and the brothers Grellet, to extend his works to the making of porcelain. An order of Council, dated Dec. 1773, permitted him to found an establishment, of which the products were to be marked C. D. A former project for an Order of Council indicates the mark as G R et having been G R et 0\ It was dis- continued in 1788. Fournerat, in 1779, 424 PORCELAIN ■LIMOGES. having discovered how to make porcelaine dure, left Limoges and entered into partnership with Jacques Fourm.y and another, at Nantes ; the firm being Fourmy fils, Fournerat and De Rivas. The works were subsequently purchased by MM. Joubert and Cancate. In 1794 M. Monnerie established, in the old Augustine Convent of Limoges, a manufacture which continued in operation till 1800, when it declined. When M. Baignol left La Seinie he set up a manufacture on his own account, which was, next to that of M. Alluaud, the most con- siderable in the place. Limoges. The fabrique of M. Alluaud is the most ancient in France for the manufacture of hard porcelain. In 1788 M. Alluaud was made director of the Royal manufactory founded at Limoges four years previously, and its success was only interrupted for a time by the Revolution. He utilized the kaolin of the mines of Marcognac, of which he was the proprietor, and in 1797 it was again in full activity. He died in 1799, and was succeeded by his son Fran9ois, who quitted the army and took the direction, and, being a scientific man, in a few years obtained a thorough knowledge of chemistry and mineralogy. His discoveries are acknowledged by Bron- gniart, in his Treatise on Ceramics, M. Francois Alluaud pos- sesses the kaolin mines of Marcognac and the feldspath of Chanteloube. Two workshops on the Vienne have 1 50 pairs of mettles for the preparation of the ingredients, and two manufactories of porcelain at Limoges comprise eight kilns, six for coal and two for wood, employing 1,000 workmen. Half is consumed in France, the rest exported to America and Germany. Limoges. This mark, in red, is on a porcelain tureen, painted with flowers, gilt borders, having on the top a bunch of vegetables. CD Also on a porcelain plate, with gold border and garlands of roses, in Mr. Reynolds's Collection. PORCELAIN — SARREGUEMINES. STRASBOURG. 425 The following is a list of more recent manufacturers at Limoges : — Fabrique of porcelain {Hard Pasie) by M. Tharaud, about 1827. Fabrique of porcelain {Hard Paste) by Messrs. Nenert and Ruaiilt. Sevres Museum, 1831. Fabrique of porcelain {Hard Paste) by Messrs. Michel and Valin. Sevres Museum, 1834. Fabrique of porcelain, by M. Tathille and Co. Sevres Museum, 1833. A porcelain manufactory is now carried on by Messrs, Demartial and Talandier. Specimens in the Paris Exhibition, 1867. Messrs. P. Guerry and R. Delinieres. Table and breakfast services, white and painted, &c. Paris Exhibition, 1867. A porcelain manufactory is carried on by Haviland and Co. Specimens in Paris Exhibition, 1867. Sarreguemines (Moselle.) Messrs. Utzchneider and Co. are now important manufacturers of porcelain pate tendre and biscuit figures and groups : services painted in the English style and frequently decorated with transfer pictures, artistic white stone ware, &c. In the Sevres Museum is a bust, in bis- cuit^ of the founder of the fabriqtie, Fran- cois Paul Utzchneider, by F. Francois, sculptor to the firm; dated 1858. The mark at present used is of a more complicated character, as shown in the margin. The manufactory still main- tains its high character for porcelain and biscuit, and is one of the most important fabriqiies in France. Strasbourg (Basse Rhin), 1752. Hard Paste. Established by Paul Hanung. About the year 1752 he obtained the secret of true porcelain from Ringler, but in consequence of the monopoly of Sevres he was compelled to relinquish it, and in 1753 removed to Frankenthal, where he was re- ceived with open arms, and in 1761 greatly flourished under • the protection of the Elector Palatine Carl LJ KJ Theodore. The Strasbourg marks are ■ * * those of Hanung, as in the margin. 426 PORCELAIN — STRASBOURG. ST. DENIS. ST. BRICE. Strasbourg. This mark, in brown, occurs on a hard porcelain plate in the S. Kensington Museum, which has all the characteristics of this manufacture, with rococo scrolls in relief, shaded with crimson, blue, and green, like Strasbourg fayence; it has a fine glaze, but the paste not a good colour. Strasbourg. Hard Paste. This mark is attributed to Strasbourg by Mr. Joseph, who does not state any reason for the attribution. Valognes (Manche). Porcelain pate dure; fabriqtie de M. Joachim Langlois. Specimens in the Sevres Museum, obtained in 1809. France. A caduceus on an em- bossed oval occurs on some French biscuit groups. France. These marks in gold are on a cup and saucer, with a deep border of blue and gold, red flowers and gilt festoons, well painted. Date about 1800. In the possession of Mr. A. W. Franks. France. The name, perhaps, of a painter or decorator, pencilled in red, under a high French porcelain inkstand, well painted with bold arabesques and scrolls in colours, fret border. In the possession of Mr. A. Joseph. St. Denis de la Chevasse (Poitou). Hard Paste. Esta- blished in 1 784 by the Marquis de Torcy. All we know of this fabrique is a request to establish a manufactory here, which was accorded. St. Brice. Hard Paste. Established in 1784 by Messrs. Gomon and Croasmen. In a letter, dated 17th June, 1784, M. Montaran announces to M. Tlntendant de Paris that these PORCELAIN ISLE ST. DENIS. MARSEILLES. 427 fabricants of porcelain and glass at St. Brice request permis- sion to take the title of " Manufacture Royale de Monseigneur le Dauphin," which was refused, in consequence of his having about the same time patronized the fabrique of Lille. It was of short duration. Isle St. Denis. {Hard Paste). Established 1778, by Lafert6. There are no documents extant relating to this fabrique, which must have been before 1778, for in that year there were seized at the house of Nicolas Catrice, a painter of Sevres, ready to be painted and falsely marked with the double L of Sevres, seven pieces of the fabrique of St. Denis. It must therefore have been in full activity at that time, and the ware of superior quality to pass for porcelain of the Royal manufactory. In the list kept at Sevres, denoting the condi- tion of the factories, we read: He St. Denis, Laferte, a la suite de pertes enormes la fabrique a ete detruite." M. Riocreux has discovered two pieces made there, viz. two bisque busts, life size; one of Louis XVI., signed " Gross, 1779;" the other of Monsieur le Comte de Provence by the same artist, signed Gross Ulsle Sainte Be*** 1 780." Marseilles (Bouches du Rhone). An important manu- factory of porcelain was established here by Jacques Gaspard Robert about i 766, and was in full activity on the visit of the Comte de Provence in 1777, who especially noticed a large vase, finely modelled, a complete service expressly made for England, and porcelain flowers delicately copied from nature, like those of Sevres. The order from England, where so many important china manufactories already existed, shows it was renowned at that time. Porcelain was made also by Honor^ Savy and Veuve Perrin, but was only of secondary importance. It was closed about the period of the French Revolution in 1 793. Marseilles. Jacques Robert. M. Davillier has two fine specimens so signed ; one is a sucrier and cover, with medallions finely painted of a view of 428 PORCELAIN MARSEILLES. PARIS. the Port of Marseilles and a promenade of figures in the National costume; the other a cup, painted with bouquets of flowers. M. Mortreuil and the Sevres Museum have specimens. Marseilles. Jacques Robert. Some- times only marked R, on a cup decorated in blue in the style of Japan, and on another, painted with flowers in polychrome and other ornaments, finely gilt. In the possession of M. Davillier. Marseilles. Robert frere or Robert fils. This mark is on the companion to the cup last mentioned, signed only R ; it is identical as to paste, touch, painting of flowers, and gilding, and undoubtedly from the same fabrique, certainly not of Naples as suggested by M. Jacquemart, who reads it as Re Ferdinando, but neither the mark nor quality of porcelain favour such an attribution. Paris. Rue de la Ville I'Eveque, Faubourg St. Honore, 1 722. Marie Moreau, widow of Pierre Chicanneau (nephew of Jean) opened another manufactory here with Domenique Francois Chicanneau as director, the proprietorship of the fabrique of St. Cloud being divided, leaving Gabriel and Henri Trou there. In 1742 an arret granted them the privilege of continuing the works for twenty years longer. Marie Moreau died in 1743, and they were then carried on by Domenique, and ceased probably at the expiration of the letters patent in 1762. Paris. Pont aux Choux. Manufacture du Due d'Orlians. On the 22nd of April, 1784, Louis Honore de la Marre de Villars opened an establishment for the manufacture of porcelain in the Rue des Boulets, Faubourg St. Antoine. The mark deposited was M. J., as in margin. It was afterwards disposed of to Jean Baptiste Outrequin de Montarcy and Edme Toulouse, who in Aug. 1786 PORCELAIN PARIS. 429 obtained a brevet from the Duke of Orleans, Louis Phillippe Joseph, and authority to sign the productions with the letters L. P. and take the title of " Manufacture de M. le Due d'Orleans." They were afterwards established in the Rue Amelot, au Pont aux CkouXy by which name the porcelain is generally known. These letters alone are mentioned in the (jl^/b official documents, which say nothing / i about the letters being crowned. M. Vjr ^ Jacquemart consequently says that Mr. Marryat is wrong in assigning the P. L. crowned to this manufactory (see Vin- cennes). This mark ceased in 1 793, with the condemnation of the Duke of Orleans, and the works subsequently produced were inscribed merely Fabriqiie du Pont-aux-Choiixl' as on a fountain spoken of by M. Jacquemart. HTK^ Paris. Pont aux Choux. Under ^jj^l^ Louis Philippe Joseph, Duke of Orleans. Marked in blue beneath a porcelain tea pot, painted with sprigs and flowers. In the Rev. T. Staniforth's Collection. Two other marks of the same fabrique are here given. Paris. Faubourg St. Antoine, Barriere de Reuilly. Hard Paste. Established in 1 784 by Henri Florentin Chanou, an old pupil of Sevres. There are some specimens in the Sevres Museum, the mark pencilled in red. It was soon discontinued. Paris. Faubourg St. Antoine, Rue de Reuilly. Hard Paste. Established 1 774 by Jean Joseph Lassia. M. Jacque- mart also gives the last letter from a specimen of Lassia's porcelain in his CflT 430 PORCELAIN —PARIS. XX own Collection. There is a porcelain cup and saucer, pale yellow ground, gilt edges, painted with landscape in bistre, having the last mark in gold on each piece, in Mr. Reynolds' Collection. Paris. Rue Fontaine au Roi, called De la Courtile." Hard Paste, Esta- blished 1773 by Jean Baptiste Locre, aftewards joined by Russinger in 1784, who during the Revolution was sole director. The mark is composed of two flambeaux crossed, in blue, and not two arrows as usually given. Paris. Rue Fontaine au Roi (De la Courtille). This mark is stencilled in Pouyat red on a cup and saucer. The initials ^ P. R. sometimes stencilled in red and Ruffin2"er sometimes in gold belong to the same firm. The name of J. Pouyat is known P. R. as a manufacturer of fayence at Limoges. (See p. 212). Paris. De la Courtille. The name of a subsequent manufacturer. On a cup h\d.KU//u,cfur€ and saucer, painted with a girl and pet De^u/^ lamb, the mark in gold, the flambeaux in blue as usual. In the Collection of Mr. Reynolds. Paris. De la Courtille. The second mark, a sort of rest, is in blue au grand feu on the cup ; the former is on the saucer. Monginot Paris. Boulevart des Italiens. The 20 Boulevart name engraved on a piece from Louis des Italiens Philippe's sale. M. Monginot, maker. PORCELAIN — PARIS. H S Paris. Faubourg St. Antoine. Hard ^ \ 1 Paste. Established 1773. The nianu- I Y I /~\ I facturer's name was Morelle. The mark stands for Morelle a Paris. Paris. Faubourg St. Lazare. Hard Paste. Founded 1 773 by Pierre Antoine Hannong or Haniing, after his unsuc- cessful attempt to establish a manufac- tory of hard porcelain at Vincennes, which appears to have failed from want of resources. Paris. Rue de la Roquette. Hard Paste. Established in 1773. Souroux manufacturer, succeeded by Ollivier, and afterwards by Petry. There was a manufactory of fayence here as early as 1675. (See page 175). Paris. Faubourg St. Antoine. Rue de la Roquette. Established about 1773 for Hard Paste by Vincent Dubois a I'hotel des Arbaletriers. The mark is two pointless arrows in blue. Paris. Rue de la Roquette. Manufacturer s name M. Darte. A cup and saucer in the Sevres Museum ; bought in 1807. Paris. Rue Amelot. Hard Paste. Fabrique de M. Lefebre. Cups and saucers. Sevres Museum, No. 18 18. Paris. Gros Caillou. Hard Paste. Established 1773 by Advenir Lamarre. Paris. Rue Thiroux. Hard Paste. 1778; Andr6 Marie Lebeuf manufac- turer ; called Porcelaine de la Reine." The mark is A. under a crown, for Antoinette (it was under the protection of Marie Antoinette), stencilled in red. Two other varieties of the mark of this fabrique. 432 PORCELAIN PARIS. Paris. Rue Thiroux. Hard Paste. M. Jacquemart has found this mark on pieces of the same service, bearing also the stencilled letter A crowned. There is a plaque in the Sevres Museum, painted with a portrait of Mr. Dihl, by Martin Drolling, in 1802. Paris. Rue Thiroux. Hard Paste. On a pair of seaux or jardinieres, painted with roses and gilt borders, in the pos- session of the Countess Dowager of aPd.ris. Lichfield. LEVEILLE Paris. No. 12 Rue Thiroux. Manu- 12 factory of M. Leveille. These letters Rue THIROUX are usually arranged in form of an oval. Paris. Rue Thiroux. Hard Paste. This mark is in gold, on a hard porcelain compotier, well painted with vignettes of nymphs bathing, forget-me-nots and roses round the border, finely gilt ; very much like Dresden. The mark is M.A., probably for Marie Antoinette. In Mr. Bohn's Collection. Paris. Rue du Faubourg, St. Denis, about 1773. Hard Paste. Established by M. Barrachin. Paris. Rue du Faubourg, St. Denis. The mark in gold. Carried on by M. Flamen Fleury. Recent. Paris ? This mark is in gold on the base of a small white and gold cup. Paris. A manufacturer of porcelain noticed by Marryat Paris. Rue de Clichy. Hard Paste. So placed by Mr. Marryat, but neither the name nor date of establishment are given. The mark A. is in blue. FLEURY H ousel V PORCELAIN PARIS. 433 Paris. Rue de Bondy. 1 780. Hard Paste. Dihl and Guerhard manufacturers, under the patronage of the Due d'Angouleme; called Porcelaine d'Angouleme." In Horace Walpole's catalogue of the Strawberry Hill Collection, i 784, is described A white cup and saucer with coloured flowers, made for the Comte d'Artois, and called porcelaine d' Angoulhne. On the loth of November, 18 18, Moses Poole, of Lincoln's Inn, Middlesex, Patent Agent, took out a patent, in consequence of a communication made to him by Christopher Dihl, he being a foreigner, residing abroad, and being possessed of an invention, as follows: **The application of known mastics or cements to various purposes, such as modelling statues, making slabs, raising or impressing figures, or other ornamental appearances, also to the covering of houses, or in any other matter in which mastic or cement may or can be applied." The first mark is painted in red on the plateau of a cabaret ; some of the smaller pieces have the monogram only, others have the monogram G. A. in an oval, surmounted by a coronet in gold ; one stencilled in red. This service is beautifully painted with stags in Indian ink, and belongs to Mr.^ Reynolds. Marked in gold on an Angouleme cup, the saucer having the inscription in full (as quoted below), in the S. Kensington Museum. MANTJF^" M'MeDUC Paris. Rue de Bondy. Dihl and Guerhard. Hard Paste. On an Angou- leme cup and saucer, with forget-me- nots ; the mark is stencilled in red, partly obliterated. F F 434 PORCELAIN PARIS. MA]VUJP?F de M 'MTJ Guerhardet Ri:viL Capucines DASTIN. Paris. Rue de Bondy. Hard Paste. The mark of Dihl, painted in blue. Paris. Messrs. Guerhard and Dihl. This mark stencilled in red is on a por- celain cup and saucer, yellow ground, with landscape and figures in red camaieUy in Mr. Reynolds's Collection. ' Paris. Revil, Rue Neuve des Capu- cines, is on a porcelain cup and saucer, pink ground, with broad gold border and small white oval medallions ; the mark stencilled in red. Reynolds Collection. Paris. Veuve M. and Co. Name unknown. The mark stencilled in red on a cup and saucer with deep border of gold, painted festoons and scrolls. In the Loraine Baldwin Collection. Paris. This name is stencilled in red on a French porcelain cup and saucer, green ground, gold leaf border. In the Baldwin Collection. Paris. Fabriqice de Charles Philippe Comte d' Artois, after- wards Charles X, 1 769. Hard Paste. We read in the Guide des Amateurs, printed in Paris, 1787 : — This manufacture in the Rue du Fau- bourg St. Denis is the most ancient of all l ^j Jl those established in Paris. Haniing of Strasbourg, who brought into France the secret of hard porcelain, formed the first establishment in 1769. Having ob- tained the protection of Charles Philippe, Comte d'Artois, it is called by his name." It belonged actu- ally to Bourdon des Planches, who continued the fabrication of hard porcelain, &c., and it was discontinued in 18 10. CP PORCELAIN — PARIS. 435 Paris, Foescy, a Mehun, et a Noirlac (Cher). Hard Paste. Established about 1817. It is the largest porcelain manufactory in France, employing 1,500 workmen. Their products have been rewarded by medals of New York, Paris, and London. They make every descrip- C. H. PILLIVUYT, 1 ,1 r 1 1 ; 1 & Paris ^^oxs., both useful and ornamental. 1 he mark is simply the name in an oval. Foescy (Cher), and at Paris, No. 5 Passage Violet, Rue Poissonniere. Fabrique of M. Andre Cottier. This mark Manuf'^e de Foescy, on a hard paste china bowl, painted with Passage Violet, No. 5, flowers and richly gilt. About the first R. Poissonniere, a Paris, quarter of the century. Paris. The mark is sometimes in black, but usually marked in gold on the back of the plates ; sometimes only one mark, the single letter in blue. These two together are on a plate painted with flowers in lake camauu^ in the author's possession. Mr. Cornwallis West has some plates, crimson borders, with beautiful gilding and highly finished paintings of flowers. A peculiarity in this fabrique is the three cockspur marks in the centre at back. It has a great similarity to Tournay porcelain, and is made to resemble that of Sevres. ^euillet- Paris. Feuillet, written in gold, as well as the monogram in the margin, in imitation of the Sevres mark. Paris. Formerly Belleville and now Fontainebleau. Hard Paste. Established 1790 by Jacob Petit. The mark is blue, in the moist clay. This manufactory is • still carried on at 54, Rue Paradis Pois- I sonniere, and the Depot, 32, Rue de ^ I 0 Bondy. The products of the first period were much esteemed, being well painted and well modelled, bearing his mark, but recently the pro- prietor has unwisely altered his original plan and imitates F F 2 43^ PORCELAIN — PARIS. Dresden, counterfeiting also the mark of the crossed swords, a practice which cannot be too much reprehended, as it is the cause of much deception. Jacob Petit also makes biscuit figures, birds' nests, flowers, &c. In 1853 he patented in England some improvements in porcelain, which consisted in having raised surfaces and painting the same, the combination being claimed. Paris. Rue de Crussol. Hard Paste. Established 1 789 by Charles Potter, an Englishman; called the Prince of Wales's China ;" the mark in red, A similar mark in blue, the top letter being B, is on a canary-coloured cup and saucer, painted with flowers and butterflies, in the Col- lection of the Rev. T. Staniforth. R CP Paris. Rue de Crussol. These two Potter B 42 marks are on separate pieces of the same service, one marked in red, the other in blue, in Mr. Reynolds's Collection. Paris. Rue de Crussol. Another E. B mark in blue on a saucer, the cup having Potter's name as in the preceding. Paris. Manufacture du Place Carou- sel. We have no account of the esta- lyji-iL^^pb blishment of this porcelain y^^^r^^^/^ ; the C^roiJL SCl specimens appear to be of the epoch of ^ p^yjS French Revolution. The annexed mark is stencilled in red on a French cup and saucer, painted with flowers in gold bordered com- partments, in the possession of Mr. Reynolds. '-p Paris. On a porcelain cup and saucer, ' * with gilt flowers and leaves, marked in red. In the possession of the Rev. T. Paris. Staniforth, of Storrs. Paris. Rue de Popincourt. 1780. Founded by M. Le Maire. This manufactory was purchased in 1783 by M. PORCELAIN— PARIS. 437 Nast ; it was subsequently transferred to Rue des Amandiers, and carried on by Messieurs Nast Freres. No specimens of the first proprietor are known. M. Jacquemart mentions a biscuit bust of Buonaparte in costume of a General, under the foot of which is written, — Manf'^ de Porcelaine cite C^" Nast, Rtte des A^nandiers D""" Popincoitrtr Mr. B. Fillon has two biscuit busts, one of Hoche, the other of Buonaparte, with their names written under, and the in- scription just given. He considers them to have been modelled by Houdin in i 797. on Paris. This mark is stencilled in red a cup and saucer, with spiral gold NAST N. C. H. MENARD Paris 7 2 Rue de Popificourt lines crossing each other, flowers in the spaces between, and gold spots ; the cup is also marked B. In Mr. Danby Seymour's Collection. There are several varieties in Mr. Reynolds's Collection. Paris. Nast manufacturer. The mark is stencilled in red on a cup and saucer, painted with flowers. H. J. Nast is mentioned in the Jury Awards in 185 1. Paris. Rue de Popincourt. Hard Paste, Founded in i 796 by le Sieur de Coeur d'Acier. It was successfully car- ried on by Messieurs Darte in 18 12, Discry and Talmour, and the present proprietor, M. Menard. The mark is in the form of an oval. Paris. A novel style of decoration was patented in 1857 by Mons. Brianchon, which gives porcelain the lustrous appearance of mother-o'- pearl ; it is termed decor de cotiletirs nacr^es a base de bisvmthr The patent for London was granted to Jules, Jos, Henri Brian- chon in 1857 for ornamenting porcelain, &c., with variegated reflections or coat- G.B PAEIS 438 PORCELAIN PARIS. ings prepared with metallic fluxes and colouring matters. The fluxes are salts of bismuth, in certain proportions, and essence of lavender, or any other essence which does not cause any precipitation in the mixture. The metallic salts and oxides, which assist in colouring, are salts of platina, silver, antimony, cobalt, chrome, copper, iron, &c., and sometimes salts of gold in order to produce the rich tint of shells or the reflection of the prism." The name of the firm was Gillet & Brianchon. This beautiful ware is still made, and the manufacture is carried on by M. Brianchon, 222, Rue de Lafayette, but the patent for England having expired, this lustrous glaze has been recently adopted both at Belleek, in Ireland, and at Worcester. Paris. Boulevard Poissonniere. Hard Paste. Established by P. L. Dagoty towards the end of the last century. He sent some specimens to the Sevres Museum in 1804. His fabrique was aeS'.MMnip'erat-i^icc.^^^^^^ L'Imperatrice. This mark, sten- P.LDAGOT\^ cilled in red, is on a set of china, green a PdTl S . borders, painted with classical figures. MfiLnufactiirc F. Paris. 59, Boulevard St. Antoine. Established about 1785. Hard Paste. M. HON ORE -pj^g sons, Edward and Theodore went into partnership with P. L. Dagoty^ at La Seinie and Paris, Rue deChevreuse, ]y[ture MADAME about 18 12. It was then styled Manu- Diichesse d' Angoulhne facture de Madame la Duchesse d'An- DagotyE^F^norey gouleme. In 1820 this partnership was dissolved, and the Brothers Honore F. D. HONORE kept the fabriques in Paris — Boulevard Poissoniiiere. Paris. R. F. DAGOTY Paris. Rue St. Honore. A speci- men so marked in the Bandinel Coll. PORCELAIN PARIS. 439 Paris. This name occurs on a china cabaret (Jiard paste) decorated with flowers in the Sevres style, but of ordi nary character of the present century. In Mr. Hawkins of Grantham's Coll. Paris. Boulevard des Italiens, No. 2. He is classed in Galignani among the dealers. His name occurs on a porcelain cup and saucer, blue and gold, in Mr. H. G. Bohn's Collection, t^^^ae-^^ei, some plates with richly gilt bor- ders, in Mr. L. Baldwin's Collection. yO Paris. Established by M. Lerosey. oC C^^o e/y ^ ^ modern china dessert service, deep // diLte Ici^^axn rose-coloured border, and a cipher in the centre in pink ribbon. Paris. Two porcelain plates, with printed plans of the cities of St. Petersburg and Moscow, and numerous anno- tations, also inscribed " Gravde a Paris, par R. F. Tardieu, Place de V Estrapade, No. i." The following porcelain manufactories are mentioned by M. Brongniart, with the names of the proprietors and the dates in which specimens were obtained for the Sevres Museum, but of which we have no further information. LuRCY Lkvy (Allier) Porcelain {Hard Paste) Fab. Marquis de Sinety, 1 814, and M. Burguin, 1834. ViLLEDiEU (Indre) Porcelain {Hard Paste) Yz}q. M. Bernard, 1830. ViLLEDiEU Porcelain {Hard Paste) Fab. de M. Louault. M. Laloiiette was Director in 1823, and designed a large Medici vase, which at the Exposition was bought by the King and given to the Sevres Museum. ViERZON (Cher) Porcelain Fab. de Messrs. Petry and Ronsse, 1844. Orchamps (Jura) Porcelain Fab. de M. Barr^-Russin, 1829. Nevers (Ni^vre) Porcelain, Messrs. Neppel and Bonnot, 1844. St. Yrieix-la-Perche (Vienne) Porcelain Fab. de M. Denuelle, 1829. Magnac-Bourg (Vienne) Porcelain Fab. M. Boilleau-Gauldre'e, 1827. Plombieres (Vosges) Porcelain M. Hevis^ and Co. Director M. Trote'. 440 PORCELAIN SEVRES. SEVRES. The history of this celebrated manufactory must be traced back to that of St. Cloud, which, as we have before said, was commenced as early as 1695, and maybe considered as the parent of all the porcelain manufactories of France. Here Louis XIV. accorded his patronage and favour by granting to Morin, in 1702, exclusive privileges. In 1735 the secret of the manufacture was carried by some of the workmen to Chantilly, and works were commenced there by the Brothers Dubois. They subsequently left, taking with them the secret to Vincennes, where a laboratory was granted them, but after three years they were dismissed. In 1 745 a sculptor named Charles Adam was instrumental in forming a company. The scheme was approved of by the King, and exclusive privileges were accorded them for thirty years, and a place granted for the prosecution of the manu- facture in the Chateau de Vincennes. M. Jacquemart gives the following list of employes in the manufactory in 1750 : I.e sieur Boileau, Directeur. Duplessis, Orfevre du Roi, composait les modeles. Bachelier avait la direction de toutes les parties d'art. Les modeleurs sculpteurs etaient Auger, Chabry et La Salle. Les jeteurs de moules en platre : Michelin et Champagne. Les mouleurs : Gallois et Moyer. Les tourneurs: Vaudier, Corne, Goffart, De I'Atre, Gravant. Les repareurs : Chenob chef, Gremont, Chanou, Bulidon, Wagon, Henry, Le Maitre Lucas, Jame, Beausse, Varion, Misera, Paris, Melsens, Gerin, I'Auvergnat, Gambler, Joseph, Mad^ Gremont, Mad^ Wagon, Desnoyers, Goffart cadet, Gilloun, Marion, De I'Atre cadet, et Louis. Les chimistes : Bailly et Jouenne. Les peintres : Capelle, Armand cadet, Thevenet, Armand aine, Taunay, Caton, Cardin, Xouret, Chevalier, Yvernel, Touzex, Tabory, Pigal, Binet, Mad^ Capella, Bardet, Mad^ Bailly. Les brunisseuses : M"^* Bailly ainee et jeune. Gravant faQonnait les fleurs que Thevenet etait charge de peindre apres la cuisson en couverte. PORCELAIN — SEVRES. 441 The decorations, up to about 1753, were chiefly in the Chinese style. In 1753 the privilege of Charles Adam was purchased by Eloy Brichard; Louis XV. took a third share, and it became a Royal establishment ; Madame de Pompa- dour greatly encouraged the ceramic art, and it arrived at great perfection. The buildings were found too small to meet the increasing demands for their beautiful productions, and in 1 756 they removed to a large edifice at Sevres, which had been built expressly for the Company. In 1760 the King became sole proprietor, and M. Boileau was appointed director. A decree of Council, dated 17th January, 1760, ordiiins that after the ist of October this manufacture and all its appurtenances belongs to his Majesty. According to Article VIII. — This manufacture shall continue to be worked under the title of " Manufacture de Porcelaine de France." It shall enjoy, conformably to the decrees of 24th July, 1745, and igth August, 1753, the exclusive privilege of making every description of porcelain, plain or painted, gilt or ungilt, plain or in relief, sculpture, flowers, or figures. It renews his Majesty's prohibition against any person or persons, of what condition or quality they may be, from making or causing to be made or sculptured, painted or gilt, any of the said works of whatever form they may be, — or to sell or barter them on pain of confiscation of the said porcelain, and all matters and utensils employed therein, the destruction of the kilns, and 3000 livres (francs) penalty for each contravention, one-third to the infomier, one-third to the General Hospital, and the other third to the said Royal manufactory. His Majesty wishing, nevertheless, to favour the parti- cular privileges hitherto granted, and which may be renewed in due course for the fabrication of certain ordinary porcelain and fayence, permits fabricants to continue the manufacture of white porcelain, and to paint it in blue in the Chinese patterns only. His Majesty expressly prohibits the employment of any other colour, especially of gilding, and the making of figures, flowers, and sculpture, except to ornament their own wares. With regard to makers of fayence, his Majesty permits them to continue their works, without, however, the use of coloured grounds, in medallions or otherwise, or of gilding, under the same penalties, &c. About 1 76 1 the secret of making hard porcelain was pur- chased of Peter Anthony Haniing for 3,000 livres annuity. It had been known for more than fifty years in Saxony, and the manufacture of the pd^e tendre being expensive and liable to accidents in the furnace, it was deemed of great importance to be able to make what was considered the only true porce- 442 PORCELAIN — SEVRES. lain. Dr. Guettard, a naturalist, had discovered an inferior sort of kaolin at Alen^on, of which he had made porcelain, but it was not equal to that of China or Saxony, and in i 765 he published Une histoire de la decouverte faite en France de matieres semblables dont la porcelaine de Chine est com- posee." Although possessed of the knowledge, they had not the means of producing it, being unable to procure the kaolin necessary, until accident led to the discovery of some quarries yielding it in abundance at Yrieix, near Limoges. Madame Darnet, the wife of a surgeon at St. Yrieix, having remarked in a ravine near the town a white unctuous earth, which she thought might be used as a substitute for soap in washing, showed it with that object to her husband, who carried it to a pharmacien at Bordeaux. This person having probably heard of the researches to obtain a porcelain earth, forwarded the specimen to the chemist Macquer, who recognized it imme- diately as kaolin. In the Sevres Museum there is a small figure of Bacchus, made with this first specimen of St. Yrieix kaolin, brought by Darnet in 1 765. In 1 769 the chemist Macquer, after repeated experiments, successfully established the manufacture of hard porcelain at Sevres, and the two descriptions of china con- tinued to be made until 1804. Of course the terms/<^/^ tendre and pate dure ^^r^ unknown till then; the Sevres porcelain was simply called porcelaine Fran<^aise. Another decree of the 17th January, 1787, ordains — I St. All undertakers of the manufacture of porcelain established in the city and faubourg of Paris, within the distance of thirty leagues, except those established previous to May, 1784, shall be compelled to place in the hands of the Controller of Finances the titles by which they were established within three months from the date of this decree. In default of which they shall not under any pretext continue the said works unless othenvise ordained. His Majesty expressly prohibits all persons from working such manufactories in future, without special authority from the Controller-General, after the advice taken of his Majesty's Commissioner of the Royal manufactory to whom the demand shall be addressed. 2nd. All persons having obtained permission previous to May, 1784, to make porcelain, and have not availed themselves of it, or having established PORCELAIN — SEVRES. 443 a manufactory have ceased to work it, cannot recommence without the autho- rity before stated. 3rd. His Majesty prohibits undertakers of manufactories estabhshed before the said i6th May, 1784, and which are now in operation, to transfer or dis- pose of the right accorded them or continue the working thereof, except to their children and Hneal descendants, or unless the persons to whom they propose to cede the said fabriqtie, have previously obtained a decree autho- rising them to carry on the establishment. 4th. His Majesty also prohibits all undertakers of manufactures of porcelain from making any of the objects reserved by the Royal manufactory by the decree of i6th May, 1784, unless they have actually obtained permission, which cannot be accorded them until the perfection of their fabrication has been tested in an assembly which is held every year in presence of Commis- sioners appointed by his Majesty, and, nevertheless the Manufactures de la Reine, de Monsieur, et de M. le Comte d'Artois et de M. le Due d'Angouleme shall be recognized heretofore as having satisfied this proof, are at liberty to carry on their works, except that they nor any other are allowed to fabricate any work of grand Itixe^ such as tableaux of porcelain and sculptured works, whether it be vases, figures or groups exceeding 18 inches in height, including the stand, such being reserved exclusively for the Royal manufactory. 5th. His Majesty prohibits all undertakers of the manufacture of porcelain established in his realm, of counterfeiting any figures, groups and animals of porcelain made at the Royal manufactory, on pain of seizure, confiscation and penalty of 3000 livres ; and they are expressly enjoined to place on each piece they make a distinctive mark to show the denomination of their fabriqtie and their residence. 6th. The said undertakers are restricted to let the persons they employ work only in the ateliers of their manufactory, and they shall not under any pretext give out work to be made in the town or elsewhere. 7th. Faienciers, traders or others are prohibited from erecting muffle kilns to bake in the colours on porcelain \ also from keeping in their stock any unmarked merchandise, or counterfeiting or altering the marks they bear, on penalty of 3000 livres, interdiction of their commerce, and imprisonment. 8th. His Majesty also prohibits under penalty of 3000 livres to faienciers, traders and others the painting or decorating any white porcelain, whether it comes from the Royal manufactory or any other similar establishment, also to bake or cause to be baked in their kilns any figures in imitation of biscuit. In 1800 M. Brongniart was appointed sole director, and effected great improvements in the manufacture of hard por- celain. This position he retained nearly fifty years, until his death, which happened in 1847, and was succeeded by M. 444 PORCELAIN SEVRES. Regnault, the present director. M. Brongniart conceived the idea of forming a Museum of ceramic productions, in which he was encouraged by the Emperor Napoleon, who appHed to the various manufactories of Germany for specimens of their porcelain, and issued orders to all the Prefects of France to furnish collections from the several potteries in their Departments. These contributions from 1805 to 18 12 formed the nucleus of the present extensive Museum. M. Riocreux, the Conservateur du Musee Ceramique, has ably carried out the intentions of M. Brongniart, by arranging and classifying the various ceramic productions in such a way as to be of great service to amateurs, and his intimate knowledge of the subject to which he has devoted himself, his readiness to give information, and his affability, will be universally acknow- ledged by visitors. He was the able coadjutor of M. Brong- niart in the Catalogue die Musie CSramiqiie of Sevres. The great work of M. Brongniart, Traiti des Arts Ciramiques, is well known; and those of our readers who wish for informa- tion on the details of the fabrication of pottery and porcelain, will do well to consult this valuable treatise. Under the denomination of vieux Sevres is comprehended all porcelain made at the Royal Manufactory from the day of its foundation up to the end of the XVIIIth Century, or rather up to the days of the French Revolution. The different kinds or styles of form and ornamentation are thus distinguished: — "Pompadour" or " Rocaille," from 1753 to 1763; Style Louis XV, from 1763 to 1786; Style Louis XVI, from 1786 to 1793. Those exquisite pieces of decorative furniture, as cabinets, consoles, writing tables, &c., inlaid with plaques of Sevres porcelain, with their beautiful and highly finished or-molu mounts of festoons of flowers, scrolls, borders, and caryatid supports, were doubtless completed in the manu- factory itself, where a staff of experienced workmen were employed in completing them for royal presents. Even carriages were ornamented with plaques of porcelain. In speaking of the Longchamps of 1780, Madame Dubarry mentions the equipage of Mademoiselle Beaupre: " Nous la PORCELAIN — SEVRES. 445 vimes paraitre dans une voiture dont les panneux etaient en porcelaine orn^e de peintures delicieuses, les encadrements en cuivre surdore," &c. They also produced at Sevres medal- lions of white cameo biscuit busts and figures, on blue ground, in imitation of Wedgwood's celebrated jasper, which were occasionally mounted in consoles and other pieces of furniture. It is a remarkable fact that the Sevres Museum, so rich in specimens of other fabriques of Europe, possesses no collec- tion of the grand Sevres vases and groups made at the Royal Manufactory in the latter half of the last century ; but for- tunately the moulds of them have been preserved, and many of the choicest pieces have been reproduced in plaster, to which we shall presently refer. There are, however, to be found many very interesting objects in connection with the manufacture ; among these we may mention an assortment of detached flowers, enamelled and painted in close imitation of nature. The fabrication of these flowers originated at Vin- cennes, the fashion of wearing them as personal ornaments going out at the time the manufactory was transferred to Sevres ; they were the work of the wives of the workmen employed there. An idea of the high price of some of these bouquets may be formed from the statement of M. Brongniart, that the mounting of two groups, made for the King and - Dauphiness in 1 748, each cost the sum of 3,000 livres (about ^120). There are also some minute imitations in porcelain of gems and engraved stones from the Antique, modelled expressly for application by incrustation on the magnificent table service executed in 1778 for the Empress Catherine II. of Russia. The models of the principal vases which have been made at the Sevres manufactory are arranged by M. Riocreux in the Ceramic Museum. The forms from 1740 to 1800 are frequently named after the designers of the models, as the vase Falconnet, vase Clodion, vase La Rue, vase Duplesis, vase Boizot, vase Bachelier, vase Hebert, vase Ponjon, vase Lefebvre, vase Bolvry, vase Daguerre, vase Grammont, vase Gardin, vase Madame Adelaide, vase Boileau, vase Lagrenee, 446 PORCELAIN SEVRES. vase La Riche, vase Madame Poupart, vase Moreau, &c. Others derived their names from their forms or ornamenta- tion, as vaisseau a mat, vase Grec a festons, vase gobelet, vase oignonniere, vase ovale cygne, vase a oreilles, vase casso- lette, vase cornet, vase bouc, vase lezard, vase Angora, vase bouc a raisin, vase myrthe, vase a tete de morue, vase a panneux, vase tete de lion, vase bourse, vase ruche, vase enfants, vase tulipe, vase a palme, vase renard et raisins, vase militaire, vase solaire, vase torse, vase cuir, vase Syrene, vase serpent, vase pendule, vase antique ferre, vase oeuf, vase fuseau, vase a I'amour Falconnet, vase fontaine a roseau, vase a ognon, vase tete d'elephant Duplessis, vase Bacheher de quatre saisons, vase a couronne, vase Chinois, vase flacon a mouchoir, vase Sphinx, vase caryatide, vase Mercure ovale, vase tourterelle, vase medaille, vase Etrusque, vase triton, vase colonne de Paris, &c. The principal groups and figures of which the moulds are still in existence at Sevres are — la peche et la chasse, le maitre et la maitresse d'ecole, une conversation Espagnole, le fluteur, et le hautbois Espagnols, le dejeuner, la toilette, la nourrice ; subjects from Don Quichotte ; Fables of La Fontaine, la baigneuse, by Falconnet ; la baigneuse aux roseaux, by Falconnet; Cupid, known as "Garde a vous," by the same ; Leda; les enfants, by La Rue; le triomphe de la beaute ; letude et la paresse, by Boizot ; Fhommage a la beaute ; le larcin de la rose ; I'amour et la fidelite ; la beaute couronne par les graces ; Tamour remouleur, the last five by Boizot ; and many classical subjects — the Judgment of Paris, Achilles, Telemaque, &c. ; busts of celebrated men ; groups to comme- morate events, as the marriage of the Dauphin, the birth of the Dauphin, by Pajou, 1781, &c., &c. It may be useful to recount here a system of deception carried on to a great extent some years ago, namely, that of counterfeiting old Sevres. After the discovery of French kaolin, the attention of the director was turned especially to the production of true china, or hard paste, although soft paste was made simultaneously. When M. Brongniart became director, the hard paste was almost entirely made, sacrificing PORCELAIN — SEVRES. 447 the old pate tendre, which was declared to be useless in art, of expensive manipulation, dangerous to the workmen, subject to great risk in the furnace, &c. A considerable accumulation, therefore, of unfinished pieces remained stowed away in the warerooms, which greatly embarrassed them, and the glory of the pate tendre having passed away, the director unwisely resolved to part with it all. In 1813 three dealers, named Peres, Ireland, and Jarman, purchased the whole stock at a merely nominal price, and immediately took rooms close to the Sevres factory and commenced decorating it, being assisted by many of the old painters of Sevres. Here they soon com- pleted vast quantities of pseudo Sevres, which soon spread over Europe ; they were so well finished that even Royalty itself was deceived. In the following year (18 14) a nobleman purchased a dejeuner, beautifully gilt and ornamented with painted medallions of portraits of Louis XIV. and the prin- cipal persons of his Court. In the same year it was presented to Louis XVIII. as a valuable family relic, and it remained for more than two years in the Salon of the Tuileries. Some doubts of its genuineness having arisen, the Comte de Pradel sent the service to the Sevres manufactory, and there more experienced persons soon discovered the deceit. The hybrid ornamentation soon betrayed its recent decoration ; the prin- cipal plateau belonged to an epoch subsequent to the Revo- lution, the gilding was much inferior, the paintings too highly worked up for those of the XVIIIth Century, and the mono- grams of the painters fictitious ; one of these was the letter S followed by points, not on the ancient list of painters' marks ; it proved to be the mark of one Soiron, an enameller specially retained by the firm Peres. The King tl>en placed it in the Museum as a warning to others. At Sevres every piece of ware is marked by the particular signs of the painter and gilder, accompanied by the double L and the letters denoting the date ; a reference, therefore, to the Tables ; observing whether the signs of the painters agree with the subjects they painted, and if the dates correspond with the style in vogue at that particular time, will suffice to detect the false pieces. 448 PORCELAIN — SEVRES. This system of fabricating old Sevres from early pate tendre has led to the destruction of many interesting pieces from the fabriques of Menecy, Chantilly, Tournay, &c. The. feet or pedestals of the larger vases being made and baked separately and afterwards put together, to prevent con- fusion, had occasionally the names of the corresponding por- tions scratched underneath, to denote which they belonged to, as " pied de vase enfants," pied de vase tete de lion," " pied de vase 16zard," &c., inscriptions which have much puzzled some amateurs. The principal colours used in decorating the ground of the Sevres vases were — i. The bleu celeste, or turquoisel' invented in 1752 by Hellot. 2. The rich deep cobalt blue, called blett du Roi" of which there were two varieties, the darker being designated gros bleu!^ 3. The violet pensSe^' a beautiful violet colour, from a mixture of manganese, one of the rarest decorations of the pate tendre. 4. The rose Pompadour I' ^ a charming pink or rose colour, invented in 1757 by Xhrouet of Sevres. 5. The jaune clair, or jon- quille'' a sort of clear canary colour. 6. The " vert pomme',' or apple green. 7. The vert pril' or bright grass green. 8. The rouge de fer^' a brilliant red. The ceil de perdrix'' was also a favourite ornament for the ground of vases of a later period. M. Arnoux (Report on Pottery at the Paris Exhibition, 1867) relates : — " About 1804, the person who presided over the mixture of the soft paste died, followed a few month afterwards by the head fireman. These vacancies in his staff confirmed M. Brongniart in his resolution to suppress entirely the manufacture of soft porcelain, and give his attention wholly to the hard. M. Brongniart, certainly the most eminent and learned of all who have managed the Sevres manufactory, cannot be blamed for this decision, which * This colour is called in England " rose Du Barry " but it is not known by that name in France, being usually designated rose Pompadour,^'' It was discovered in the time of Madame de Pompadour, who greatly encouraged the Ceramic Manufactory at Sevres, and it became her favourite colour. The dates on the finest specimens range from 1757 to about the time of her death. PORCELAIN — SEVRES. 449 was in accordance with the tastes of the time ; but towards the end of his career he was one of the first to recognize the mistake he had committed. M. Ebelman, his pupil and successor, in 1847 reproduced the pate tefidre during the four years of his management, but did not prepare the body of the soft paste he used, owing to a singular fact. In 1804, M. Brongniart, requiring the cellar where the clay for the soft paste was stored, decided to have it thrown away. The order was received by an intelligent man, who put it aside in some covered tanks, where it remained unnoticed for forty-five years, till M. Ebelman manifested the wish to revive the old pate tendre. It was then M. Riocreux revealed to him the existence of the hidden treasure. This unexpected help, besides saving the time spent in experiments, and supplying material for immediate use, gave — what was more important — a standard for all the new mixtures. Since then Sevres has continued to produce the soft paste, but in less quantity than could be wished." SEVRES MARKS. This manufactory was first established at Vincennes in 1 740. The porcelain was not marked with letters to denote the date until 1753; on the 19th Nov. of that year a decree of the King directed their use, in conjunction with the double L. In the Sevres Museum is a specimen with the interlaced L's enclosing the letter A, and under it, in Arabic numerals, the date 1753. The works were carried on at Vincennes until 1756, therefore the letters A, B, and C denote the pieces actually made there; with D commenced the Sevres porcelain, the manufactory being removed in 1756. Those pieces with the double interlaced L, and no letter enclosed, but merely a simple point, are by some considered to be of Vincennes pre- vious to 1753; this is to a certain extent correct, but not invariably so, for there are many instances of subsequent pieces being also undated. In the Sevres Museum is a basin thus marked, painted with a view of the Chateau de Vincennes. The crown, or fleur-de-lis, placed over the mark denotes a piece intended for Royal use, or for presents. Sometimes on the Vincennes pieces of fine quality we find a very small fleur-de-lis placed away from the double L. G G PORCELAIN — SEVRES. FIRST ROYAL EPOCH, 1745 to 1792. ViNCENNES. The double L interlaced, and traced in blue, from 1745 to 1753, without any letters indicating the date ; carried on by a Company under the direc- tion of Charles Adam, at the Chateau de Vincennes, under the especial patronage of the King. Vincennes, afterwards removed to Sevres. The letter placed within the cipher denotes the year in which it was made. Thus A signifies 1 753 continuing the alphabet down to Z 1777. Sevres. In 1 764 the Pompadour period ended. In 1 766 the gilding of porcelain in other manufactories was prohibited. In 1769 hard paste was discovered; from this time until 1802 both hard and soft paste were made simultaneously. In 1775 jewelled porcelain was first made. The double L was occasionally orna- mented, as in the margin. Sevres. These two marks, of 1770 and 1 771, with their accompanying em- blems, not being in the list of painters, have been considered allusive to the comet of 1 769 ; but the first is found on pieces dated 1761, 1770, and 1776 (see page 462), and is probably the mark of a painter whose name is unknown. These occur on a cup and saucer in the Collection of the Rev. T. Staniforth. PORCELAIN SEVRES. Sevres. Marked in gold on a cup and saucer, green ground and flowers St/LL on border, and gilding, in the possession of Lady Palmerston; painted by Fumez, ^754. The double letters were used in 1778 and ended in 1 795 with RR (see Table, page 465). In 1784 the prohibition of gilding in other manufactories was re- moved. In 1786 the Louis XVIth style prevailed. FIRST REPUBLICAN EPOCH, 1792 to 1804. 3evre s Republique Fran^aise, accompanied always with the word Sevres. The mark traced with a brush in green, blue, or red, according to the fancy of the painter. On a cup and saucer, with Revolu- tionary emblems; date 1795. In the S. Kensington Museum. Republique Fran9aise. The custom of marking the ware with the date of its manufacture ceased in 1795, and was not renewed until 1801. Republique Fran(;aise. This mark is another variety of the same epoch. The Republican monogram R. F. was disused about 1798 or 1800, and from that time until }8o2 this mark was used. This mark indicates the Consular period, and was first used in 1803, gene- rally stencilled in red. G G 2 452 PORCELAIN — SEVRES. FIRST IMPERIAL EPOCH, 1804 TO 1814. This mark (1806), varying the sign placed under the words, was used by Napoleon from 1804 to 1809, usually printed or stencilled in red, like the preceding. In 1805 the manufacture of soft paste was altogether discontinued, under Brongniart, director. The Imperial Eagle, painted in red, was used in 1810, and continued until the abdication of the Emperor in 18 14. SECOND ROYAL EPOCH, 1814 to 1848. Louis XVIII. 1814 to 1824. The Royal cipher revived, printed in blue. The fleur-de-lis, Sevres, and 21, being the last two figures of the year 1821. Reign of Charles X, 1824 to 1829. The ciphers CC interlaced, painted in blue. The figures indicate the year ; thus 1824, 1827, and 1825. Charles X. Mark used in 1829 and 1830. This was applied to porcelain, merely gilt at the edges. Used on decorated pieces. The mark printed in blue, for 1829 and 1830. PORCELAIN — SEVRES. 453 $ evres so This mark, printed in blue, was only used from the beginning of August, 1 830, to the end of the year. Louis PhiHppe. This mark was used from 1 83 1 until November, 1834, printed in blue. Louis Phillippe. These initials were used from November, 1834, until July, 1845. The mark printed in blue or green for decorated pieces. The Chateau d'Eu ser\aces, of white and gold, dated 1837, bear this mark in addition. The double cipher of Louis Philippe, principally on white wares, impressed and printed in blue or green; used from 1845 to 1848. After 1833 to the present time, this mark, painted in chrome green, was adopted for white porcelain. SECOND REPUBLICAN EPOCH, 1848 to 185 i R6publique Fran9aise, 1851. The mark printed in red, used for decorated pieces from 1848 to 1851. SECOND IMPERIAL EPOCH, 1852. The mark used after the proclamation of the Empire in 1852. 454 PORCELAIN — SEVRES. Monogram of the Emperor Napo- leon III., used in 1854 and continued. In 1854 the manufacture of soft paste, which had been abandoned for fifty years, was revived, and both hard and soft paste are now made. This mark is painted in green on ordinary white Sevres pieces for 1861 ; when scratched through it denotes that the piece has been issued without deco- ration. On an egg-shell cup and saucer in the possession of Miss Chaffers. TABLE OF MARKS AND MONOGRAMS OF PAINTERS, DECORATORS, AND GILDERS OF THE ROYAL MANUFACTORY OF SEVRES, FROM 1753 TO 1800. Marks. J3 Names of Painters. Aloncle . . . Anteaume . . Armand . . . ASSELIN . . . AuBERT aine . . Subjects. Birds, flowers, em- blems. Landscapes, and ani- mals. Birds, flowers, &c. Portraits, miniatures. Flowers. Bar Detached bouquets. Marks. A3. * .T ^Jfi^ BOUCOT ^^^^O^w^ BoucoT, P BOUCHET PORCELAIN SEVRES. 455 Names of Pai7ite7's. Subjects. . . Garlands, bouquets. Barrat . . . Baudouin . . Bertrand . . Bienfait . . . BiNET . . . . BiNET, M^'"% nSe Sophie Chanou Ornaments, friezes. Detached bouquets. Gilding. Detached bouquets. Garlands, bouquets. Birds and flowers. Flowers, birds, and arabesques. Landscapes, figures, ornaments. BOUILLAT . . . Flowers, landscapes. BouiLLAT,Rachel, afterwards ]y[dme Maqueret - Detached bouquets. Ob. BOULANGER . . Detached bouquets. BULIDON . . . Detached bouquets. BuNEL, M^*"", n6e BuTEUX, Manon. Detached bouquets. BuTEux, Sen. Cupids, flowers, em- blems, &c. en camaieu. 9 BuTEUX, eld. son. Detached bouquets, &c. Marks. A r 5 c. is " X ah/. e K X iff C^yHy or c .7%. PORCELAIN SEVRE: Names of Painters. BuTEUx, yr. son. Capelle . . . Cardin . . . Carrier . . . Castel . . . Caton .... Catrice . . . Chabry . . . Chanou, Sophie," afterwards M^"^^ BiNET . . Chapuis. Sen. . Chapuis, Jun. Chauvaux,. Sen. Chauvaux, Jun.. Choisy, De . . Chulot . . . Commelin . . Subjects. Pastoral, children, &c. Various friezes. Detached bouquets. Flowers. Landscapes, hunting subjects, birds, &c. Pastorals, children, portraits. Detached bouquets and flowers. Miniatures, pastorals. Garlands, bouquets. Flowers, birds. Detached bouquets. Gilding. Gilding and bouquets. Flowers, arabesques. Emblems, flowers, and arabesques. Garlands, bouquets. Marks. G PORCELAIN — SEVRES. Names of Painters. Couturier . . cornaille . . DiEU .... 457 DODIN . . . Drand . . . DuROSEY, Julia . Subjects. Gilding. Flowers, bouquets. Chinese subjects, flowers, gilding. Figures, various sub- jects, portraits. Chinese subjects, gilding. Flowers, friezes, &c. DuROSEY, Soph.] afterwards [ Flowers, friezes, &c. M^'"^ Nouailher) DUSOLLE . . DUTANDA . . Evans . . Falot . . Fontaine fontelliau . Fumez . . Genest . . Gerrard . . Detached bouquets. Bouquets, garlands. Birds,butterflies, land- scapes. Arabesques, birds, butterflies. Emblems, miniatures. . Gilding. Flowers, arabesques, &c. . Figures, &c. Pastorals, miniatures. 458 Marks. g '■' /I t ^^^^ • LFor LF PORCELAIN — SEVRES. Names of Painters. GiRARD . . GOMERY . . Gremont . . Grtson . . Henrion . . Hericourt . HiLKEN . . HUNIJ . . . JOYAU . . . JUBIN . . . La Roche Le Bel, Sen. Le Bel, Jun. Unknown Lecot . . Ledoux . . Subjects. Arabesques, Chinese subjects. Birds. Garlands, bouquets. Gilding. Garlands, bouquets. Garlands, bouquets. Figures, subjects, &c. Flowers. Detached bouquets. Gilding. Bouquets, medallions, emblems. Figures and flowers. Garlands, bouquets, insects. Cupids, &c. Chinese subjects. Landscapes and birds. Marks. / PORCELAIN — SEVRES. Names of Painters. Le Guay . . . 459 Subjects. IB) If Le Guay . Leve, pere . Leve, fils . . Massy . . s Merault, Sen. Merault, Jun. X iVilCrlAUU . Michel . . Moiron . . MORIN . . A MUTEL . . NlQUET . . Noel . . . Gilding. Miniatures, children, trophies, Chinese. Flowers, birds, and arabesques. Flowers, Chinese. Flowersand emblems. Various friezes. Bouquets, garlands. Flowers, bouquets, medallions. Detached bouquets. Flowers, bouquets. Marine and military- subjects. Landscapes. Detached bouquets. Flowers, ornaments. Parpette, Philippe Flowers. Parpette, Louise Flowers, garlands. Pfeiffer . . . Detached bouquets. 46o Marks. PORCELAIN SEVRES, Names of Painters. Pierre, Sen. . . Pyor Pierre, Jun.. Subjects. Flowers, bouquets. Bouquets, garlands. " PiTHOu, Sen. Portraits, historical subjects. PTTTTr^TT Inn 1 lixlL^U, J U.11. . X. lyulCo, (Ji ildlilCllLo, flowers. HP. Prevost . . Gilding. ft POUILLOT . . . Detached bouquets. * • • • Raux . . . Detached bouquets. ROCHER . . . Figures. ROSSET . . Landscapes. ROUSSEL . . . Detached bouquets. <0 , ft . Schradre Birds landscaoes • X x\J VV \^x. O* SiNSSON . . Flowers, groups, gar- lands. • • • Sioux . . . . Bouquets, garlands. O Sioux, Jun. . . . Flowers and garlands en camaieu. Taillandier Bouquets, garlands. PORCELAIN — SEVRES. 46 1 Marks. Names of Painters. Subjects. • • • Tandart . . . Bouquets, garlands. \ Tardi .... Bouquets, garlands. Theodore . . Gilding. • • • • 5 or J Thevenet, Sen. Flowers, medallions, groups. ^ Thevenet, Jun. Ornaments, friezes. '\jr^ Vande Gilding, flowers. Vautrin, after- """iy^ ^ wards Madame • Gerard Vavasseur . . Arabesques, &c. Viellard . . Emblems, ornaments. Bouquets, friezes. Jk. Ml Viellard Emblems, ornaments. 2000 Vincent . . . Gilding or Xhrouet . . Arabesques, flowers. MARKS OF PAINTERS (Unknown). EH On a jonquil cup and saucer, beauti- fully painted with Leda and swan and emblems ; date 1 780. Mr. Sigismund Rticker's Collection. On a bleu du Roi cup and saucer, finely painted with a Nymph coming from the bath, and emblems ; date i 780. In Mr. Sigismund Rucker's Collection. PORCELAIN — SEVRES. On a bleu du Roi cup and saucer, painted with pastoral figures and em- blems ; date 1764. Mr. Rucker's Coll. On two cups and saucers, painted with small wreaths of flowers, festoons and decorations in Mr.S. Rucker s Collection, dated 1770 and 1776; also on a saucer of similar decoration, delicately painted, lake blue and gold borders, in Captain Langford's Collection, date 1761. Some have mistaken this mark for a comet. On a cup and saucer, turquoise, painted with interiors and women and children, the gilding by Prevost; dated 1781. Mr. S. Rucker's Collection. On a cup and saucer, white ground with festoons and bouquets of flowers, bordered with green ovals and gold stars, painted by Tandart 1780, and also this mark. Mr. S. Rucker's Collection. On an oval plateau, painted with a fisherman in landscape and ruins, deep turquoise border, date 1758; also on a cup and saucer, with medallions of chil- dren, date 1765. Mr. Rucker's Coll. On a cup and saucer, canary ground, in centre a basket of flowers and fruit, the gilding by Vincent ; date 1 788. Mr. S. Rucker s Collection. On a cup and saucer, bleu du Roi, white and gold interlaced bands, and small garlands of flowers; date 1770. Mr. S. Rucker's Collection. On a biscuit group of male and female figures embracing, cupid behind; S. Ken- sington Museum; the mark incuse before firing. PORCELAIN — SEVRES. 4^3 This mark of an acorn and oak leaf in blue, and F M in gold, are below the double L and date 1765. The former belongs to a painter, the latter to a gilder, both of which are unpublished. They IJ^M occur on a gros bleu trembleuse with Vernet subjects; in the Shandon Coll. LATE PERIOD, 1800 to 1845. Marks. Names of Painters. Subjects. Andre, Jules Landscapes. Beranger, a. . Figures. m Barbin, F. . . Ornaments. Boullemier, a. Gilding. C D Develly, C. Landscapes and figures. jD.i. Didier . . . Ornaments. DUCLUSEAU, M'^'"" Figures, subjects. portraits. Fontaine . . Flowers. Georget . . . Figures, portraits. HUARD . . . Ornaments. Julienne, Bug. . Renaissance orna- ments. Langlace . . Landscapes. Le Bel . . . Landscapes. PORCELAIN SEVRES. Marks. Names of Painters. Subjects. ^ Le Gay, Et. Ch. Figures, portraits. PouPART, A. . Landscapes. Philippine . . Flowers and orna- ments. -p Regnier, F. . Figures, various subjects. SwEBACH . . . Landscapes and figures. MARKS OF PAINTERS AND DECORATORS NOW EMPLOYED AT SEVRES, M. Damousse, Modeller. Marks. Names of Painters. Subjects. Barre . . . Flowers. ^^^^^^ Bonnier (Achille) Decorations. J^^^ BuLOL (Eugene) Flowers. J i Carpentier . . Gilding. j^^j^ David (Alexandre) Decorations. Derichsweiler . Decorations. BE J-L Lambert ... Flowers. PORCELAIN — SEVRES. 465 Marks. Names of Painters. Subjects. Jj Leroy (Eugene) Gilding. Martinet . . Flowers. 5^ Merigol (F.) . Flowers and deco- rations. Peine .... Decorations. p Rejaux (Emile) Decorations. ^TjV^p^ Richard (Emile) Flowers. Richard (Eugene) Flowers. Richard (Francis) Decorations. Richard (Paul). Gilding. Riocreux (Isi- dore, Son of the Curator) . Landscapes. ^ Tracer (Jules) . Flowers, birds, ancient style. H H 466 PORCELAIN SEVRES. CHRONOLOGICAL TABLE OF SIGNS EMPLOYED IN THE ROYAL MANUFACTORY OF SEVRES. By which the exact date of any piece may be ascertained. It differs from that before given by M. Brongniart in the addition of the letter J for 1762, and the JJ for 1787, which is now altered on the authority of M. Riocreux of the Sevres Museum. A (Vincennes). B ( ditto ). C ( ditto ). D E F G H I J K L M N O Note. — These letters are not always placed within the cipher, but occasionally outside, when the interlaced L's are too contracted to receive them ; or if double letters, one on each side. It may also be observed that the date letters are sometimes capitals and sometimes small. During the Revolutionary changes the double letters were rarely used, and from 1795 to 1800 we meet with few examples, when they were replaced by the following signs : — 1807 1808 1753 p 1754 Q . 1755 R 1756 s . 1757 T 1758 U 1759 V 1760 X I76I Y 1762 Z 1763 AA 1764 BB 1765 CC 1766 DD 1767 1768 EE ♦1769 FF 1770 GG 1771 HH 1772 II . 1773 JJ . 1774 KK 1775 LL 1776 MM 1777 NN 1778 00 1779 PP 1780 QQ. 1781 RR. 1782 1783 1784 1785 1786 1787 1788 1789 1790 I79I 1792 1793 1794 1795 Year IX X XI XII ...I80I... ...1802... ...1803... ...1804... T9 X 1 1 XIII ...1805. XIV ...t8o6. 1809 1810 1811 1812 1813 1814 1815 1816 1817 • 7 . 8 • 9 . 10 . o.z. . d.z. . t.z. . q.z. . q.n. . s.z. . d.s. From this date the year is expressed by the last two figures only, — thus, 18 for 18 18, &c. — up to the present time. * The comet of 1769 furnished the Administration of the time with the idea of transmitting the recollection by their productions- This comet was sometimes substituted for the ordinary mark. PORCELAIN — SEVRES. 467 LIST OF DATED PIECES OF SEVRES PORCELAIN FROM 1753 TO 1800, WITH NAMES OF THE OWNERS. 753. A blue vase, edged with gold and panels of birds painted by Capelle, Earl Spencer. „ A Vincennes cabaret, with shaded lake camaieu groups of children holding emblems, and birds and flowers, rich blue borders, edged with gold, painted by Muiel, Mr. Robert Napier. 754. A Vincennes blue cup, painted with cupids. Lord Bateman. „ A pair of Vincennes oval jardinieres, blue ground, painted with Boucher subjects, in light blue, white and gold handles. Viscount Falmouth. 755. A square white jardiniere, painted in lake camaieu; and an ecuellewith cupids, also in lake colours, painted by Dodin. Mr. Robert Napier. 756. A bleu du Roi cup and saucer, painted with a child blowing a pipe, by Veillard. ^r. Robert Napier. „ A green pierced wicker basket, edged with gold. Sir Charles Mills. 757. A set of rare rose Po7npadour ornaments, viz.: Vaisseau d mat, or ship ; a pair of Duplessis vases ; and a tray, painted with flowers, all of this exquisite rose tint. Sir Charles Mills. ,, A fine service of the rose Pompadour, viz. : two vases and two jar- dinieres of the same date. Lord Willoughby de Eresby. „ A fine boat-shaped bouquetifere vase, of the same colour and date. Her Majesty the Queen. ,y A cabaret of the same colour and date, painted with fruit and flowers, by Taillaiidier and Tandart. Mr. M. T. Smith. „ A pair of rose Pompadour vases, painted with cupids, and curved leaf handles at top \ which were sold at the Bernal sale to the Marquis of Hertford for;^i942. los.; they were formerly in the possession of Mr. H. Baring, who parted \vith them to the late Mr. Bernal for £,200. 758. A bleu du Roi ship {vaisseau h jndt), painted with flowers. Her Majesty. „ A green cup, gros bleu border, covered with gilt globules and medallions of cupids by Grison. Mr. S. Addington. 759. A pair of square jardinieres, painted with light blue flowers on white ground. Lord Willoughby de Eresby. „ A pair of green eventails and stands, painted with Teniers* subjects by Dodin, of rare form. The Duke of Buccleuch. ,, A cup and saucer, of rose Pompadour and green, painted with flowers by Vavasseur. Mr. S. Addington. 760. Three dventails, richly gilt, green ground, painted with Teniers' subjects by Veillard. Sir Chas. Mills. „ A rose Pompadour cabaret, painted with flowers. Lord Willoughby de Eresby. 761. An oval seau, in imitation of lapis lazuli, peasants before an inn, and flowers, by Sinsson. Her Majesty the Queen. II II 2 468 PORCELAIN SEVRES. 1 76 1. A turquoise two-handled cup with flowers, richly gilt, by Couturier. Lord Bateman. 1762. A green vase and cover, medallions of cupids with grapes and a goat. Her Majesty the Queen. ,, A bleu du Roi vase in the form of four raised tablets suspended by cords, with pastoral subjects by Dodi?i. Her Majesty the Queen. 1763. A sucrier, blue raised leaves and pink trellis, the flowers painted by Meraidt. Mr. Martin T. Smith. „ A cup and saucer, white ground, with light blue borders of roses and children, painted in camaieu. Mr. Alexander Barker. 1764. An ecuelle, cover and- stand, oeil de perdrix^ painted with landscapes and figures. Mr. H. G. Bohn. „ A pair of sucriers, painted pink and blue, gold and green branches and ornaments. Mr. S. Riicker. 1765. A cup and saucer, mil de perdrix, painted with birds by Chapuis. Rev. Montague Taylor. „ A bleu du Roi cup and saucer, exquisitely painted with sleeping nymph, and a man stealing her basket, by Dodin. Mr. S. Riicker. 1766. An oviform vase, turquoise stripes, painted with flowers between, by Noel; goat's head handles. Her Majesty the Queen. „ An ecuelle, cover and stand, white ground, with gold spots, painted in pink medallions of cupids by Pierre, Mr. R. Napier. 1767. A cup and saucer, with pink flowers and trellis on gold ground, with two pastoral scenes by Veillard. Mr. H. G. Bohn. „ A square pedestal vase for bulbs, bleu du Roi borders, with trophies and musical instruments, by Dodin. Mr. S. Riicker. 1768. A turquoise cabaret, circular medallions of roses and birds, painted by Noel. Marquis of Abercorn. „ A cup and saucer, gros bleu and white trellis border, painted with bouquets of flowers, in compartments. S. Kensington Museum. 1769. A gros bleu cup and saucer, ceil de perdrix, painted with a shepherdess, by Chabry. Sir D. C. Marjoribanks. „ A chocolate cup and cover, white, with light blue scrolls and birds, painted by Evans. Mr. R. Napier. 1770. A pair of turquoise vases, rustic subjects Dodin. Her Majesty. „ A turquoise vase, with pastoral subjects, by Dodin. Sir C. Mills. 177 1. A bleu du Roi cabaret, palisade border, brilliantly painted with birds of rich plumage, by Boucot. Marquis of Abercorn. „ An ecuelle, cover and stand, purple ground, oeil de perdrix^ with flowers and trophies, painted by Buteux, se?^,. Mr. R. Napier. 1772. A large bleu du Roi chocolate cup and saucer, with landscapes by Baudoiiin &= Veillard. Sir Chas. Mills. „ A chocolate cup, cover and saucer, bleu du Roi, richly gilt, figures and sheep, by Dodin, the decoration by Corjtaille. Lady D. Nevill. PORCELAIN SEVRES. 469 773. A bleu du Roi cup and saucer, painted with flowers by Micaud. Countess Cowper. „ A cup and saucer, gros bleu, with medallions of dog, hawks, dead game, &c., by Alo7icle 6^ Boidanger. S. Kensington Museum. 774. A gros bleu ecuelle, painted with Gods and Goddesses by Le Guay. Sir D. C. Majoribanks. „ A gros bleu vase, sea port by Morin, and flowers. Her Majesty. 775. A magnificent cabaret, gros bleu, with wreaths of gold, painted with pastoral landscapes and figures by Le Guay. Bought at the Bernal Sale by the Marquis of Bath for £^6^. ; said to have cost Bernal ^^65. 776. A bleu du Roi Ecuelle, with flowers by Bulidon^ the gold decorations by Chauvaux. Marquis of Abercorn. „ A coffee cup and saucer, painted with the fable of the Fox and Crane by Baiidoicin. Mr. R. Napier. „ A jonquil cup, painted with a miniature of La Frincesse de Lamhalle by Dodin, richly gilt by Le Guay. Mr. S. Riicker. 777. The beautiful service, which subsequently came into the possession of the Earl of Lonsdale, was expressly made for the Empress of Russia ; it is of turquoise ground, with a floral letter E (Ekatherina) in the centre, borders of cameo portraits and gems on jasper ground. The artists engaged were Dodin, Niquet, Boulanger, and Prevost. Mr. S. Addington has a cup and saucer. Mr. S. Riicker, a cup and saucer; S. Kensington Museum, a plate ; Mr. R. Napier, a plate ; the rest of the service was secured by Baron Brunow for the Emperor of Russia ; from whom it had been surreptitiously obtained. 778. A bleu du Roi cup and saucer, painted with the Graces and cupids by Doditi, the gilding by Chauvaux. Lady Dorothy Nevill. „ A cup and saucer, rich gold and light blue scale pattern, painted with birds by Chapuis and Noel. Mr. S. Riicker. 779. A bleu du Roi cup and saucer, a shepherdess, by Chabry. Sir D. C. Marjoribanks, Bart. „ A cup, cover, and stand, gros bleu, with Oriental figures and trophies, by Chabry and Chauvaux. Mr. S. H. Sutherland. 780. A bleu du Roi cup and saucer, with bird catching, richly gilt, by Chauvaux. Mr. H. G. Bohn. ,, A bleu du Roi cabaret, with rose Pompadour and gold borders, painted with flowers by LLunij\ gilt by Vincent. Mr. S. Riicker. 781. A bleu du Roi cup and saucer, richly jewelled centre and borders, H. R. H. the Duke of Cambridge. „ A turquoise cup and saucer, painted with interiors by V.B.^ the gilding by Prevost. Mr. S. Riicker. 782. A bleu du Roi cup and saucer, Venus and cupids, by Dodin, the gilding by Prevost. Sir D. C. Marjoribanks, Bart. 783. A bleu du Roi dessert service, painted with classical subjects, by Dodin, richly gilt scrolls and borders by Le Guay and Prez'ost. Her 470 PORCELAIN SEVRES. Majesty possesses the greater part of this magnificent service, viz. — a saladier, two ice pails, an oval jardiniere, three dishes, a flat bowl, two tazze and two plates ; Mr. Napier has two ice pails, one tazza, and two flat bowls ; Mr. Addington, a pair of seaux and two plates ; Mr. W. Coding, two compotiers and covers ; Mr. Davis, two plates ; and Mr. I. Falcke, two plates. The dates range from 1783 to 1787. 1784. A bleu du Roi cup and saucer, with medallions of soldiers and military- weapons. Sir D. C. Marjoribanks, Bart. „ A fruit plate, green ground with bouquets of flowers, richly gilt by Bouillat, Viitcent and H. Prevost. S. Kensington Museum. 1785. A service, made expressly for Marie Antoinette, white ground, with green enamel scrolls and jewelled borders by H. Prevost ; portions of which are possessed by the following gentlemen : a table clock, Sir Chas. Mills, Bart. ; a carriage clock, Mr. Jno. Jones, Regent Street; a square tea caddy. Sir D. C. Marjoribanks, Bart. ; a sucrier and small basin, Mr. S. Riicker ; a large ewer and basin, and two match pots, Mr. Addington ; a chocolate cup, cover and saucer, the Rev. T. Staniforth. 1786. A white cup and saucer, rose Pompadottr borders and minute groups of flowers. Mr. S. Addington. „ An octagonal plate, painted with a border of arabesques, in the centre a nude figure, on jasper red ground. S. Kensington Museum. 1787. Some pieces of the Queen's bleu du Roi dessert service were painted in this year by Dodin, Le Guay, and Prevost. 1788. A cup and saucer, canary coloured ground, borders pencilled in brown with scrolls. In the centre a basket of flowers and fruit, the gilding by Vincent. Mr. S. Riicker. 1789. A plate, with border of forget-me-nots and butterflies, and one with borders of flowers and heart' s-ease, by Buteux. Mr. Addington. 1790. An ice pail, bleu du Roi, with classical subject by Dodin, the gilding by Le Guay. Mr. Robt. Napier. 1 79 1. A bleu du Roi cup and saucer, painted with rustic figures and fruit by Chabry, the gilding by Chauvaiix. Marquis of Abercorn. 1792. A Sevres plate, bleu du Roi and gold dotted borders, painted by Sophie Chanou. S. Kensington Museum. 1795. A coflee cup and saucer, gros bleu, and white wreaths and medallions of the bonnet rouge, and other revolutionary emblems, marked R. F. painted by Tandart, gilder /. N. S. Kensington Museum. 1797. A cup and saucer, turquoise, white borders of jeweUed diagonal pat- tern, by Merault. Lord Willoughby de Eresby. 1800. A cup and saucer, turquoise ground, with Revolutionary emblems. The bonnet rouge has been purposely obliterated. Lord Bateman. POTTERY AND PORCELAIN. STAFFORDSHIRE. HEN Dr. Plot published his Nahu^al History of the County in 1686, it does not appear that there were many manufactories of pottery. He speaks of one at Amblecott, another at Wednesbury ; but he says, ** The greatest pottery they have in this county is carried on at Burslem, near Newcastle-under-Lyme." His account of the various clays used is interesting, but he gives no information about the potters then engaged. The following is Dr. Plot's account : — "25. Other potter's clays for the more common wares there are at many other places, particularly at Horsley Heath, in the parish of Tipton ; in Monway field; above mentioned, where there are two sorts gotten, one of a yellowish colour, mixt with white, the other blewish ; the former stiff and heavy, the other more friable and light, which, mixt together, work better than apart. Of these they make divers sorts of vessels at Wednesbury, which they paint with slip, made of a reddish sort of earth gotten at Tipton. But the greatest pottery they have in this county is carried on at Burslem, near Newcastle- under-Lyme, where for making their different sorts of pots they have as many different sorts of clay, which they dig round about the towne, all within half a mile's distance, the best being found nearest the coale, and are distinguish'! by their colours and uses as foUoweth : — 472 POTTERY — BURSLEM. WEDGWOODS. 1. Bottle day, of a bright whitish streaked yellow colour. 2. Hard-fire day, of a duller whitish colour, and fully intersperst with a dark yellow, which they use for their black wares, being mixt with the 3. Red ble7iding day, which is of a dirty red colour. 4. White clay, so called it seems, though of a blewish colour, and used for making yellow-colour'd ware, because yellow is the lightest colour they make any Ware of. All which they call throwing clays, because they are of a closer texture, and will work on the wheel. " 26. Which none of the three other clays they call Slips will any of them doe, being of looser and more friable natures ; these, mixt with water, they make into a consistence thinner than a Syrup, so that being put into a bucket it will run out through a Quill. This they call Slip, and is the substance wherewith they paint their wares, whereof the 1. Sort is called the Orange Slip, which, before it is work't, is of a greyish colour, mixt with orange balls, and gives the ware (when annealed) an orange colour. 2. The White Slip : this, before it is work't, is of a dark blewish colour, yet makes the ware yellow, which being the lightest colour they make any of, they call it, as they did the clay above, the white slip. 3. The Red Slip, made of a dirty reddish clay, which gives ware a black colour. Neither of which clays or slips must have any gravel or sand in them. Upon this account, before it be brought to the wheel, they prepare the clay by steeping it in water in a square pit till it be of a due consistence ; then they bring it to their beating board, where, with a long Spatula, they beat it till it be well mixt ; then, being first made into great squarish rolls, it is brought to the wageing board, where it is slit into thin flat pieces with a wire, and the least stones or gravel pick't out of it. This being done, they wage it, i. e. knead or mould it like bread, and make it into round balls proportionable to their work ; and then 'tis brought to the wheel, and formed as the workman sees good. " 27. When the potter has wrought the clay either into hollow or flat ware, they set it abroad to dry in fair weather, but by the fire in foule, turning them as they see occasion, which they call whaving. When they are dry they stouk them, i.e. put ears and handles to such vessels as require them. These also being dry, they slip, or paint them, with their severall sorts of slip, according as they designe their work ; when the first sHp is dry, laying on the others at their leisure, the orange slip makeing the ground, and the white and red the paint ; which two colours they break with a wire brush, much after the manner they doe when they marble paper, and then cloud them with a pe7icil when they are pretty dry. After the vessels are painted they lead them with a sort of Lead Ore they call Smithum, which is the smallest ore of all, beaten into dust, finely sifted, and strewed upon them ; which gives them the gloss, but not the POTTERY — BURSLEM. WEDGWOODS. 473 colour ; all the colours being chiefly given by the variety of slips, except the motley colour, which is procured by blending the Lead with Manganese, by the workmen called Magnus. But when they have a mind to shew the utmost of their skill in giving their wares a fairer gloss than ordinary, they lead them then with lead calcined into powder, which they also sift fine and strew upon them as before, which not only gives them a higher gloss, but goes much further too in their work than the lead ore would have done. 28. After this is done they are carried to the oven, which is ordinarily above 8 foot high, and about 6 foot wide, of a round copped forme, where they are placed one upon another from the bottom to the top ; if they be ordinary wares, such as cylindrical butter pots, &c., that are not leaded, they are exposed to the naked fire, and so is all their flat ware, though it be leaded, having only parting shards, i.e. thin bits of old pots, put between them to keep them from sticking together ; but if they be leaded hollow wares, they doe not expoKe them to the 7iaked fire, but put them in shragers, that is, in coarse metaird pots made of 7narle (not clay) of divers formes, according as their wares require, in which they put commonly three pieces of clay called Bobbs, for the ware to stand on, to keep it from sticking to the shragers ; as they put them in the shragers, to keep them from sticking to one another (which they would certainly otherwise doe by reason of the leading), and to preserve them from the vehemence of the fire, which else would melt them downe, or at least warp them. In twenty-four hours an oven of pots will be burnt ; then they let the fire goe out by degrees, which in ten hours more will be perfectly done, and then they draw them for sale, which is chiefly to the poor Crate-men, who carry them at their backs all over the countrey, to whome they reckon them by the piece, i.e. Quart, in hollow ware, so that six pottle, or three gallon bottles, make a dozen,'2XiA so more or less to a dozen as they are of greater or lesser content. The flat wares are also reckoned by pieces and dozens, but not (as the hollow) according to their content, but their diff'erent breaths.'' The earliest names we find are Thomas and Ralph Toft, William Sans, William Taylor, Ralph Turnor, and Joseph Glass, manufacturers, towards the end of the XVIIth Century. A reference is made on page 37 to a manufactory of pottery in Staffordshire as early as 1466, where Sir John Howard pays to one Watkin, a butcher at Stoke, 4s. and 6d. for one of the potters of Horkesley for eleven dozen of pots. In a document drawn up by Josiah Wedgwood himself, in 1766, we have a list of the potters in his grandfather, Thomas Wedgwood's time, with the weekly expenses and profits of each pot-work. (From Eliza Meteyard's Life of Wedgwood, vol. i, page 191.) 474 POTTERY BURSLEM. WEDGWOODS. POT-WORKS IN BURSLEM ABOUT THE YEAR 17IOTO 1715. Potters' Names. Thomas Wedgwood John Cartlich Robert Daniel (Small) Thomas Malkin (Small) Richard Malkin Dr. Thomas Wedgwood William Simpson Isa Wood Thomas Taylor William Harrison Isaac Wood John Adams Marshes Moses Marsh Robert Adams Aaron Shaw Samuel Cartlich (Conick) .... Aaron Wedgwood Thomas Taylor Moses Shaw Thomas Wedgwood Isaac Ball Samuel Edge '. Thomas Locket Tunstalls John Simpson (Double Rabbit). Richard Simpson Thomas Cartwright Thomas Mitchel Moses Steel John Simpson Chell John Simpson Castle Isaac Malkin Richard Wedgwood John Wedgwood John or Josh. Warburton .... Hugh Mare Robert Bucknal R. Daniel Bagnal John Stevenson H. Beech Kinds of Ware. Black and mottled Moulded Black and mottled Ditto ditto .. Ditto ditto .. Brown stone Moulded Mottled Cloudy Black and mottled .... Not worked Stoneware Mottled and black .... Stone and dipped wt.... Mottled Mottled and black .... Stoneware and freckled, Ditto ditto . Moulded Stoneware.... Mottled .... Not Worked. Red dishes, &c Butter pots Not worked Cloudy Mottled and black . Red dishes and pans. Mottled and black . Stoneware Not worked Mottled Ditto.... Butter pots Clouded .. Ditto Butter pots Supposed Amount. i> s. 4 o 3 o 2 o 3 o 2 10 6 o 3 4 3 3 3 z 10 6 o 2 10 6 o 3 o 4 o 6 o 2. 10 4 o o o o o o o Residence. Church Yard. Flash. Hole House. Hamel. Knole. Ruffleys. Stocks. Back of George. Now Mrs. Wedgwood's. Brown's Bank. Top of Robin's Croft. Brick House. Top of Daniel's Croft. Middle of the Town. Next on the East side. Next on the East side. Next to the South. Next to the Red Lion. Next to the North. Middle of the Town. Ditto, now Graham's. South- West end of Town. Next to the West. Late Cartlich's. Opposite. West end of Town. The Pump, West end. West end of the Town. Rotten Row. Ditto. Ditto. Ditto. Green Head. Middle of Town. Upper House. Hot Lane or Cobridge. Ditto. Ditto. Ditto. Grange. Sneyd Green. Ditto. Holdin. 139 10 o ^139. ICS., at forty- six weeks to the year is ;^64i7., being the annual produce of the pottery in the beginning of the XVIIIth Century in Burslem parish. Burslem was at this time so much the principal part of the pottery that there were very few pot-works elsewhere. POTTERY — BURSLEM. WEDGWOODS. 475 MEN NECESSARY TO MAKE AN OVEN OF BLACK AND MOTTLED, PER WEEK, AND OTHER EXPENSES. Six men — three at 4s. per week, and three at 6s i 10 o Pour boys, at is. 3d o 5 o I cwt. 2 qrs. of lead ore, at 8s o 12 o Manganese 030 Clay — 2 cart-loads, at 2 s o 4 o Coals — 48 horse-loads, at 2d 080 Carriage of ditto, ati^d o 6 o Rent of Works at ^^5. per annum o 2 o Wear and tear of ovens, utensils, &c. zX j[^\o. per annum. 040 Straw for packing — 3 thraves of 24 sheaves to the thrave, at 4d o I 0 The master's profit, besides 6s. for his labour 010 o £a 5 o N.B. The wear and tear, master's profits, and some other things, are rated too high. per ovenfiil is thought to be sufficient, or more than sufficient, for the black and mottled works of the largest kind, upon an average, as the above work was a large one for those times. POTTERS AT HANLEY IN THE BEGINNING OF THE XVIir" CENTURY. Joseph Glass Clowdy, and a sort of dishes, painted with different coloured slips, and sold at 3s. and 3s. 6d. per dozen. Wm. Simpson Clowdy and mottled. Hugh Mare Black and mottled. John Mare Ditto ditto Richard Marce ... Mottled and black, lamprey pots and venison pots. John Ellis Butter pots, &c. Moses Sandford ... Milk pans and small ware. Only one horse and one mule kept at Hanley. No carts scarcely in the country. Coals carried upon men's backs. Hanley Green like Woolstanton Marsh. Only two houses at Stoke (meaning potteries) Ward's and Poulson's. 476 POTTERY BURSLEM. WEDGWOODS. The following enumeration of the order in which various materials and kinds of manufacture were introduced into Staffordshire is from Dr. S. Shaw's Chemistry of Pottery: — "In this succession I find the common broivn ware till 1680; then the Shelton clay (long previously used by the tobacco-pipe makers of Newcastle), mixed with grit from Baddeley Hedge, by Thomas Miles ; coarse white stone- ware^ and the same grit and can marl, or clunch, of the coal seams, by his brother, into brown stoneware. The Crouch ware was first made of common potter's clay and grit from Moel Cop, and afterwards the grit and can marl, by A. Wedgwood of Burslem, in 1690; and the ochreous brown clay and manganese into a coarse Egyptian black, in 1700, by Wood of Hot Lane. The employment of the Devonshire pipe-clay, by Twyford and Astbury of Shelton, supplied the white dipped and the white stoneware ; from which the transition was easy to the fli7it ware, by Daniel Bird of Stoke ; the chalk body ware, by Chatterley and Palmer of Hanley ; and the Queen's ware of the celebrated Josiah Wedgwood. " Mr. Thomas Toft introduced aluminous shale, or fire-brick clay ; Mr. William Sans, manga7iese and galena pulverised ; Messrs. John Palmer and William Adams, commo7i salt and litharge ; Messrs. Elers Brothers, red clay or marl and ochre; Mr. Josiah Twyford, pipe-clay ; Mr. Thomas Astbury, /^Vz/; * Mr. Ralph Shaw, basaltes ; Mr. Aaron Wedgwood, red lead; Mr. William Littler, calcined bone earth; Mr. Enoch Booth, white lead ; Mrs. Warburton, soda ; Mr. Ralph Daniel, calcined gypsum ; Mr. Josiah Wedgwood, barytes ; Mr. John Coockworthy, decomposed white granite ; Mr. James Ryan, British kaolin and petuntse ; Messrs. Sadler and Green, glaze priftting ; Mr. Warner Edwards, biscuil painting ; Mr. Thomas Y)2,m.€i, glaze enamelling ; Mr. William Smith, biLriiished gilding ; Mr. Peter Warburton, painting in gold ; Messrs. John Hancock, John Gardner, and Wihiarn Hennys, lustres ; Mr. William Brookes, engraved lafids capes and printijig in colours ; Mr. William Wainwright Vott?,, printing by machine, and continuous sheet of paper ; and the same with Mr. William Machin and Mr. William Bourne, for printing flowers, figures, dr^c, in colours, by machine and continuous sheet of paper." John Potts, Richard Oliver, and William Wainwright Potts of New Derby, engravers to calico printers, patented in 1831 "An improved method or process of obtaining impressions from engravings in various colours, and applying the same to earthenware, porcelain, china, glass, &c. This consists in employing a cylinder printing machine, such as is generally used by calico printers, &c., &c. The necessity of determining the heat of the kiln during * This only refers to its introduction into Staffordshire ; see Fulham, where it was used fifty years before Astbury's time. POTTERY BURSLEM. WEDGWOODS. 477 the process of baking the ware, and of regulating it when necessary by the admission or exclusion of the external air, as it required to be of a lower or higher degree of temperature, was soon found to be a desideratum, and the Messrs. Thomas and John Wedgwood, about the year 1740, invented trial pieces made of prepared clay, which being placed in the kiln, indicated (although very imperfectly) the temperature. These trial pieces were from their form called pyrometrical beads," and were similar to small poppy heads out of which had been cut the calices or cups, and the colours these beads assumed when submitted to the different degrees of heat, was the test in firing the ware. Subsequently other pyrometers were invented, formed of metal rods, tobacco pipes, and glass tubes, which contracted or expanded according to the various degrees of heat, and eventually Josiah Wedgwood introduced a more perfect pyrometer, or measurer of heat himself. It is a curious circumstance in connexion with the marks on English earthenware, especially porcelain, that several manufactories should have adopted characters as marks which are used as chemical signs. This has probably arisen from the peculiar nature of the materials employed, or from some supposed affinity with the metals thereby implied. For example, the Plymouth mark of the sign of Jupiter (tin) was adopted, it is supposed, in consequence of the stanniferous nature of the clay employed. The triangle denoting fire was the mark used sometimes at Chelsea, or as some suppose at Bow. The signs of the planets Venus and Mercury (copper and quicksilver) is found on Bow porcelain. The sign of Mars (iron) is found on the Staffordshire iron-stone china. The sign of Luna (silver) is the mark of Worcester, and many of the workmen's marks given as being found upon Worcester porcelain bear a strong resemblance to others. For the sake of comparison with similar marks, so frequently found on china, we here annex a list of the chemical signs : — 478 POTTERY — BURSLEM. WEDGWOODS. J. X. Aer . Air. Saturn . . Lead. Terra • TT 01-4-1-1 Jti,artn. O Mars . . . Iron or Steel. A ^— i Ignis . . . Fire. % Venus . . Copper. X X Xi.UU.cl • • . vv aier. $ Mercury Quicksilver. vj Dies. . . . Day. Or Antimonium Antimony. ^ JNox . . Night. <3> Orichalcum . Brass. ^1 U Fumus . . . Smoke. Faeces Vini . Lees of Wine. 11=:^ Cineres . . . Ashes. © Albumen White of Egg. e Sal . . . . Salt. • * • • • Arena . . Sand. Cl) Sol . . . . Gold. Arsenicum . Arsenic. ^) Luna . . . Silver. Atramentum Ink. 2^ Jupiter . . . Tin. Greta . . Chalk. r"^^ Borax. The introduction into Staffordshire in 1720* of ground flint for making the white ware, and which paved the way for the manufacture of fine fayence, was of great impor- tance ; but the method of pounding the flints by manual labour, and afterwards passing the powder through fine lawn, was so tedious a process, and so injurious to the health of the workmen engaged, that a mill was invented by Thomas Ben- son, an engineer of Newcastle- under- Line. His first patent is dated November 5, 1726, which was followed by another in January, 1732, with certain alterations. The title is as follows : * It will be seen hereafter that calcined and ground flint was employed as early as 1689 by Dwight of Fulham. POTTERY BURSLEM. WEDGWOODS. 479 A.D. 1732, January 14. — No. 536. Benson, Thomas, Engineer. "A new engine or method for grinding of flint stones, being the chief ingredient used in making of white wares, such as pots and other vessels, a manufacture carried on in our county of Stafford, and some other parts of this our kingdom ; that the common method hitherto used in preparing the same hath been by breaking and pounding the stones dry, and afterwards sifting the powder through fine lawns, which hath proved very destructive to mankind, occasioned by the dust sucked into the body, which being of a ponderous nature, fixes so Tclosely upon the lungs that nothing can remove it, insomuch that it is very difficult to find persons to engage in the said manufacture, to the great detri- ment and decay of that branch of trade, which would othenvise, from the usefullness thereof, be of great benefit and advantage to our kingdom ; that by the petitioner's invention the flint stones are sprinkled with water, so that no dust can rise, and then ground as fine as sand with two large stones, made to turn round upon the edges by the power of a wheel, worked either by wind, water, or horses, which is afterwards conveyed into large stone pans, made circular, wherein are placed large stone balls, which, by the power of such wheels, are driven round with great velocity, that in a short space of time the flint stones so broken are reduced to an oily substance, which, by turning of a cock, empties itself into casks provided for that purpose ; that by this inven- tion all the hazards and inconveniences in making the said manufacture in the comon way will be effectually prevented, and in every particular tend to the manifest improvement and advantage thereof, and preserving the lives of our subjects employed therein." In the foregoing title is contained all the description given of the invention. CO Q O O O w X H hi ^> ^ CO 5: tu ^ O S i-i -5 ^ HI 5 !^ 5 c 1 .S lie 8 S ^11 :^ ^ > ^ u ^3 ^' Q IP < ^ cu 81 O o L •s CO • s s a ID „ ^ H o 2 o e o ^ ^ ^ § -o .S M O c -o on TD «) - "J ^ O -a Q oC5 ^ o *^ « .5 I h — S3 o S o o IF— f o s to O TD .-H vO « o 2 - m IT- ,00 o 00 , £ -a W Q ^ >-> _ ' u OO CD (J CAl t50-T3 !i~ ° y « "hp dj 3 "-CO ffi ^ " O O . o u erj h o< Q 1-1 oo 3 ^ S U o -o c 5 ^ oo J5 J .a o o > c • O OS o ^ CO ON ^ ^- i; ' c Pis ■ i » < S o pq OS 3 i-< ro £ - o « ^ r^oo o -c! vo E " - ° POTTERY — BURSLEM. WEDGWOODS. 48 1 BuRSLEM. John Wedgwood, eldest son of Thomas Wedg- wood and Margaret Shaw, born in 1654, had a pottery here, called the Upper House Works, but it was " not worked " when Josiah Wedgwood's list was made in 1710, as he died a few years before, viz. in 1705. He was the father of Catherine Wedgwood, who was thrice married, — ist, to her cousin, Richard Wedgwood ; 2nd, to Thomas Bourne ; 3rd, to Row- land Egerton. In the Museum of Geology, in Jermyn Street, there is an interesting relic of this John Wedgwood. It is a green glazed, brown earthenware puzzle jug, with pierced neck, the hollow channel running up the handle and round the mouth, on which there are three spouts, inscribed yohn Wedgwood, 1 69 1," round the body. BuRSLEM. The CImrchyard Works. It appears from the document drawn up by Josiah Wedgwood, that in 1710 his grandfather, Thomas, then occupied these works ; they des- cended to his eldest son Thomas, father of Josiah, and even- tually to Thomas, the elder brother of Josiah, in 1739, who also had the Overhouse works. It was at the Churchyard works that Josiah served his apprenticeship to his brother, which expired in 1 749. Some years afterwards these works were taken by Josiah, who carried them on together with the Bell works and the Ivy House. On his removal to Etruria they were occupied by his second cousin Joseph, who made jasper and other fine bodies for and under the direction of Josiah. About 1780 the latter purchased and conveyed them to his brother John, who in 1795 sold the property to Mr. Thomas Green. In 181 1 these works were purchased by a manufacturernamcd Joynson or Johnson, who in turn sold them to Mr. Mosely. About the year 1857 the Churchyard works were occupied by Messrs. Bridgwood and Clarke, who remodelled the buildings and erected others. Their manufactures are opaque porce- lain, known in America as wJiite granite, of the fmest and hardest quality; they also make artists' materials. Messrs. Bridgwood and Clarke have also extensive works at Tunstall, I I 482 POTTERY BURSLEM. WEDGWOODS. employing nearly 400 hands. The services bear the im- pressed mark of Bridgwood and Clarke," or a printed mark of the Royal Arms, and the words " Porcelain opaque, B. and C. Burslem." BuRSLEM. The Overhouse Works belonged for more than two centuries to the Wedgwood family. In 1756 it passed by in- heritance to Thomas, the elder brother of Josiah; at his death, in 1 772, it passed to his son Thomas, who did not enjoy it long, for he died in 1 786, leaving it to his son Thomas, who occu- pied it until his death in 1809, when the property was sold successively to Christopher Robinson, John Wood, and Mr. Challenor. The works were carried on early in the present century by Messrs. Goodfellow and Bath well, who were suc- ceeded by Mr. Challenor; in 1856 by Messrs. Morgan, Wil- liams and Co.; and in 1861 by Messrs. Allman, Broughton and Co., who mark their ware A. B. & Co., with or without Wedgwood Place, Burslem." Burslem. Dr. Thomas Wedgwood, of the Red Lion Works, at Burslem, so called from being next to an inn of that name, was son of the first Aaron Wedgwood: he was born in 1655, and manufactured the ordinary lead glazed ware of the day. Burslem. Dr. Thomas Wedgwood, jun., son of Dr. Thomas before named, carried on a potwork at a place called Ruffley's," in Burslem ; his name will be found in Wedgwood's list of potters in 17 10. He married Catherine, daughter of the first Thomas Wedgwood, of the Churchyard works. In addition to stoneware he made marbled, agate, cauliflower and melon ware in great perfection. He also paid great attention to the construction of moulds and the art of modelling. His ap- prentice, Aaron Wood, acquired celebrity for his cutting of moulds for the stamped ware. Burslem. Richard Wedgwood, son of the first Aaron Wedgwood, born in 1668; he was a potter in the " middle of the town," making stoneware, which, from the list (page 474), was one of the most important in 1710 — 1715. POTTERY BURSLEM. WEDGWOODS. 483 BuRSLEM. Aaron Wedgwood (the Second) of Brown Hills: established about 1688. He was son of Aaron, the sixth son of Gilbert Wedgwood and Mary Burslem. He was born in 1667, and married Mary Hollins; they both died in April, 1 743, and were buried on the same day. In Shaw's Chemistry of Pottery we find mentioned among the improvements in the manufacture of earthenware, that " the Crouch ware was first made of common potter's clay and grit from Moel Cop, and afterwards the grit and can-marl by A. Wedgwood, of Burslem, in 1690." His manufactory is included in the list of potters at Burslem, in 1710. This Crouch ware, made by Aaron Wedgwood, was a coarse sort of ware of brick clay and fine sand, covered with a salt glaze, which gradually superseded the lead glaze. The account given of this discovery is, that at Mr. Joseph Yates's, at Stanley, near Bagnall, the servant was preparing in an earthen vessel a salt ley for curing pork, and during her temporary absence the liquid boiled over and the sides of the earthen pipkin became red hot from intense heat, and when cold it had acquired an excellent glaze. The ovens employed for the purpose were large and lofty, and constructed with a scaffold round them, on which the fireman stood to cast in the salt through holes made in the upper part of the cylinder, the saggers having holes in their sides to allow the vapours of the salt to circulate freely and act upon the surfaces of all the vessels in the oven. In 1700 twenty-two ovens were em- ployed in Burslem ; they were usually fired on Thursday night, finishing about mid-day on Saturday, and from 8 o'clock until 1 2 on that morning, at which time the salt was cast upon the ware, the dense white cloud arising from the " firing up " so completely enveloped the town as to cause persons to run against each other in the streets, not unlike the smoke of Etna or Vesuvius. Burslem. Aaron Wedgwood (the third) succeeded his father about 1743, at Burslem. There is an interesting memorandum in the handwriting of Enoch Wood, the late I I 2 484 POTTERY — BURSLEM. WEDGWOODS. eminent potter, attached to an experimental piece of porcelain in the Hanley Museum, made by William Littler, brother-in- law of Aaron Wedgwood : " This was given to Enoch Wood by William Fletcher, in January, 1 809. He informs me he remembers it being made by Mr. William Littler, at Long- ton, near Stoke, about fifty-five years ago, say in the year 1754. It has never been out of his possession during that time, and is highly valued. This Fletcher says he used to work at the ' Churchyard Works,' and made balls for two of the throwers at the same time, namely, Richard Wedgwood and Josiah Wedgwood, both of whom worked in one room for their father, who was owner of the works. William Fletcher was in my employ during part of the last years of his life, and said he was about the same age and size as Josiah Wedgwood, and generally had his old clothes because they fitted him well." — E. Wood. William Littler and Aaron Wedgwood made many experi- ments in the manufacture of porcelain, which are said to have been very successful both in the body and in the glaze. In Shaw's enumeration of the order, in which various materials were introduced into Staffordshire, we find, Aaron Wedg- wood, red lead, and William Littler, calcined bone eaidh; a pint of red lead in powder to each bushel of salt formed a fine fluid glaze, and the calcined bones gave transparency to the ware, but their experiments occasioned heavy losses, and the manufacture was discontinued." Aaron's son Thomas, born 1734, was partner with Josiah Wedgwood. BuRSLEM. Thomas and John Wedgwood of the Big House " were sons of the second Aaron Wedgwood, by his wife, Mary Hollins: Thomas born 1703, John born 1705. About the year 1740 it is said the two brothers left their father's employ and commenced the manufacture of white stoneware upon their own account. They subsequently built a new and commodious manufactory. In 1750 they erected a large dwelling house, adjoining their manufactory, w^hich so far exceeded the other houses in point of size, that it was called the Big House." In 1769 these gentlemen retired from business with ample fortunes, and Josiah took possession of the premises. BuRSLEM. Hill Works. Ralph Wedgwood (about 1 790) POTTERY — BURSLEM. WEDGWOODS. He was the son of Thomas Wedgwood, partner of Josiah, in the manufacture of Queen's ware, and was brought up with his father at Etruria ; he was born in i 766. He was a man of great abiHty, and originator of many scientific inventions. He carried on business as a potter at the Hill Works, Burslem, under the style of Wedgwood & Co., but was ruined through losses during the American war. In 1796 he took out three patents. The first was a " new discovered and invented method of making earthenware, whereby articles may be made at a less cost than hitherto, to the great advantage of the manufacturer thereof and of the public." This consists " in casing over inferior compositions with compositions com- monly used for making cream coloured ware, white ware or china ;" thick bats or " laminae " of the inferior being covered on each side with thin bats of the superior clay, &c. The second was for making glass upon new principles, composed of alkaline salts or borax in a state of solution, into which were cast pieces of china or earthenware pitchers, pieces of clay heated red hot ; to these were added calcareous earth, slacked in a solution of borax, siliceous earths, &c." The third was a newly invented stove, " calculated principally for the use of manufacturers of earthenware and china," and " con- sisting in part of a potter's oven of any shape or size, with the fire places situated within, and adjoining to the interior diameter of the exterior walls, or under the bottom," instead of being placed, as was usual, outside. In 1796 he removed into Yorkshire, where, having entered into partnership with some other potters, he again commenced business at Ferry Bridge. In 1806 he established himself at Charing Cross, and patented his invention of the " Manifold Writer," and intently applied himself in perfecting his scheme of an electric tele- graph, and tried to induce the Government to assist him, with- out success. In 18 14 he applied to Lord Castlereagh, who told him that " the war being over the old system was suffi- cient for the country." In more enlightened times Professor Wheatstone again brought forward the subject, and it became eminently successful. He died at Chelsea in 1837. 486 POTTERY BURSLEM. WEDGWOODS. BuRSLEM AND Etruria. Josiah Wedgwood was born in August, 1 730, at Burslem ; he was the youngest of thirteen children. His father, Thomas Wedgwood, died in 1739, when Josiah was only nine years old. His eldest brother, Thomas, succeeded his father in business as a potter, and Josiah was bound apprentice to him in November, 1744, being then fourteen years old ; the indenture binding him to his brother Thomas for five years, is preserved in the Mu- seum of the Hanley Mechanics' Institution, and is signed by himself, his mother, and his brother Thomas, attested by Samuel Astbury and Abner Wedgwood. During his appren- ticeship he was seized with a violent attack of the small pox, and was laid up for a considerable period ; although he re- covered, the disease left a humour which settled in his leg ; this disorder continued with him until manhood, when in con- sequence of a bruise on his leg, which aggravated his com- plaint and settled in his knee so as to endanger his life, he was advised to have his leg amputated, which he submitted to in the thirty-fourth year of his age. In 1 748 he lost his mother. His apprenticeship expired in 1749, but he remained with his brother a few years longer, and then left home to manufacture knife handles, imitation agate, tortoiseshell small wares, &c. at Stoke, where, in 1752, he entered into partnership with John Harrison, of Stoke-upon-Trent, in a pot work belonging to Thomas Alders, but in two years they separated. In 1754 Josiah Wedgwood went into partnership with Thos. Whieldon, of Fenton Low, one of the most eminent potters of his day, and they remained together at this place for five years. Their principal manufactures were tortoiseshell plates and dishes, cauliflower jugs, tea pots with crab stock handles, imitation agate knife handles, snuff boxes, &c. While here Wedgwood succeeded in producing that fine green glaze which covered dessert plates and dishes in imitation of leaves and fruit. The partnership expired in 1759, and Josiah Wedgwood immedi- ately returned to his native town of Burslem, and at twenty- nine years of age commenced business entirely on his own account at the Churchyard Works, where he was born and POTTERY BURSLEM. WEDGWOODS. 487 apprenticed ; he also shortly after took other premises in the middle of the town, called " The Ivy House Works." Here he set himself earnestly to work, improving the manufacture of pottery, and soon became so successful that he was com- pelled to enlarge his establishment; his principal products were ornamental flower vases, green glazed dessert services, &c. In 1759 he entered into an arrangement with his second cousin, Thomas Wedgwood, to take him as journeyman on the following terms : — " Memorandum of Agreement between Josiah Wedgwood, of the parish of Stoke, in the county of Stafford, potter, and Thomas Wedgwood, journeyman, now hving at the city of Worcester, potter. The said Thomas Wedgwood engageth to serve the said Josiah Wedgwood as a journeyman from the ist of ^^7' 7759» to the i ith November, 1765, and is to receive of the said Josiah Wedgwood Twenty-two pounds of lawfull money for every year's service. (Signed) Josiah Wedgwood, Thomas Wedgwood." He was an excellent potter, having gained his experience in the Porcelain Works at Worcester at a time when great at- tention was paid to the execution and finish of the ware. He has the reputation of being the inventor of the Electric Tele- graph, so ably carried out by his son Ralph. In 1762 Josiah produced his fine cream-coloured ware, and in 1763 he took possession of the premises of John and Thomas Wedgwood, of the Big House. In 1764, being then in his 34th year, he married, at Astbury Church, his cousin, Sarah Wedgwood, by whom he had four sons and four daughters. In i 765 he made a tea service for Queen Charlotte ; it was gold outside, with raised green flowers. The manufacture of Queen s ware having increased enor- mously, he took into partnership his cousin, Thomas Wedg- wood, who had, since 1759, had the superintendence of that particular branch; this was about 1765. He was a man of high scientific attainments, son of the third Aaron Wedgwood, of Burslem, potter, and was born in 1 734. Wedgwood also produced about this date a sort of red china engincd, formed of the same fine ochreous clay used by the Elers nearly a century before ; it required no glaze, 488 POTTERY BURSLEM. WEDGWOODS. except what it received from friction on the wheel and lathe, its chief beauty was derived from the form and the manifold effects of the turner s lathe ; it was made into tea and coffee pots and services. This manufacture was not confined to Wedgwood ; Henry Palmer, of Hanley, and Bad- deley, of Shelton, made a vast amount of it. In 1766 he produced his celebrated basaltes or black Egyptian ware. His brother, John Wedgwood (nine years his senior), who resided at the sign of the Artichoke, in Cateaton Street, greatly assisted him in his export and retail business until his death in 1767, which happened by his slipping into the river, where he was found the next morning, whether accidentally drowned or not, was never known. In 1768 Josiah took Thomas Bentley into partnership to assist him in the ornamental branches of his extensive manu- factures, as Thomas Wedgwood was in relation to the Queen's ware or useful branches. This gentleman had been the agent of Josiah Wedgwood for some years at Liverpool, of the firm of Bentley and Boardman. He was born at Scrapton, in Derbyshire, on Jan. i, 1730. Josiah Wedgwood, in the County of Stafford, potter to Her Majesty the Queen;" took out a patent for encaustic painting, which is here given : — "a.d. 1769, November 16. "Wedgwood, Josiah. — * The purpose of ornamenting earthen and porce- laine ware with an encaustic gold bronze, together with a peculiar species of encaustic painting in various colours in imitation of the antient Etruscan and Roman earthenware.' In carrying out this invention, the patentee first pre- pares ' ten ingredients,' among which is * bronze powder ;' some of these are one chemical substance, whilst others are composed mostly of several chemi- cal substances in certain proportion, and generally calcined together. The substances used are ayoree, a white earth in North America, gold, aqua regia, copper, oxide of antimony, tin ashes (oxide of tin), white and red lead, smalts, borax, nitre, copperas, flint, manganese and zaffer. By mixing these * ingre- dients,' with the exception of the bronze powder, in different proportions, he obtains several colours, which he names as follows : — red, orange, dry black, white, green, blue, yellow, and he produces another colour, which he names shining black, by mixing some of these ingredients and one of the colours, namely the green," &c. POTTERY — ETRURTA. WEDGWOOD. 489 Etruria. In 1769 the new manufactory at Etruria was opened, and on the 13th of June Wedgwood's first productions were thrown; having, as we have seen, taken out his patent for the encaustic painting on Etruscan vases (the only invention he ever secured by patent). To commemorate the opening of the works, he inscribed on some of these elegant vases the following appropriate record : — " June XIII, MDCCLxix. One of the first day's productions at Etruria, in Staffordshire, by Wedgwood and Bentley. ''Artes Etruriae renascentur." Three of these vases are still preserved by Mr. Francis Wedgwood, of Barlaston; they are of basaltes, ornamented with encaustic paintings of classical subjects, \o\ in. high. A remarkable circumstance connected with these vases is re- corded in the History of the Borough of Stoke, that Wedg- wood himself threw the first specimens of the black Etruscan vases while Bentley turned the lathe. The colours employed in his encaustic paintings were principally derived from oxides of iron. Dr. Bancroft in his Philosophy of Permane7it Colours^ says, I remember having been told by Mr. Wedgwood that nearly all the fine diversified colours applied to his pottery were produced only by oxides of this single metal." Mr. Bentley resided in London, and a branch establishment was opened at Chelsea, about 1770, for finishing and painting the best pieces; both these were under his immediate super- intendence. In 1773 another improvement was made, which was called '* a fine white terra cotta, of great beauty and delicacy, proper for cameos, portraits and bas-reliefs;" this was the forerunner of the jasper ware, which became, by constant attention and improvement, the most beautiful of all Wedgwood's pro- ductions. About the year 1776 the beautiful solid jasper ware was invented, which, however, attained its greatest per- fection ten years later, consequently it may be observed that the pieces signed Wedgwood and Bentley " have not that delicate colour and semi transparency which after Bentley 's death they had acquired. In the manufacture of this beautiful 490 POTTERY — ETRURIA. WEDGWOOD. jasper ware Wedgwood largely employed sulphate of barytes, • and for a long time derived great profits, none of the work- men having any idea of the nature of the material upon which they were operating, until a letter containing a bill of parcels of a quantity of the article fell unfortunately into the hands of a dishonest servant, who told the secret and deprived the in- ventor for ever of that particular source of emolument ; for when the same article was made by those who employed in- ferior workmen, to whom they did not pay one-fourth of the salary given by Wedgwood, the price of jasper ware became so reduced that he was unable to employ those exquisite modellers whom he had formerly engaged to superintend that branch of the manufacture. — [Parkes). The blue jasper was produced by adding to the mixture of clays oxide of cobalt in proportions, varying from one-third of a part to one part in every hundred, according to the depth of tint required. The green jasper was obtained by the admixture of protoxide of chrome. The white figures and cameos of the early Wedg- wood are made of a kind of soft porcelain, called white body of jasper, the composition of which is said to be as follows: ten of native sulphate of barytes, ten of blue clay, five of burnt bones, and two of flint. The Empress Catherine II. of Russia, a great patroness of the ceramic art, had a remarkable service of Wedgwood ware made for her Grenouilliere Palace near St. Petersburg. This splendid service was commenced in April, 1773, and had upwards of 1,200 views of the seats of noblemen and gentle- men in England, and a green frog was painted underneath each piece. The form chosen was the Royal pattern, and was made of the ordinary cream- colour ware with a delicate saffron tint. The views were in purple camaieu, bordered with a gadroon pattern in Indian ink, and round the edge a running wreath of mauve flowers and green leaves. The two services for dinner and dessert consisted of 952 pieces, had 1,244 enamel views, which cost on an average 21s. each, the borders and frogs to each about 15s. more; making the entire cost, with ;^*5i. 8s. 4d. for the cream ware itself, a total of POTTERY ETRURIA. WEDGWOOD. 49 I ;^2,359. 2s. id., without calculating many extras. . The price ultimately paid by the Empress was stated to be ^3,000. In June, 1774, the service was sufficiently completed to exhibit it at the New Rooms in Portland House, Greek Street, Soho, No. 12, where it remained on show for nearly two months. The Empress showed it to Lord Malmesbury when he visited the Grenouilliere in 1779. A cup and saucer of the same pattern, withoict the frog, is preserved in the Museum of Mr. Joseph Mayer of Liverpool, and is figured in Meteyard's Life and Works of Wedgwood, vol. ii., p. 296. Although Josiah Wedgwood never turned his attention to the manufacture of porcelain in imitation of the Oriental in a commercial point of view, he made many experiments. Byerley made china in 1808. We read in the Gentleman s Magazine, vol. xlvi., page 350, that in the year 1776 Mr. J. Bradley Blake, a resident of Canton, brought to England and presented to Mr. Samuel More, Secretary to the Society of Arts, specimens of the earths, clay, stone, sand and other materials used by the Chinese in making the true Nankin porcelain, which he placed in the hands of Mr. Josiah Wedg- wood, the most celebrated potter of this country. This in- genious artist, from the materials, produced some pieces of excellent porcelain, and declared them to be so complete a set of specimens, and yet so simple, as beyond a doubt to be the true porcelain materials, desiring nothing more than a larger quantity to distribute among the different counties of England, in order that they might search for the like materials, and wishing further information of the nature of the land where they were found, and what mines or minerals accompanied them, plans and sections of the kilns, &:c. Mr. Blake's death, which happened shortly after his arrival, prevented any further investigations at that time. In 1780, on the 26th November, Thomas Bentley, the friend and partner of Josiah Wedgwood, died at his residence at Turnham Green; and on the 3rd December, 1 781, the stock of Wedgwood and Bentley, their joint property) which did 492 POTTERY — ETRURIA. WEDGWOOD. not include the Queen's ware) was sold by auction by Messrs. Christie and Ansell, the sale occupying two days. The several divisions were as follows: — bouquetieres and myrtle pans ; ecritoires, ink pots, &c. ; tea pots, &c. ; ornamental vases in imitation of crystalline stones and in basal tes; painted Etruscan vases ; bas reliefs in jasper for chimney pieces ; busts in basal tes; statues, figures, candelabra, &c. for chimney ornaments; seals in basal tes, lamps, &c. ; medallions in ba- saltes; encaustic paintings. The encaustic paintings in sets of five, brought from ^2. to £iS''^ t>as reliefs in sets, consisting of the tablet, frieze and blocks, from ^3, to ^10.; black seals averaged 8s. per dozen; busts 30s. to 70s.; vases in imitation of marbles, the set of five, 40s. to 60s. ; one large vase with bas reliefs, 5 ft. high, bought by Nixon, ;^20. 9s.; large cameo medallions, 15s. to 30s. each; tea pots, 42s. per dozen. The principal buyers were — Flaxman, who was a large purchaser; as also was Nixon, Sir Harbord Harbord, the Duke of Devonshire, Sir Thomas Rumbold, Sir T. Gascoyne, Sir Jos. Banks, Sir H. Englefield, Counsellor Dagge, Mrs,. Byng, Mr. Spode, Mrs. Moody, &c. The modelling bills for the years 1770, 1771, and 1772, are missing, and even those of 1773, 1774, and 1775, which we here quote are undoubtedly but a small part of the whole, but they permit us to individualize many well known and interesting objects. {Mayer MSS. Meteyard's Life of Wedg- wood, vol. ii. page 324 to 326.) 1773. Hoskins and Grant for plaster casts prepared to mould from. Busts of Zeno, Pindar, Faustina, Germanicus, Antoninus Pius, Seneca, Augustus, Cato, Marcus Aurelius, Homer, Antinous, Solon, Plato, at 21s. each. Inigo Jones; Palladio ; Epicurus; Marcus Brutus; and Junius Brutus, 25s. each; Venus de Medicis, 15s.; Minerva, 12s.; Agrippina, 1 2s. ; Large Marcus Aurelius, £,1. 1 is. 6d. ; 4 ovals of the Elements, i6s. ; Tablet of Cupid and Psyche, 7s. ; Sphinx and Lyre, 6s. 1775. Hoskins and Grant. Two busts of the M^onna, in pairs; Swift and Milton ; Virgil and Horace ; Galen and Hippocrates ; Sappho and Vestal ; Spencer and Chaucer ; Addison and Pope ; Locke and Newton ; Dryden and Dr. Johnson; Demosthenes and Democritus ; Ben Jonson and Sir W. Raleigh; Prior and Congreve ; Beaumont and Fletcher ; Seneca and Cicero ; Marc POTTERY ETRURIA. WEDGWOOD. 493 Antony and Cleopatra; Julia; all these at los. 6d. and 12s. 6d. each. Larger busts of Bacon and Boyle, 50s. the pair ; Harvey and Newton, 50s. ; Socrates, 15s. ; Venus and Adonis, 15s. the pair. 1779. Large bust of Bacchus, 42s. ; ditto Ariadne, 31s. 6d. ; Vase, 31s. 6d. ; large antique bust of Mercury, 21s.; ditto Alexander, 42s.; two busts of Shakespeare and Garrick, 36s. ; six bas relief figures, 63s. ; two figures, Zingara and Chrispagnia, 42s.; cast of an oval Psyche and Cupid, 52s. 6d. ; cast of the Aurora and a small tablet, 21s.; sitting figure of Venus, 42s.; mould of Sterne, 42s. ; sitting figure of Mercury, 42s. ; bust of Julius Caesar, 14s.* Webber, a modeller of uncommon ability, was strongly re- commended to Wedgwood by Sir W. Chambers and Sir J. Reynolds, and shortly after the death of Mr. Bentley he took the management of the Ornamental Department, about 1782. In June 1786 when Wedgwood acquired the loan of the Portland Vase, Webber was engaged in modelling a copy of it, which he seems to have completed in 1787, and in the autumn of the same year visited Italy in company of Wedg- wood's eldest son. While there he engaged a first-rate artist named Angelo Dalmazzoni, and several other artists to work under him in copying the fine works of art in that country. Webber himself assisted in making copies at the Museum Capitolinum, and took sketches of everything of interest that came in his way, The bas reliefs which we can safely attribute to him are : a Triumph of Mars, a boy leaning on his quiver with doves, a cupid drawing his dart, Hebe (the companion), Apollo and Daphne, Cupid, a sacrifice to Hymen, a sacrifice to Concordia, medallion of Hope addressing Peace, Labour and Plenty. He also modelled vases, cups, chimney- pieces, &c., &c. Flaxman was engaged by Wedgwood and Bentley as early as 1775, and he continued furnishing them with drawings and models up to the time of his departure for Rome in 1787. After Bentley's death in 1 780 his fame as a sculptor procured him other more important and lucrative work, but still as time * "All these busts," Wedgwood says in a letter to Bentley, August 1774, "are much better finished than the plaster casts or models we take them from. Hackwood bestows a week upon each head in restoring it to what we suppose it was when it came out of the hands of the Statuary, Pray do not let our labour be unobserved when they arc under your care. It is a fortnight's work to prepare and mould one of these heads." 494 POTTERY — ETRURIA. WEDGWOOD. permitted he worked for Wedgwood, as the cheques and receipts in the Mayer MSS. testify. Many of the bills are also preserved, and we quote them to show what subjects he executed, and the prices he received for some of them. (See Miss Meteyard's Life of Wedgwood) The first bill is dated 1775 which time he worked for his father. A pair of vases, one with a Satyr, the other with a Triton handle, 3 guineas ; bas reliefs of the Muses and Apollo \ Hercules and the lion ; Hercules and the boar ; Hercules and Cerberus ; Bacchus and Ariadne ; Jupiter ; Juno ; Minerva ; Justice and Hope ; for each of these he received los. 6d. Tablet of the four Seasons, j[^2 2s. Subsequently he produced a tablet of Silenus ; Two Fauns ; The figure of Day ; a set of models of the English Poets, for which he received los. 6d. each, were executed in 1777. A Sacrifice to Pan ; The Dancing Hours ; Greek Heads ; The marriage of Cupid and Psyche ; The Apotheosis of Homer ; The Apotheosis of Virgil ; Boys and goat ; Triumph of Ariadne ; Homer and Hesiod \ an offering to Flora, and a Bacchanalian Sacrifice.* In 1 78 1 we find a bill for a shell Venus, 25s. ; a Bacchante, 25s. ; moulding a Turin, i8s. ; Cast of a fragment by Phidias, los. 6d. In 1783. A figure of a fool for chess, 25s. ; A bas relief of boys in wax, OS. 6d. ; 3 drawings for the Manufacturer's Arms, 20s.; Three days employed in drawing Bas-reliefs, &c., ^^3. 3s. ; Bas-reliefs of Octavia and Volumnia entreating Coriolanus, 9s. ; Drawing of Chessmen, 6s. \ Drawing of a Chimney piece, los. 6d. ; Model of Peace preventing Mars from bursting the door of Janus' Temple, 1 5 guineas ; a model of Mercury uniting the hands of England and France, 13 guineas ; Bas-relief of Hercules in the Hesperian Garden, £^2y, small bas-reliefs for Tea-pots, Mugs, &c. ; Children playing at marbles ; Blindman's Buff ; Cupids at play ; Triumph of Cupid ; Cupid sacrificing to Hymen ; Triumphal Procession of Cupids ; Bust of Mercury ; The Muses watering Pegasus on Mount Helicon. The following portraits are by Flaxman : — Mr. Banks, 42s. \ Dr. Solander, Lord Chatham, Rousseau, and Sterne, i6s. ; a bust of Dr. Fothergill, 24s. ; a bust of Mrs. Siddons, 31s. 6d. ; Portrait of Dr. Herschel, 42s. ; model in wax of Captain Cooke, 42s. ; Dr. Johnson, 42s. ; C. Jenkinson, Esq., 42s. ; Governor Hastings, 63s. ; King of Sweden, 42s. ; Mr. and Mrs. Meermans, 5 guineas ; Sir Joshua Reynolds, Josiah Wedgwood, Mrs. Wedgwood, and Sir W. Hamilton. When Flaxman went to Italy in 1787, he arranged to * The latter, with others, seem to have been adapted to chimney-piece tablets, and one of the largest known is 23 inches by inches. Engraved in Miss Meteyard's Z//^^ Wedgwood^ vol. ii, page 368, from the Collection of Mr. John J. Bagshawe, of Sheffield, POTTERY ETRURIA. WEDGWOOD. 495 execute, occasionally, when his other engagements permitted, some models for Wedgwood, but principally to suggest, over- look, and give finishing touches, to the works of such artists as were employed expressly in copying from the antique, under the direction of Angelo Dalmazzoni. John de Vaere was a friend of Flaxman's, and was sent to Rome by Wedg- wood at a salary; he returned to England prior to Wedgwood's death, and succeeded Webber at the ornamental works, Etruria. Some of his works were Proserpine ; copy of the Borghese Vase; Discovery of Achilles; Judgment of Paris, &c., &c. Italian Artists. (From letters and accounts of Dalmazzoni, Mayer MSS.), Pacetti's works were very numerous ; Figures reclining over the Muses ; Figures from Homer ; Copies from Herculaneum ; Copies from bas reliefs in the Museo Capitolino ; Priam kneeling before Achilles begging the body of his son Hector ; The fable of Prometheus ; Luna, Diana, and Hecate ; Esculapius and Hygeia ; a Faun with three Spartan Bacchantes ; Endymion sleeping on the rock Latmos ; Marcus Aurelius and Commodus ; Apotheosis of Faustina ; a series of the Life of Achilles, &c. ; The Sacrifice of Iphigenia, &c. Angelini's work were — Apollo with the muse Erato ; Pluto and Proserpine : The fable of Meleager ; Apotheosis of a young Prince ; two Fauns ; two Bacchantes ; Silenus ; The Elysian fields, &c. Fratoddi and Mangiarotti were cameo engravers; they copied on shells some of the finest antique gems. Manzolini and Cades were also artists employed by Dalmazzoni for Wedgwood at Rome. The greater part of the models were procured from Italy, and the large majority of tablets and medallions assigned to Flaxman were in reality the work of other artists. The models which came from Rome were executed in red wax on fine slates, of which casts were also sent by a separate con- veyance, in case of loss or damage during the transit. About twelve years since, a number of these original tablets were offered for sale to the author, by a member of the family. They were at that time packed in separate wooden cases with the name of the artist upon each case, being all Italian. Having first offered these most interesting objects to our National Museum, they were declined, and they are at present in the possession of a gentleman who thoroughly appreciates 49^ POTTERY ETRURIA. WEDGWOOD. such works of art. They are now handsomely framed, but it is to be hoped the artists' names are duly preserved. Dr. Shaw says that Flaxman employed Mr. Jn°. Lucock, and that he in November 1836 shewed him and a friend, his account for work done for Flaxman for Wedgwood. In the year 1785 Wedgwood introduced a ''jasper dip,' in which the white clay vessels were dipped and received a coating of jasper, instead of being as hitherto of that body throughout. This description of jasper ware was almost uni- versally adopted after 1785 down to 1858, when the solid jasper was revived. Its adoption rendered an increase of price necessary, as we see by the following extract from his Correspondence: "The new jasper, white within, will be the only sort made in future ; but as the workmanship is nearly double, the price must be raised. I think it must be about 20 per cent." Nov. 21, 1785. Wedgwood also invented an iridescent glaze like mother of pearl, of which he usually made dessert services, the pieces being in form of shells of great variety, the nautilus, &c. In April 1787, the Portland Museum, the property of Mar- garet Cavendish, Duchess Dowager of Portland, was sold by Auction by Messrs. Skinner & Co., at her house, in Privy Gardens, Whitehall, by order of the acting executrix, and continued for 37 days. The collection was extremely rich in natural history, conchology, mineralogy, &c. ; this portion occupied 30 days, articles of vertu, 7. The sale concluded with the celebrated Barberini vase, which was purchased of the Barberini family by Sir William Hamilton, who sold it to the Duchess of Portland. It is thus described in the Catalogue, lot 4155 : " The most celebrated antique vase, or sepulchral urn, from the Barberini Cabinet at Rome. It is the identical urn which contained the ashes of the Roman Emperor, Alex- ander Severus, and his mother Mammea, which was deposited in the earth about the year 235 after Christ, and was dug up by order of Pope Barberini, named Urban VIII, between the years 1623 and 1644. The materials of which it is composed POTTERY — ETRURIA. WEDGWOOD. 497 emulate an onyx, the ground is of a rich transparent amethystine colour, and the snowy figures which adorn it are in bas relief, of workmanship above all encomium, and such as cannot but excite in us the highest idea of the arts of the Ancients. Its dimensions are gfin. high and 2i|:in. in circumference," &c. This gem of ancient art was composed of glass of two strata, dark blue and opaque white, the surface being cut from the solid in the same manner as an antique onyx cameo, and Wedgwood in his enthusiasm for his art, desired to become the possessor for the purpose of reproducing it in his jasper ware. He hastened to the sale resolved upon its purchase, but was doomed to disappointment, for the Duchess of Portland as eagerly opposed him until the biddings reached to looo guineas, when her Grace, upon being informed of the motive of Wedgwood's opposition, the loan of the vase was offered on condition of his withdrawing from the contest, to which arrangement he acceded. Wedgwood immediately set to work to produce a copy of this gem, and devoted all his energies to do justice to the task, at great labour and expense, employing only the most skilful workmen. The body used for his copy was jasper, apparently black, but with the slightest possible tinge of blue ; it was in Wedgwood's own words "A mixture of blue and black, and then dipped in black;" the figures being modelled and cut to the utmost degree of sharpness and finish by the gem engraver. Eventually he produced fifty copies which were sold to subscribers at fifty guineas each, but his expendi- ture considerably exceeded that amount. Mr. Parkes, in his Chemical Essays, says that he paid Mr. Webber alone 500 guineas for making the model, not being allowed to mould it lest it should sustain any injury. From a note in Wedgwood's catalogue of 1 788, it appears that the subscription copies were not entirely completed then, and it was not till 1 790 that they were actually issued. The original moulds are still in existence, and have frequently been used by his successors, both in black and deep blue, but from their finish are easily distinguishable K K 498 POTTERY ETRURIA. WEDGWOOD. from the " fifty." It is asserted by some that Wedgwood did not complete more than half that number, and only those with pencilled figures at the bottom of the vases are originals. Copies of this vase (of the first issue) are in the British and S. Kensington Museums, and in the Collections of Messrs. Addington, H. T. Hope, Apsley Pellatt, Marjoribanks, Mayer of Liverpool, F. Wedgwood, Isaac Falcke, and Mrs. Preston, and many others are extant. Miss Meteyard says, a mould of the vase had been previously made by Pichler the gem engraver, whilst it was in the possession of the Barberini family, and from this, on its first arrival in England, a certain number of copies were taken in plaster of Paris by Tassie, who afterwards destroyed the mould. These are now of extreme rarity ; one is . said to be in the possession of Dr. Kendrick of Warrington. The principal inventions of Wedgwood which were at this time in the greatest state of perfection, were : 1. The cream-coloured table ware, afterwards queen's ware. 2. Terra-cotta, meant to represent porphyry, granite, &c. 3. Basaltes or Black Egyptian ware, imitation bronzes, &c. 4. White porcelain biscuits. 5. Bamboo, a cream-coloured porcelain biscuit. 6. Jasper, a porcelain that would receive throughout its whole substance, from the mixture of metallic oxides, the same colours as they would communicate to glass or enamels in fusion, very applicable to the production of cameos, portraits, &c., that require to be shewn in bas- relief, since the ground can be made of any colour, while the raised parts are pure white. 7. A porcelain biscuit, exceedingly hard, resisting the strongest acids or corrosive substances, very useful in laboratories, and for mortars. In Wedgwood's Catalogue of antique ornaments, &c., pub- lished in 1788, in French and English, he gives the following notification of his productions, which gives an idea of the great variety of models of all kinds employed at his vast manufactory at Etruria, the importance of which has not been surpassed, either at Sevres or Dresden. Independent of numerous models of lamps, candelabra, cabarets, flower vases, Etruscan vases, plaques, &c., there were about 2300 models POTTERY — ETRURIA. WEDGWOOD. 499 of statuettes, gems, &c. The impressions of antique gems were copied from the originals, lent to him for the purpose. He divides the different species of his fabrication into six, the varieties, before noted, and the forms into classes, in the fol- lowing order : — Class I. Cameos atid Intaglios. Egyptian Mythology, 13; Greek and Roman Mythology, 220; Sacrifices, 11; Portraits of Philosophers, Poets and Orators, 46 ; Macedon, 25; Fabulous Subjects of Greece, 22; Trojan War, 25 ; Roman History, 180; Masks and Chimerse, 13; Portraits of Illustrious Men, 81 ; Intaglios, 392. Class II. Bas-reliefs, Cameo Medallions a?id Tablets, chiefly of Classical Subjects, 275, varying from 3 in. diameter to 18. Class III. Kings and Illustrious Fersofis of Asia, Egypt, and Greece, 108. Class IV. Romaii History Medals, after Dassier, 60. Class V. Busts of Illustrious I^omans, sizes 2 ft. by i|, 3 by 2 \, and 4 by 3 in. Class VI. The Twelve Casars and their Empresses, four sizes, 24. Class VII. Emperors from Nerva to Constantine the Great, 64 portraits. Class VIII. Busts of the Popes, from Dassier's medals, 253 pieces. Class IX. The Kings of England, 36 ; and Kings of Era f ice, 67 ; of various sizes. Class X. Heads of Illustrious Englishmen — Poets,. Painters, Philosophers, Artists, Divines, Princes and Statesmen, 228. Class XI. Busts, Statuettes and Animals in black basalt, in imitation of bronze, 130. Class XII. Lamps a7id Candelabra, after antique models of various kinds and patterns. Class XIII. Cabarets, or Tea and Coffee Sendees, in bamboo, basalt and jasper of two colours, enriched with ornaments. Class XIV. Flower Pots. Class XV. Ornafnental Vases of antique forms, of every variety, polished not glazed, imitating porphyry, agate, jasper and other variegated stones of the vitrescent or crystalline kind, with handles, bas-reliefs, &c. Class XVI. Antique Vases, of black basalt, highly finished, with bas-relief ornaments. Class XVII. Painted Etruscan Vases, Paterae, 6^c, C lass XX. Thermometers, for ascertaining degrees of heat, &c. . K K 2 500 POTTERY ETRURIA. WEDGWOOD. A celebrated painter, named Stubbs, is also mentioned in this catalogue as a painter on enamel, whose plaques of the size of 36 inches were exhibited in the Royal Academy. He was a painter of animals, born at Liverpool in 1 736, and died in 1806. The catalogue finishes by observing that all these, as well as the Queen's ware for table and tea services, were to be 'obtained at his magazine, in Greek Street, Soho, which was called Portland House, or at the manufactory, Etruria, Staffordshire. The Treaty of Commerce between England and France was concluded about this time (1790), by which English ware might be imported into France and the French china into England, on certain conditions. This was of immense benefit to English potters, and to none more than Josiah Wedgwood, whose beautiful products were in such great request on the Continent. France became therefore inundated with every description of English pottery, which could be produced here at a cheaper rate, having all the materials at hand, and the price of lead and tin, which came principally from England, was greatly increased abroad. The manufacturers in France were up in arms when they found the result so prejudicial to them, and petitions were presented against the Treaty to the National Assembly, stating their grievances, (see page 154). In consequence of this, a great many of the French potters were ruined and their works entirely ceased. In 1792 a similar treaty was made with Saxony, viz., to admit English pottery into that country, provided England would allow the importation of their porcelain at a duty of about 1 2 per cent. This was of course of far greater advan- tage to the makers of earthenware than to the makers of porcelain, as the latter could not compete with the Royal manufactory of Dresden and other German States, and was therefore strenuously opposed by them. The treaty was sup- posed to have been promoted by Wedgwood himself, who would necessarily be the greatest gainer. An intelligent foreigner, M. Faujas de Saint Fond, speaking of this ware, {Travels in England and Scotland), says "Its POTTERY ETRURIA. WEDGWOOD. 5OI excellent workmanship, its solidity, the advantage which it possesses' of sustaining the action of fire, its fine glaze im- penetrable to acids, the beauty and convenience of its form, and the cheapness of its price, has given rise to a commerce so active and so universal, that in travelling from Paris to Petersburg, from Amsterdam to the furthest part of Sweden, and from Dunkirk to the extremity of the South of France, one is served at every inn with English ware. Spain, Portugal, and Italy are supplied, and vessels are loaded with it for the East and West Indies and the Continent of America." Thomas Wedgwood, the relative and partner of Josiah, died in October, 1788. In the obituary of the Gentlernaii s Maga- zine for that year we find At Etruria, Thomas Wedgwood, Esq., partner with Josiah in the manufactory of Queen's ware there." His eldest son Ralph was born in 1766. On the 1 8th January, 1790, Josiah Wedgwood took his three sons, John, Josiah, and Thomas, and his nephew, Thomas Byerley, into partnership by the name of Josiah Wedgwood, Sons and Byerley." The manufacture of porcelain, which was never attempted by Josiah Wedgwood, was commenced at Etruria by Thomas Byerley about 1808, and was carried on for nine or ten years, when it was altogether discontinued, and was never made to any great extent; specimens are therefore scarce. The Right Hon. W. E. Gladstone has a coffee mug, the ground of a small blue pattern, with Chinese figures in tablets, in red and other colours. Mr. W. Chaffers has a dessert service painted in colours, with birds, after Bewick; others are in Mr. Jos. Mayer s Collection, and in the Geological Museum, Jermyn Street. All these are simply marked wedgwood in small capitals on the bottom in red or blue. In 1793 John Wedgwood retired from the concern, and the firm consisted of Josiah Wedgwood, Josiah Wedgwood, Jun , and Thomas Byerley. On the 3rd of January, 1795, Josiah Wedgwood died, and was buried in the church of St. Peter, Stoke-upon-Trent, in the 65th year of his age. In 1800 the 502 POTTERY STAFFORDSHIRE. partners were (Thomas having retired) Josiah Wedgwood and Thomas Byerley. In 1810 Byerley died, and the business was carried on by Josiah alone until 1823, when he took his eldest son, Josiah into partnership, under the name of ''Josiah Wedgwood and Son." The business established by Josiah Wedgwood at Etruria is still carried on by his grandsons and great grandsons, Messrs. Francis, and Godfrey Wedgwood and Clement Wedgwood, by the style of *' Josiah Wedgwood and Sons." On all ornamental goods in which Bentley was only interested, the general mark was circular, with ETRURIA and ^^ri^T-^^^^T^^T^ their names in raised letters; on vases, WEDGWOOD o J 1, . ^010 ^ _ _ &c. used between 1 768 and 1 780. & BENTLEY. ^ ^ WEDGWOOD. Wedgwood. Staffordshire. Thomas Toft. About 1670 to 1680. Thomas Toft was a Staffordshire potter. He is spoken of by Shaw {Chemistry of Pottery) as having invented a new description of ware, by the introduction of aluminous shale, or fire-brick clay. There is a large earth- THOKASToPT ^^^^^^ ^^^^ Geological Museum, signed on the border (as in the margin); it has in the centre a lion crowned, buff- coloured ground, the ornaments laid on in black and brown- coloured slip." Another dish is in the Bateman Museum, Youlgrave, Derbyshire ; in the centre is a half-length crowned portrait of Charles II, with a sceptre in each hand, and the letters C. R., with red and black trellis pattern on the border, and the name at length, as usual. Another of the same description of ware, with a mermaid in the centre, is in the S. Kensington Museum. Staffordshire. Ralph Toft. 1670 to 1680. His name at length with the date 1677, is on a dish in the possession POTTERY — STAFFORDSHIRE. of Mr. Reynolds, buff coloured ground SAWHI WOF 'PCI iG77 with figures in relief of brown outlined with black; in the centre a soldier, in buff jerkin and full bottomed wig, a sword in each hand; on one side a crowned head and bust, Charles 11. ; chequered ornaments, and name on the border. In the Salford Museum is another platter, with a lady and gentleman in the centre, having on the border the name at length, and date, 1676. Mr. J. F. Lucas, of Youlgrave, has also a similar specimen, but without date, bearing a full-length figure of a Queen holding a flower in each hand, and two medallions of busts of gentlemen with large wigs and crowns on their heads. Staffordshire. William Sans. About 1670. His name occurs on earthenware dishes of similar character and orna- mentation to that of Thomas and Ralph Toft. He is men- tioned by Dr. Shaw {Chemistry of Pot- WILLIAM'SANS. tery) as having used in the manufacture of his pottery manganese and galena pulverised. Up to 1680 the glazing employed seems to have been plumbiferous; the silica derived from the body of the ware in the firing, and the lead from galena, (sulphuret of lead), of the Derbyshire mines, dusted in a pulverized state upon the unbaked ware through a coarse cloth. Staffordshire. William Talor. About 1670. A dish in th^ Bateman Museum has two full-length figures in the costume of the Stuarts, the gentleman WILLIAM-TALOR. holding his hat and feather, and the lady a nosegay; between them are the initials W. T., and on the rim, in precisely the same manner as the Toft dishes, the name William Talor. Staffordshire ? This name occurs RALPH TURNOR round the upper part of a iyg or drinking 1 68 1 bowl, with four handles of brown mottled glaze on yellow ground. In the Reynolds Collection. Whether made in Staffordshire or at Wrotham in Kent is impossible to say. 504 ~ POTTERY HANLEY. BURSLEM. Hanley. About 1670. A potter of the name of Joseph Glass resided here towards the end of the XVI Ith Century. His manufactory was in existence in 1710, and produced a cloudy kind of ware (mottled), and dishes painted with different coloured slip {see list of potters in 1710, page 474). There is, in the Collection of the Rev. T. Staniforth, of Storrs, Windermere, a large buff-coloured £05EPH.QLKSS.S^r.H.G.X ^yg^ ornamented with brown slip designs and white dots; it has four handles, with as many crinkled projections between, very similar to Toft's earthenware. The name is painted round the body. BuRSLEM. Ralph Shawe. On the 24th April, 1733, he took out a patent as follows: — Whereas Ralph Shawe, of Burslem, in our county of Stafford, earth R. SHAWE. potter, hath by his petition humbly re- presented unto us that he hath for many years been a maker and dealer in earthenware, and during the long course of his trading hath, with great pains and expenses ^ in making tryalls found out various sorts of minerals, earth, clay, and other earthy substances, which being mixed and incorporated together, make up a fine body, of which a curious ware may be made, whose outside will be of a true chocolate colour, striped with white, and the inside white, much resem- bling the brown China ware, and glazed with salt." Being of a litigious disposition, he was continually objecting to the improvements made by other manufacturers, and in 1736 commenced a suit against John Mitchell of Burslem, for an infringement of his patent, at Stafford. The defendant was supported by all the potters of the district, and Astbury s invention and prior usage of that or similar materials being proved, a verdict was given against Ralph Shawe, and the Judge thus addressed the manufacturers present: Go home, potters, and make whatever kind of pots you please." He afterwards went to France where he continued his manufactory. Shaw [Chemistry of Pottery) says that Ralph Shawe intro- duced basaltes into the body of his ware. POTTERY — BURSLEM. BuRSLEM. This mark is stamped on 8 2 ^ square pyramid, painted in imitation of R9I ^^ood S^^^'^^^^ ^ t)lue pedestal, with a white ^* -| medalHon in relief on each side, gilt leaf Bwrslem b^j-ders. In possession of the Rev. T. Staniforth. This must be Ralph Wood, father of Aaron Wood, and whose name appears in the indentures of appren- ticeship of his son to Dr. T. Wedgwood. The earthenware is of the same character as Whieldon's and Wedgwood's agate knife handles, &c. Circa 1730 to 1740. The same stamp is on a bust of Neptune in Mr. Emerson Norman's Collection. BuRSLEM. Aaron Wood established a pottery here about 1750. He served his apprenticeship to Dr. T. Wedgwood, Jun., of Ruffleys,".one of the principal Aaron Wood potters of this town in the early part of the XVIIIth Century. The indentures given by Simeon Shaw {History of StaffordsJm^e Potteries), are dated the 23rd of August, 1731, " Between Ralph Wood of Burslem, miller, and Aaron, his son, of the one part, and Dr. Thomas Wedgwood, Jun., of Burslem, potter, on the other part, for the term of seven years. That he, the said Ralph Wood, shall provide for his son all sorts of apparel, meat, drink, washing, and lodging, and in consideration thereof he is to be taught turning the lathe, handling, throwing, &c., and he engages to pay the said apprentice for every week's work in the first three years one shilling weekly, and for every week's work in the next three years one shilling and sixpence, and in the seventh and last year the sum of four shillings per week, and the said Dr. Wedgwood is to give yearly in addition one pair of new shoes." On the conclusion of his apprenticeship he served the same master for five years, at 5s. per week. Aaron Wood was a very clever cutter of moulds for stone-ware plates with raised pattern borders, which have been erroneously termed " Eliza- bethan," and found constant employment for different masters, among whom was Thomas Whieldon, the partner of Josiah Wedgwood. He was afterwards engaged by Mr. John 5o6 POTTERY — BURSLEM. Mitchell, of Burslem, an extensive potter, in 1743, to work for him only for seven years, in a penal bond of £10. (who engaged him to be the better able to compete with Dr. T. Wedgwood), at the rate of 7s. weekly, and los. 6d. every iith of November, with the proviso that he should have no person to work with him. The ware made by Mr. Mitchell was principally the white stoneware, salt glaze, made from Devonshire clay and flint. About the year 1 750 he commenced business on his own account, and made embossed earthenware of old English terre de pipe, or white stone- ware, salt glaze. There is a dish in the S. Kensington Museum, thus inscribed: This dish was modelled by Aaron Wood, about the year 1759 or 1 760, and was deposited in this building by his youngest son, Enoch Wood, who at this date was Chief Constable of Btirslem and Treastirer to the Market!' In the same Museum are numerous specimens of Wood's ware, and types or moulds for tureens, sauce boats, cream jugs, tea cups, &c. Cream ware is said to have been invented by Aaron Wood, and much improved by Wedgwood. He was succeeded by his youngest son, Enoch Wood, about 1 780, who eventually was called the Father of the Pottery." He greatly enlarged the business, the manufactory occupying the site of five old factories. He was a good sculptor. His name ENOCH WOOD, occurs on a bust of Wesley, which was much admired at the time ; on the back is an inscription stating that Wesley sat to Enoch Wood, sculptor, of Burslem, in 1781." In 18 16 Mr. Wood formed a collection of pottery, select portions of which are now in the Geological Museum, Jermyn Street, and S. Kensington Museum. Shaw says, about 1780 John Proudlove the best mould maker in that part was hired by Mr. Wood for three years at 12s. per week.'' The firm was continued by the style of Enoch Wood and Sons, probably ENOCH . WOOD & SONS about the year 1810-30. Their names are on a large bowl, blue inside, and on the outside raised white foxgloves and primroses, on a light blue ground. In the possession of Mr. Egerton Leigh. POTTERY BURSLEM. BuRSLEM. Successors of Enoch Wood. They continued the manufacture of earthenware busts of celebrated characters, and produced some well-modelled por- WOOD and CALDWELL, traits of Wellington, Napoleon as First Consul, the Emperor of Russia, &c. On that of the Emperor Alexander is written : " Moscow bur^ied, Europe delivered^ 1 8 1 2." BuRSLEM. In Wedgwood's list of potters in Burslem, in 1 715, we find Moses Steel a manufacturer of the cloudy ware of the period. The name in the margin STEEL probably refers to a descendant of hi?, BURSLEM. and occurs on a match pot with dark blue figures on pink ground, cupids, &c., vine border, in the style of Wedgwood's jasper, about 1790- 1800, in Dr. Diamond's Collection; and in the Jermyn Street Museum is a small vase, blue ground, with white figures in relief in Wedgwood's style. BuRSLEM. Waterloo Potteries. Established 1842, by Messrs. Thomas and Richard Boote, of Nantwich, Cheshire. They were the inventors and patentees, in 1843, ^'^^ ^^^^ process of inlaying and ornamenting flooring tiles in different colours ; thus, the proposed design is cut out in paper or parchment, and laid in the mould, which is then closed and the ground colour poured in, after which the paper is removed and another colour poured in to fill its place ; or compositions of the required varieties of colour are fixed in the moulds and the slip suitable for the ground work poured in ; mosaics and low reliefs were also produced. This patent with improve- ments was renewed in 1857. Prize medals were obtained in the International Exhibition 1851 and 1862. They are also celebrated for " white granite ware," Bath tiles," and encaustic flooring tiles," as above described. SEMI-PORCELAIN BuRSLEM. Messrs. Alcock and Co., ALCOCK AND c? of the Hill pottery. The mark on a HILL POTTERY white cup and saucer. They were Ex- BURSLEM. hibitors at the Exhibition of 185 1. 5o8 POTTERY BURSLEM. BuRSLEM. Shaw notices besides those just mentioned, the following manufacturers as carrying on business in 1829 : Joseph Machin and Co. ; T. and B. Goodwin ; T. Heath ; J. Cormie ; John Hall and Sons; John Riley Marsh. Bradwell. Established about 1690 by John Philip Elers, who accompanied his countryman, the Prince of Orange, to England, when he came to take posses- ELERS. sion of the English throne. John Philip Elers was descended from a noble family of Saxony. His grandfather, Admiral Elers, married a princess of the Royal House of Baden ; his father, Martin Elers, born in 162 1, married the daughter of a rich Burgo- master of Amsterdam, and was Ambassador to several Courts of Europe. Martin Elers had a daughter, who married Sir W. Phipps, ancestor of the Marquis of Normanby ; and two sons, David, who settled in London as a merchant, and John Philip, who settled in Staffordshire at the secluded villages of Bradwell and Dimsdale. John Philip Elers was a man of great abilities, a good chemist, and a clever mechanic. His knowledge of chemistry enabled him to discover the art of mixing the clays of the neighbourhood in greater perfection than had ever been attained in Staffordshire. Dr. Simeon Shaw remarks : From clays found at Ches- terton and Bradwell, carefully levigated and passed through fine hair sieves, and then artificially evaporated, they manu- factured to a considerable extent an improved kind of red porcelain, in imitation of that of Japan, and by the addition of manganese to the clays, a black china, a knowledge of whose components was the origin of Wedgwood's Egyptian or basaltes. The specimens yet preserved, by their excellence in grain, texture, and shape, will ever manifest the skill and success of the foreigners." They were ornamented in relief with sharp and well-designed flowers, &c., being formed in copper moulds, and frequently of pierced work. The sharply moulded ornaments on Elers' red Staffordshire ware was but a continuance of the moulded enscrollments of POTTERY BRADWELL. the stone ware of Germany. He took every precaution to prevent the secrets of his processes becoming known, but from the inquisitiveness of his neighbours, and their clandes- tinely obtaining a knowledge of his method of mixing the clays, not having secured them by patent, he was driven from the locality. A story is told that Elers, to keep the secret from the knowledge of other manufacturers, only employed ignorant people, or even idiots, to work for him ; but one Ast- bury, counterfeiting idiotcy, was engaged, and after two years of dissimulation and deceit, fraudulently possessed himself of the method and process, and left, to open an establishment at Shelton, where he turned the theft to his own advantage. Dr. Martin Lister, in his Joiiniey to Paris, in the year 1698, says: "As for the red ware of China, that has been, and is done in England, to a far greater perfection than in China, we having as good materials, viz. the soft haematites, and far better artists in pottery. But we are in this particular be- holden to two Dutchmen, brothers, who wrought in Stafford- shire (as I have been told), and were not long since at Ham- mersmith." From these quotations it would appear that his brother David was connected with him in the manufacture, and, being a merchant in London, it is probable he acted as agent. While at Bradwell he married Miss Banks, by whom he had several children. His son Paul was born in 1700, whose daughter, Maria Elers, married Richard Lovell Edge- worth, father of the authoress Maria Edge worth. There is a jasper cameo medallion of John Philip Elers, which was produced by Wedgwood ; a specimen is in Dr. Hooker's Collection. In a letter from Wedgwood to Bentley, July 19th, 1777, he thus refers to the improvements made by John Philip Elers in the manufacture of pottery : — " It is only now about eighty years ago since Mr. Elers was amongst us, when there were as many pot works in Burslem as there are now and had been from time immemorial ; and the reason for Mr. Elers fixing upon Staf- fordshire to try his experiments seems to be that the pottery was carried on there in a much larger way and in a more improved state than in any other part of Great Britain. The improvements made by Mr. Elers in our manu- POTTERY SHELTON. factory were precisely these : — Glazing our common clays with salt, which produced pot de grey or stoneware, and this after they (the two Elers) had left the country was improved into white flint stoneware I make no doubt but glazing with salt by casting it amongst the ware whilst it is red hot came to us from Germany, but whether Mr. Elers was the person to whom we are indebted for this improvement I do not know The next improvement introduced by Mr. Elers was the refining our common red clay by sifting and making it into tea and coffee ware, in imitation of the Chinese red porcelain, by casting it in plaister moulds and turning it on the outside upon lathes, and ornamenting it with the tea branch in relief, in imi- tation of the Chinese manner of ornamenting this ware. For these improve- ments, and very great ones they were for the time, we are indebted to the Messrs. Elers ; and I shall gladly contribute all in my power to honour their memories, and transmit to posterity the knowledge of the obligations we owe them, &c." (alluding to the publication of his bust in the jasper ware). From the particulars given by Richard Lovell Edgeworth, who married the daughter of Paul Elers and granddaughter of John Philip, (Miss Meteyard's Life of Wedgwood, vol. ii. p. 456), we learn that John Philip Elers had been in distressed circumstances, and was taken notice of by Lady Barrington, a whimsical, good sort of lady, and by her, set up in a glass and china shop in DubHn, and was very successful in business, which enabled him to send his son Paul to the Temple in London, where he made a great proficiency in his studies, and became a first-rate counsel. Previous to his residence in Dublin, John Philip Elers was for some time with Sprimont at Chelsea. So it is handed down. Peter Elers, another branch of this family, came over to this country when George L was called to the throne, and settled at Chelsea. He was a Justice of the Peace for the county of Middlesex, and in 1715 married a daughter of Thomas Carew, Esq. He was buried in Westminster Abbey in March, 1753. Shelton. Mr. Astbury had a pottery here in the beginning of the XVnith Century. He made red, crouch, and white stone ware. He died in 1^]^^, cetatis 6^. ASTBURY. It is said that by pretending to be an idiot he obtained employment at the POTTERY SHELTON. Elers manufactory, at Bradwell, and thus became possessed of their secret of making their red and stone ware, which was very much in request from its fine quality and elegant forms. His son, Thomas Astbury, in 1725, commenced business at Lane Delph, and made a cream-coloured stone ware. A flour mug, dated 1730, has on it a tulip, rose, and auricula, fairly designed and executed; some specimens have a red body with white ornaments. Wedgwood, in a letter to Bentley, July ig, 1777, attributes the discovery of the improvement in the white stone ware by the addition of calcined flint to Mr. Heath, although Simeon Shaw and Parkes speak of the younger Astbury as the inven- tor.* He says : — " The white stoneware was produced by using the white pipe clay instead of the common clay of this neighbourhood, and mixing it with flint stones, calcined and reduced by pounding into a fine powder. The use of flint in our pottery is said to have proceeded from an accident happening to one of our potters, a Mr. Heath of Shelton, on his way to London. His horse's eyes becoming bad, he applied to an horsier on the road, who told him he would cure the horse and show him what means he used. Accordingly he took a piece of black flint stone and put it into the fire, which, to our potter's great astonishment, came out of the fire a most beautiful white, and at the same time struck him with an idea that this fine material might improve the stone- ware lately introduced among them. He brought some of the stones home with him, mixed them with pipe clay, and made the first white flint stoneware.'' Shelton. Samuel Hollins established about 1760 a manu- factory of fine red ware tea pots, &c. ; he procured the clay from Bradwell, being the same formerly T. & J. HOLLINS. used by the brothers Elers. After his retirement to join the New Hall Com- pany in 1777, he was succeeded by T. and J. Hollins. This mark is impressed on a bowl in the Geological Museum, white body and blue raised figures, highly finished in imitation of Wedgwood. ♦ It will be seen hereafter, in speaking of Dwight of Fulham, that he used "calcined, beaten and sifted flints " in the composition of his wares, nearly 50 years before either Astbury or Heath are here stated to have made the discovery. 512 POTTERY AND PORCELAIN SHELTON. Shelton. On a brown unglazed terra S. HOLLINS. cotta jug, with figures in relief; in the Geological Museum, Jermyn Street. Shelton. Charles Bagnall was a potter here about 1760- 1777, and is probably the same spoken of by Wedgwood in a letter to Bentley in i 768 as Bagnall and Baker, and speaks of their copying his new patterns, especially the blue necked vases. As early as 1 7 1 5 there was a potter named Bagnall at the Grange, Burslem, a maker of butter pots, no doubt a progenitor. In 1777 Charles Bagnall of Shelton became one of the proprietors of the New Hall China Works. Shelton. New Hall China Works owe their origin to the purchase of Champion's (Cookworthy's) patent by a company of potters in 1777, and was the first por- NEW HALL WORKS, celain manufactory in Staffordshire. In despite of the opposition of Wedgwood and the potters of that county, the patent had been extended, and the new company consisted of Messrs. Samuel Hollins, of Shelton; Anthony Keeling, of Tunstall ; John Turner, of Lane End; Peter (or Jacob) Warburton, of Hot Lane: William Clowes, of Port Hill; and Charles Bagnall, of Shelton. Champion himself undertook the superintendence, and con- tinued to do so until 1782. It was first carried on at the establishment of Anthony Keeling, Tunstall, but some mis- understanding arising. Keeling and Turner retired from the concern, and the others took the New Hall, at Shelton, about 1789. Mr. John Daniel became manager and afterwards partner. The firm was subsequently Hollins, Warburton, Clowes and Daniel. The ware was somewhat similar to that produced at Bristol. In 1796 Champion's patent expired, but the manufactory was continued. In 1 8 10 the firm was Samuel Hollins, Peter Warburton (son of Jacob), John Daniel, and William Clowes, about which time bone paste was introduced into the manufacture. In 1 8 10 Peter Warburton, of Cobridge, in the county of Staf- ford, china manufacturer, took out a patent on behalf of the POTTERY AND PORCELAIN SHELTON. 513 Company for his new invented method of decorating china, porcelain, earthenware and glass, with native, pure or adulte- rated gold, silver, platina or other metals, fluxed or lowered with lead ; or any other substance which invention or new method leaves the metals after being burned in their metallic state." Granted for 14 years. In 1820 the mark in the margin was used. In 1825 the entire stock was sold and the manufacture of china ceased. The works having been closed for a time were opened as an earthenware manufac- tory by Mr. W. Ratcliffe, which in 1842 HACKWOOD & CO. passed into the hands of Messrs. Hack- wood and Sons, the name impressed. C&H Ini856 the firm was Cockson and late Harding, whose mark is given in the HACKWOOD. margin. Shelton. Messrs. R. and J. Baddeley. Established about 1 750 or earlier. Shaw speaks of the surprise occasioned by their extravagance in having their manufactory covered with tiles instead of thatch, and for being the first who erected four hovels in a row behind instead of only two. Their blue printed ware was in great request. Shelton. Mr. Warner Edwards made pottery and colours for the first enamellers; his manufactory was in Albion Street, where Messrs. J. and W. Ridgway afterwards carried on their business. Mr. Edwards was a good practical chemist, and produced fine enamel colours, as well as the various kinds of pottery then in demand. He died in 1753; and presented M. H. Daniel of Stoke with his drawing book, containing also his receipts for enamels. Shelton. Elijah Jones was a manu- E. JONES facturer of earthenware about 1760 to SHELTON. the end of the century, but probably only of a common description. L L POTTERY AND PORCELAIN SHELTON. Shelton. Thomas Miles. 1685. He introduced the Shelton clay, long previously used by the tobacco-pipe makers of Newcastle, mixed with grit from Baddeley Hedge. He made coarse white stoneware; and can- marl, or chinch of the coal seams, was "^^^ made by his brother into brown stone- ware. His mark was the letter M fol- lowed by numbers. Shelton. The manufactory of Messrs. Hicks, Meigh and Johnson produced excellent porcelain and pottery. It was carried on by them at the beginning of this century; it stands on the site of that where Mr. R. Baddeley first made the blue printed ware. Shelton. On a group of flowers in Edward Phillips, biscuit, finely modelled; and a basket of Shelton, Staffordshire, biscuit flowers. In Mr. J. Mills's Col- lection, Norwich. Shelton. The manufactories of Messrs. John and William Ridgway, one in Albion Street and the other at Cauldon Place, are very extensive. The latter especially is most judiciously arranged to diminish expense in the several processes, and being on the banks of the Cauldon Canal, is conveniently situated for forwarding their wares as well as receiving coals and materials. (Shaw). The first Mr. John Ridgway was an apprentice of Wedgwood. In 1825 (Nov. i) they took out a patent for an improved cock, tap, or valve for draining off liquors. The cock is made of a composition of alumina, silex, quartz, Cornish granite, or other articles, such as are commonly employed in the manu- facture of porcelain and stoneware." The cock (with the exception that the liquor flows from the bottom of the plug) has outwardly the appearance of an ordinary tap. In 1840 John Ridgway was a party to three other patents, one for certain improvements in the moulds used for earthen- ware and porcelain, so as to render them more durable; the two others, in conjunction with George Wall, for improve- POTTERY AND PORCELAIN SHELTON. HANLEY. 515 ments in apparatus and machinery in the manufacture of china, &c., and improving and preparing bats of porcelain and earthenware, and shaping them into articles, &c. In 1847 John Ridgway obtained a patent for improvements in the manufacture of paste boxes and similar articles in china or other plastic materials with moulds and pressing apparatus, &c. In 1852 another patent for improvements in the method of ornamenting china, earthenware, and glass, by applying the art of electrotype or electro-metallurgy, &c." .^^pOTj^N. S HELTON. On an earthenware plate v<^_>^J^ of blue, printed willow pattern. The mark stamped. Shelton. The name of this firm is on a pair of porcelain urns and covers, very . 1 PC much like that of Swansea, painted with Ridgway & Sons. ^ ^ ^ 1 -i 1 1 bouquets of flowers and gilt borders, made about the first quarter of this century. In Dr. Diamond's Collection. Hanley. Elijah Mayer was a contemporary of Wedgwood. He was noted for his cream-coloured ware and browii line ware, but he produced many other varie- ties. In the Geological Museum is a E M er ^^^^ unglazed drab terra cotta, with ^ ' festoons, &c., in relief, coloured. The basaltes or black Egyptian ware tea services, with animals, &c., in relief, are well known. Another popular service was one made to com- memorate Nelson's victories of the Nile and Trafalgar, with crocodiles, pyramids, Britannia, Fame, and monument in- scribed " Pro patria," and tablet with Nelson, &c. These are usually impressed with Mayer s name. Some specimens are in Mr. W. Pinkerton's Collection. About 1820 the firm was Elijah Mayer & Son. ^ , ^ ^ The name of Joseph Mayer & Co., Joseph Mayer & Co., , „ r / . ' rr , Hanley, occurs on some pieces in the Haillcy. 1 Tv/r /Tv/r V- 11 • \ Liverpool Museum (Mayer Collection). 5i6 POTTERY HANLEY. Hanley. Job Meigh and Sons had a pottery here, called the Old Hall " J. MEIGH & Sons, manufactory, where formerly the old Crouch and white stone wares with salt glaze were made. Hanley. Some beautiful pieces were produced by this firm in the beginning of the present century, from the designs of a sculptor named Giarinelli. Lord ]VIE I G Hi Exmouth possesses a very elegant boat- shaped vase of earthenware, with a rich green glaze in form of a classical lamp, a seated female figure on the top, holding an open book, ornamented in relief with lines and leaves, bordered with oak leaves and acorns; on the leaves of the book is the following inscription : ''J. B. Giarinelli, Statue and Figure Maker to his Royal Highness the Prince of Wales at the Royal Academy. Figures and animals as large as life. No. 33, Cock Lane, Snow Hill." The works are still carried on. Meigh & Sons were exhibitors at the International Exhibition of 185 1. Hanley. Shaw mentions a Mr. Miles, of Miles's Bank, Hanley, who produced the brown stoneware about 1700. There is in the Geological Museum a fayence barrel sup- ported by four cupids of brown glaze, with gilt hoops, resting on a stage of four supports, of good work, jyj- J j^-gg apparently the first half of the XVIIIth Century, impressed with the name of Miles. Hanley. Established by Henry Palmer, about 1760 (the son of John Palmer), for the manufacture of ware in the style of Wedgwood. He made cream-coloured ware, red engined tea sets, black Egyptian, &c. His father, John Palmer, is spoken of by Shaw as having introduced '^^A^W^ sal^ and litharge in the glaze. This mark is on a black Egyptian vase, 12 J O inches high, with elegant festoons and ^y^^^ medallions, in the possession of Mr. J. Hawkins, of Grantham. POTTERY HANLEY. Simeon Shaw mentions the names of Chatterley and Palmer, of Hanley, as the inventors of the Chalk body ware, and Henry Palmer and Chatterley were in some way related. Chatterley married a sister of Mr. Hollins. Henry Palmer was a great pirate of Wedgwood's patterns, and Mrs. Palmer (who was a Miss Heath, the daughter of Mr. Heath, the potter of Lane Delph,) seems to have been the active manager of her husband's business. She engaged persons surreptitiously to obtain the new pieces of Wedgwood and Bentley's as soon as they arrived at the London warehouse, for the purpose .of copying them. The first attempts were to imitate the black Etruscan-shaped vases with medallions ; but as the material of the black basaltes was not an invention of Wedgwood, and had been known for many years, and as the patterns were taken from Sir W. Hamilton's published work, of course no steps could be taken to prevent his imitating them. Wedgwood says, in a letter to Bentley, October, i 769 : The body is very good, the shape and composition very well." But he adds : '* We must proceed, or they will tread upon our heels." Palmer and his London partner, Neale, whose shop was in Shoe Lane, next copied his Etruscan painted vases, the body being made in Staffordshire and painted in London by a man in Vine Street. An injunction was served upon them for an infringement of Wedgwood's patent, which ended in a compromise — Palmer purchasing a share in the patent. He next, through the services of Voyez, a discarded servant, pirated Wedgwood's seals and intaglios. Palmer got into difficulties in 1776, and Neale (who had married his wife's sister, and was a large creditor,) went from London to Hanley to settle his affairs, Neale & Palmer ^^^^ business was re-established under the title of Neale and Palmer. They subsequently, by some means, discovered the secret of the jasper body, either through Voyez or the treachery of some workman who found the particulars relating to the body in a pocket-book Wedgwood had dropped, but the actual facts of the story are unknown. However, from 5i8 POTTERY HANLEY. the Specimens we have seen of their productions, they were formidable rivals of Wedgwood. On some blue and white vases, like Wedgwood's jasper, and on green glazed Neale & Co. ware in the Geological Museum. One of these is a very important vase, i8 in. high, light green, with richly-gilt female heads and festoons in full relief, of elegant form. Another very fine example of their manufacture is a large punch barrel, painted with fruit, flowers, and a trophy of musical instruments by one of the Chelsea artists, surmounted by a figure of Bacchus, and on the pedestal satyrs and children in relief, inscribed " Neale & Co." Some of the Toby Fill-pot ale jugs were made by them. A pyramidal-shaped jelly mould, in two pieces, the inner one painted with flowers, so as to show through the clear jelly, marked " Neale & Co.," is in the Baldwin Collection. Their names are impressed on a service of cream-coloured ware, like Wedgwood's Queen's ware, in the possession of Mr. W. Meyrick; also on black Egyptian vases, with orna- ments in high relief, and highly-finished medallions of Inigo Jones, &c. They also successfully imi- tated his blue jasper ware, even copying the designs, as on a jardiniere in the S. Kensington Museum. This mark is stamped on a blue mottled vase, with white and gold festoons, eagle neck handles, in imitation of Wedgwood. Hanley. In 1 780 the firm was Neale, Maidment, & Bailey, who had a ware- house for the sale of Staffordshire ware in St. Paul's Church Yard. Neale Maidment & Bailey. Neale & Bailey. Neale & Wilson, In 1790 it was Neale & Bailey, subse- quently Neale & Wilson. This mark is on a jelly mould in cream- coloured earthenware, in the possession of Mr. A. H. Church, Cirencester. POTTERY HANLEY. Hanley. About 1 780, Mr. Robert Wilson, at the manu- factory previously occupied by Mr. Palmer, brought to per- fection that kind of pottery known as chalk body, of excellent quality for fine- WILSON. ness of grain and smooth beautiful glaze, of a fine cream colour. This mark is on an earthenware plate, white ground, raised ornaments, dolphins, &c., on the border; in the centre a Gothic castle. In the S. Kensington Museum. The name is also found on copper lustre ware. H ANLEY. A pair of elegant earthenware jardinieres, square, with wide mouths, leaf borders and festoons in relief, in blue, green serpent handles. The C may perhaps refer to the quality of the ware, for chalk body. Hanley. Mons. Voyez was a Frenchman in the employ of Josiah Wedgwood, and superintended the manufacture of his jasper ware for cameo busts, &c., and an invaluable servant, but was at length discharged for some nefarious practices. His name occurs on a jug, with rustic characters in relief, coloured ; in the S. Kensington Museum. His name is stamped on a fayence vase of good form, ornamented with leaves, in relief, masks and festoons round the drum, of cream colour, mottled brown and yellow at the top and bottom. In the Collection of the Rev. T. Staniforth. Wedgwood, writing to Bentley (March 31, 1768), says: I have hired a modeller for three years — the best, I am told, in London. He served his time with a silversmith, has worked several years at a China work, has been two or three VOYEZ 1788. J.VOYEZ 520 POTTERY — HANLEY. years carving in wood and marble for Mr. Adams, the famous architect ; is a perfect master of the antique style in ornaments, vases, &c., &c., and works with equal facilities in clay, wax, wood, or stone." He resided at Burslem. For some rnal- practices he was imprisoned for three months in the spring of 1 769. Wedgwood was even after this unwilling to lose the services of Voyez — in fact, he feared he might, by leaving, do him a serious injury by imparting his secrets to others — for W. says : '*To rival us the most effectually our competitors stand most in need of some person to instruct them to compose good forms and to ornament them with tolerable propriety ; Voyez can do this more effectually than all the potters in the country put together, and without much personal labour, as the ornaments may be bought or modelled by others." How- ever, the engagement to work for Wedgwood solely, for three years seems to have been broken, for we find him, in 1 769, working for Wedgwood, Palmer of Hanley, and Neale & Co. He afterwards worked for others, and finally set up business for himself. He imitated Wedgwood's productions, especially the black intaglio seals, and sold them as Wedgwood and Bentley's, and even went so far as to place their names in full on the backs. Of these he sold great quantities. J. Voyez produced some excellent vases. There is in the possession of Sir T. W. Holbourne, a lofty black basaltes vase, with a finely-sculptured medallion on each side of Pro- metheus attacked by a vulture. At the bottom is the signature ''J. Voyez sculpebat 1769." The handles are of female ter- minal figures ; on the square plinth is " H. Palmer, Hanley, Staffordshire." A vase of good form, in variegated marble ware, bearing his name, is in the Collection of Mr. E. Hailstone. Hanley. In 1796 ''James Keeling, of Hanley, in the county of Stafford, potter," patented a substitute for, and a preparation that will answer any purpose for which ceruse, commonly called white lead and minium, J. Keeling". commonly called red lead or calcined lead, or any other preparation of lead of POTTERY HANLEY. 521 the like nature, in and about the glazing, and enamelling all manner of cream-coloured earthenwares, commonly called Queen's ware, white earthenwares, and what are commonly called china glazed wares, and also porcelain and china wares of every description in the glazing or enamelling of which, ceruse, or white lead and minium, or red lead, or calcined lead, had theretofore been deemed necessary and used, and which is also a substitute for the said articles, in and about the making of glass and enamel of every sort or kind, and also for every purpose for which the article commonly called glass of lead was or may be used." In the same year, 1796, Valentine Close, of Hanley, mer- chant, and James Keeling, of Hanley, potter," patented *' a new discovered invention and improvements in the con- struction, and erecting and making of ovens, kilns, and firing places, so as to make and cause a very great saving of coals and fuel in and about the firing, hardening and baking all manner of porcelain, china ware, and all manner of earthen- wares." Mr. James Keeling, in the latter part of 1828, produced, by printing, a dinner service, which was at the time much es- teemed ; it was ornamented with views from the illustrations of Buckingham's travels in Mesopotamia ; which was followed by other manufacturers, completing services of views in Turkey, Persia, and Hindostan. Hanley. The name of Sneyd occurs T. SNEYD on jugs, of red and other colours, in imi- H AN LEY. tation of the Portland vase, of recent manufacture. Hanley. The following potters are mentioned by Shaw as carrying on extensive businesses in 1827: — Messrs. Dim- mock & Co., Toft and May, T. Taylor, J. Glass. PUBUSHED BY G.R. BOOTH Hanley. Imperfectly stamped on a ^ {son'^}'' red stoneware ewer, with g^lobular body, hanley STAFFORDSHIRE , , i r i i i MAY 23 183 . ? unglazed, except on a wreath of black vine leaves on each side and star in 522 POTTERY — LANE END. front, white raised beaded circles round vine wreath ; glazed inside ; height 4^ in. In Mr. Thos. Fisher's possession. Lane End. It will be seen by Wedgwood's list of potters in Burslem in 1710-1715, that Thomas Lockett succeeded Samuel Cartlich as maker of mottled J. LOCKETT. ware. This J. Lockett was probably a descendant ; his name occurs impressed on a plaque of coarse chocolate-coloured ware, with a spirited relief of a drunken Silenus on a donkey and other figures ; in the Collection of Mr. A. Weston. In 1829 the firm was J. Lockett 8i Sons. Lane End. Messrs. William Bailey and W. Batkin were the sole patentees of lustred pottery, in which, as well as the branch of enamelling, they acquired com- petent fortunes. Shaw speaks of them Bailey & Batkin. as carrying on business there in 1827. Their names occur on some lustred ware in the Mayer Collection, Liverpool. Lane End. Mayer and Newbold. The name of this firm is found in red on a pair of porcelain match pots, painted with roses on blue ground, gilt leaves, green and gold borders. In Rev. T. Stani- cMay- & Jfewb^- forth's Collection. Their jugs were in great repute. Doing a good business in 1823. Lane End, now Longton. Harley's name occurs on a curious painted jug, with a caricature of Bonaparte and the Quaker; about 1809; in Mr. Bohn's Collection. It is also on an earthenware plate, with brown transfer-printed leaves, the name impressed, in the Col. <^c^^^=S^^€€^iT T-T-» also, a specimen with the arms of the SADLER. o ' c • . -ru £ . 1 • Bucks Society. The first mark is on * the mug, with a portrait of George II. SADLER & GREEN. Sometimes the names of both are affixed to their ware. Dr. Diamond has a barrel-shaped mug of Liverpool china, beautifully printed with Masonic emblems and figures on scrolls, in the centre are the Freemason's arms, inscribed - Sadler. En'. LivV In the'Mayer Museum, Liverpool, is a toilet box, enamelled 550 POTTERY AND PORCELAIN — LIVERPOOL. on copper inside and out, with transfer printing in black ( The Ladies pocket Kalendar, which covers the top and base, of the year 1760.) It is signed " J. Sadler, enamV Lady Charlotte Schreiber has a Liverpool china mug with black transfer of General Wolfe signed Sadler!' Liverpool. John Pennington was celebrated for his punch bowls, vases, &c., and had the recipe for a very fine blue, for which he refused a thousand guineas to a Staffordshire house. He carried on business from 1760 to PENNINGTON. j His mark was also a P, in gold and colours. These occur on a tea service ^ r of blue designs, in imitation of Oriental. This bank was sold to Mr. Wolf, but in consequence of the Staffordshire potters monopolizing the trade it was soon closed. In a receipt book of Mr. Sadler's is noticed Pennington's body, March 18, 1769. Bone ashes 60 lb., lyme sand 40 lb., flint 35 fritt. To every 60 of the above 20 lbs. of clay." Among the Indentures of apprenticeship to Josiah Wedg- wood, the name of John Pennington occurs, son of James Pennington, manufacturer of china, at Liverpool ; it is dated 1784, ''to be taught the art of engraving in aquatint." Mr. Binns says, James Pennington (doubtless the same here spoken of) came from Wedgwood's on completing his appren- ticeship, and in 1792 was selected to paint an entire service for H. R. H. the Duke of Clarence, having in the centre a figure of Hope, with a ship in the distance. He was after- wards chief artist, herald painter, and foreman in Messrs. Flight and Barr's Works. Liverpool. Philip Christian, of Shaw's-brow, carried on an extensive business in manufacturing porcelain, and after Mr. Chaffers' death became the leading potter CHRISTIAN, in Liverpool. He purchased Mr. Chaffers' lease of the vein of '* soap rock," which that potter had discovered in Cornwall ; Christian subse- quently sold it, in May, 1775, to the Worcester Porcelain POTTERY AND PORCELAIN LIVERPOOL. 55 I Company for ^500. ; it was situated in the parish of Mullion. He produced large china vases of an equal quality with the Oriental, and his productions present a great perfection in the art. In Mr. Sadler's receipt book of January, 1769, we find: "Christian's china body — To 100 parts rock; flint 24 parts; best flint glass, 6 parts ; crown glass, 6 parts. To every 20th of the above, put i lb. of salts. Glaze — 4 china body (foreign) ; 16 flint glass; 3 white lead ; and 12 oz. of pearl ashes." Among other ware made by him, was the tortoiseshell, of round and octagonal forms ; also some fine pattern services and chimney ornaments. Liverpool. Zachariah Barnes was a native of Warrington ; he was born in 1743 and died September, 1820. He com- menced business as a potter in the Old Haymarket. At first he made china, but afterwards gave up that and confined himself to delft. He made Welsh-ware dishes in large quan- tities ; but his principal business was the manufacture of square tiles of excellent quality and durability ; they were printed by Sadler and Green. So large was the sale of this article alone, that he made a profit of £ 2>^o. per annum by tiles only ; also large quantities of potting pots for char, which were sent to the lakes. This was the last pottery of the old established locality carried on at Liverpool. Liverpool. W. Reid & Co., Liverpool, china manufactory, Castle Street. In the advertisements from 1756 to 1760, we find several from this firm, requiring REID & CO. " apprentices for the china work." — "A sober careful man who understands sort- ing and packing, and merchants' accounts" — Apprentices for painters," &c. Their principal manufactures were " all kinds of blue and white china ware, not inferior to any make in England." Liverpool. A pottery was established on the south shore of the Mersey, near Liverpool, about 1790, by Richard Abbey, 552 POTTERY AND PORCELAIN — LIVERPOOL. in conjunction with a Scotchman named Graham, where they carried on business with good success for some time. Richard Abbey was born at Aintree, and served his time as an engraver to Mr. Sadler, in Harrington Street, where he engraved, besides many other works, a large quart jug, having upon it the Farmers' arms, and was considered very skilful in his art. A mug, in Mr. Emerson Norman's Collection, has a transfer engraving commemorating the Treaty of Commerce between England and France. A figure of Hibernia, seated, with ships in the back ground, inscribed, " Ye sons of Hibernia rejoice in the Freedom of Commerce," R. Abbey, sculp. He retired from the concern in 1 796, when the works were taken by Messrs. Worthington and Co., who called the site the Herctdanetcm Pottery. He died at Aintree in 1801, at the age of 81. Mr. J. Mayer says he was engaged for some time at a pottery in Glasgow to teach engraving, and also visited France for the same purpose ; this must have been previous to 1 790. Liverpool. Herculaneum Pottery. This pottery was originally established by Richard Abbey, about 1 790 ; on his retirement, in 1796, it was taken by Messrs. Worthington, Humble and Holland, and they engaged as foreman Mr. Archibald Mansfield, a thrower of Burslem, and about forty operatives, men, women and children, to be employed in various branches of the art, and the works were remodelled and enlarged. As Wedgwood had christened his settlement Etruria, Messrs. Worthington and Co. christened theirs Her- culaneum ; it was carried on by them until 1806, when, re-, quiring larger capital, an increase of proprietors took place, and it continued as a Company until 1833, when the concern was dissolved, and the property sold to Ambrose Lace, Esq. and others for ^25,000, who let the premises to Thomas Case, gentleman, and John Mort, potter, and they carried on the business until 1836 ; the firm was afterwards Messrs. Mort and Simpson, who manufactured here until 1841 ; the site is now occupied by the Herculaneum Dock. The first wares made here in 1796 were Queen's ware and blue printed. About \ POTTERY AND PORCELAIN — LIVERPOOL. 553 1 800 they commenced making china ; at this period Ralph HERCULANEUM. HERCULANEUM POTTERY. Cordon was manager ; he came from Lane End, now Longton. Of the marks used here the earliest was " Hercula- neum," printed in blue. After that, by a resolution of the Committee of Ma- nagement, dated 6th August, 1822, it was ordered that to give publicity and identity to the china and earthenware manufactured, the words ' Herculaneum Pottery ' be stamped or marked on some conspicuous part of all china and earthen- ware hereafter made at this manufactory." They made earthenware dinner and dessert services, painted and decorated with good taste; aservice inthe possession of the Rev. T. Staniforth has a morone border, painted with roses and buds; the mark as in margin, stamped on the back. This mark was used from 1822 to 1833, as stated above. A favourite pat- tern was printed views of the principal towns in England, with the name in a medallion at the bottom of the piece. Herculaneum. The crest of the bo- rough of Liverpool, of a bird called the liver, with wings expanded, holding a plant called the liver-wort ; this was adopted by Messrs. Case, Mort and Co. This mark is impressed and has the appearance as if stamped with a button, the bird's head being to the right instead of the left, as it would be heraldically. Mr. Staniforth has a small setof brown printed earthenware tea things so stamped. 554 POTTERY — CHESHIRE. Herculaneum. This mark, of an "Tr ^ anchor under the name of the city, is oc- casionally found impressed on the ware. Herculaneum (?) Messrs. Unwin, Holmes and Worthington. Place of manufacture unknown; perhaps Worth- ington and Co. of Liverpool. The mark occurs on a cup and saucer of fayence, red leaf border ; in the Burn Collection. Liverpool. On an earthenware model of a female hand holding a pen, well moulded in glazed cream-coloured ware, is inscribed : " Designed for Circus Street School, Fra^ Lege Sculp. Liverpool, 1812." In the Salford Museum. Cheshire. St. Helens and Seacombe. There is now a small manufactory at St. Helens, which may be considered the last relic of a pottery in this neighbourhood (excepting the works at Seacombe) but that concern has been unoccupied for some time. Some years ago the manufactory was fully worked as an adjunct to the works of Messrs. Case, Mort and Co. There has been a revival of the manufacture of pottery in this neighbourhood, and works were built at Seacombe, in Cheshire, on the opposite side of the Mersey from Liver- pool, in 1 85 1, under the proprietorship of Mr. Goodwin, who was formerly a manufacturer at Lane-end ; the workmen coming chiefly from Staffordshire. The first oven was fired on the 19th of June, 1852. That there are advantages in this locality for such works is not doubted, as coal can be had nearly as cheap as in Staffordshire. The quality, I believe, is not quite so good, being more bassy, and consequently not burning so clear as that used in the great pottery district. There is also a great saving in carriage, as the raw materials, such as clay, Cornwall stone, and flint, can be laid down on the quay close to the works ; and, again, when packed and POTTERY WARRINGTON. 555 ready for the market, vessels can load in the great float at Birkenhead, and at once proceed to sea without reshipment, as is the case with the Staffordshire ware on its arrival at Runcorn. The ware manufactured here at present consists principally of earthenware and stoneware, chiefly of blue and colour printed ware, and, lately, Parian has been made of a good quality. Here has been introduced one of the throwing tables for making hollow ware, cups, bowls, &c., by machinery, with the aid of which four boys, who are quite unacquainted with the art, can in a day or two's practice, produce as much work as by the old process of hand throwing, could formerly be made by five men in the same space of time. The success of the undertaking may be considered fairly established, and a very large and increasing trade is now carried on with the east and west coast of South America, Turkey, California, and India. So admirably arranged are the buildings, that all the different parts work together. The ware, after being fired, is carried direct from the ovens into the bisque ware- houses which adjoin them, and on the other side, the coal is conveyed along a railway and deposited close to the mouths of the kilns. The whole may be looked upon as a model for all future buildings and arrangements for pot- works. Indeed, so perfect is it, that it has been visited by several manufac- turers from France and Germany, who by permission of Mr. Goodwin have taken plans of it, as a guide for new works to be erected in those countries, (y. Mayer s History of Liverpool Pottery) Warrington. There was a pottery existing here in the memory of some of the present inhabitants. It was of short duration. The works were commenced about 1797 by Messrs. James and Fletcher Bolton, who obtained the services, as managing partner, of Mr. Joseph Ellis, of Hanley, Stafford- shire, a pupil of Josiah Wedgwood. It arose out of the idea that as the Cornish clay passed through Warrington en route to Staffordshire, potteries might be advantageously made to compete with that county, and export it to America. As 55^ ' POTTERY — JACKFIELD. BENTHAL. England was at that time at war with America, it was sent over unmarked, and cannot therefore be now identified. The ware is described as a hybrid between pottery proper and china inferior, blue and white printed, an inferior black ware, &c. In 1812 the firm became bankrupt. Dr. Kendrick of Warrington made a collection of the productions, which he presented to the local museum. Jackfield, Shropshire, was one of the oldest potteries in the county, and it is said that as early as 1560 entries occur in the parish registers of Stoke-upon-Trent of potters " from Jackfield." A few years ago a coal pit at Jackfield, which was known to have been closed for two centuries, was opened, and in it was found a brown earthenware mug, bearing the date 1634. An early jug is also in the possession of Mr. W. F. Rose, of Coalport. In 1713 the pottery was taken by Mr. Richard Thursfield, from Stoke-upon-Trent, and after his death, in 1751, it was carried on by his son John until 1772. The early ware made about this time was a red earth covered with a very black glaze, sometimes with scrolls and flowers in relief, known in the locality as " black decanters:" About 1780 the works were purchased by Mr. John Rose -(who had served his apprenticeship with Turner, of Caughley), in conjunction with a Mr. Blakeway, who greatly improved the character of the ware, and consequently the business was much extended ; after a few years the manufactory was re- moved to Coalport, on the opposite bank of the Severn, where more convenient premises had been erected. The Rev. T. Staniforth has several pieces of the early Jackfield ware, covered with a black glaze. A two-handled jug is painted in oil outside the glaze, with flowers, a female portrait on one side and a landscape on the other. Mr. Thomas Onions of Stirchley has also some ware made at the works of Mr. Rose of Jackfield. The remains of these works are still to be traced. Benthal, Shropshire. John Thursfield established a rha- nufactory here in the year 1772, on his retirement from the POTTERY AND PORCELAIN CAUGHLEY. 557 Jackfield works. Benthal is half a mile from Broseley, and the reason of his choosing this spot was the discovery of a fine bed of clay in the immediate vicinity suitable for making pottery. The clay drawn from this spot is still used for the extensive manufactory of Messrs. Maw and Co. The productions of the Benthal manufactory were of the same character as those of Jackfield, and the secret of the black glaze was only known to the proprietor, and died with him. The establishment was known as The Mug House, At his death it was continued by his son Mr. John Thursfield, in partnership with his brother-in-law W. Pierce and Co. Mr. W. Pierce, under the firm of W. Pierce and Co., and it lasted until about 1818, when a person of the name of Bathurst succeeded, and, we believe, a similar manufactory still exists on the spot. Caughley, near Broseley, Shropshire. Established about I 75 I for the making of earthenware, but it does not appear to have been on a large scale ; it was carried on by Mr. Browne of Caughley Hall, a man of good property, and after his death by Mr. Gallimore. It was not till 1772 that it rose to any importance, when Mr. Thomas Turner, Mr. Gallimore's suc- cessor, commenced operations. He came from the Worcester porcelain manufactory, which he left on the sale of the works in that year ; he was an excellent draughtsman and engraver, and probably learned his art under Robert Hancock. Thomas Turner of Caughley Place was the son of the Rev. Richard Turner D.D., Rector of Cumberton, Vicar of Emley Castle and Norton, all in the county of Worcester, and chaplain to the Countess of Wigtown. Thomas Turner was born in 1749, and in 1783 was married to Miss Dorothy Gallimore, a niece of Mr. Browne of Caughley Hall, where she was residing at the time. He had two children, who both died young, and Mrs. Dorothy Turner also died in 1793. Mr. Turner afterwards married Mary, the widow of Henry Alsop, Esq., formerly of London, by whom he had two children, Katherine Georgina Cecilia, who married Mr. John J. Smith of St. James's, Bridg- 558 PORCELAIN CAUGHLEY. north, where he still resides; she died in 1836; and George Thomas Turner, a solicitor, who died at Scarborough without issue in 1869, with whom also died out the family name of Turner. Thomas Turner resided at an elegant chateau, erected by a French architect, which was pulled down after his death; he died in 1809, aged 60. Having married a lady of some property, he went to Caughley, and began to build suitable premises for the manufacture of porcelain, but it was some years in progress, and was not completed until 1775. We read in a paragraph in a newspaper of Nov. i, 1775 : — " The porcelain manufactory erected near Bridgnorth, in this county, is now quite completed, and the proprietors have received and supplied orders to a very large amount. Lately we saw some of their productions which in colour and fineness are truly elegant and beautiful, and have the bright and lively white of the so much extolled Oriental." These works, which were extensive, were pulled down some years after Mr. Turner's death ; a few mounds only remain to mark the site, and the ground at the edge of a wooded dingle still bears the name of the Factory Field. The excellence of Turner s porcelain and the invention of the beautiful dark blue of the Caughley china, attributed to him, gained him great patronage. In 1780 he produced the celebrated willow pattern," which even at the present day is in great demand, and the blue dragon," another favourite pattern, and completed the first blue printed table service made in England for Thomas Whitmore, Esq., of Apley Park, near Bridgnorth ; the pattern was called Nankin, and was some- thing similar to the Broseley tea service produced in 1782, all in porcelain. Mr. Thomas Minton, of Stoke, assisted in the completion of this service, being articled as an engraver there. Messrs. Chamberlain of Worcester, until the end of 1 790, had their porcelain in the white from Thomas Turner of Caughley. He at first mixed all the bodies himself, but after- wards instructed his sister how to do it ; subsequently a man named Jones mixed for him. PORCELAIN CAUGHLEY. 559 About the year 1 780 Mr. Turner went over to France, and returned with several skilled artists and workmen. Of those engaged at the Caughley works the principal were Dontil, a painter, also John Parker, Thomas Fennell and Henry Boden for flowers, Thomas Martin Randall* for birds. Muss and Silk for landscapes, Adams, a blue painter, De Vivy, and occasionally Stephan (a German), modellers. Peter Stephan, his son, is now modeller at Coalport. Mr. John Rose, the son of a farmer in the neighbourhood, also learned his art under Mr. Turner; he left about 1780, and commenced a small business at Jackfield. Perry, one of the workmen who was apprenticed to Mr. Turner, states that in 1797 they had four printing presses at Caughley, introduced by Davis ; the patterns at that time and for years previously were birds and blue panels ; that Turner had been an engraver at Worcester ; and he recollects a slab on the front of one of the arches of the building at Caughley, stating the date of its foundation, 1772, which would be the time he succeeded Mr. Gallimore, but it was not finished for some time after. Mr. Hubert Smith of St. Leonard's, Bridgnorth, the grand- son of Thomas Turner, and his only direct representative, has kindly supplied me with many of these particulars. The family is in possession of portraits of Thomas Turner and his wife, Mr. Gallimore, Dr. Turner, and others. In 1799 Mr. Turner retired, and Mr. John Rose and Co., became proprietors of the Caughley works by purchase. They continued to make china there, but chiefly in the biscuit state, which was taken to Coalport to be decorated. They altogether removed them to Coalport about 18 14 or 181 5, and the materials were used for enlarging their premises there ; at the present time no vestige of the house or works remains at Caughley. ♦ Mr. Randall was subsequently the well-known Sevres decorator in London; his nephew, John Randall, is at present engaged at the Coalport works as an artist, and is the author of an interesting illustrated work, entitled The Severn Valley ^ published in 1862. 56o SALOPIAN or Salopian. TURNER. s So 5 PORCELAIN CAUGHLEY. Caughley. The word impressed on blue Chinese figures and landscapes, and on white china with rich gilding. Caughley. The name occurs on a plate, with blue Chinese landscape and open border. Both specimens are in Mr. Reynolds' Collection. Caughley. The letter S, in blue, is sometimes placed alone, and was used at a very early period of the works ; it is found on a white mug, with blue and gold flowers, bearing the words Francis Benbow, 1 776, surmounted by an anchor. In the possession of Mr. Malcolm Ben- bow, his grandson, at Coalport. Caughley. Other marks on this ware given by Mr. L. Jewitt. Caughley. The crescent and the word SALOPIAN are sometimes found to- gether, the former in blue, the latter impressed ; this occurs on a fruit dish, painted in blue and gold ; in Mr. C. W. Reynolds' Collection. Caughley. This mark is on a cup and saucer of English china, in imitation of Oriental, with blue stripes and red flowers ; in Mr. Reynolds' Collection. Caughley. This mark, in blue, is on a cup and saucer, blue flowers on ribbed white. Caughley. This mark, perhaps in- tended for a bird bolt, is frequently seen on the Caughley pitchers. PORCELAIN CAUGHLEY. COALPORT. 561 Caughley. The series of Arabic numerals from i to 9, with flourishes, which give them something of an Oriental character, are so placed on the authority of Mr. Binns, one of the late proprietors of the Worcester Works. He says he has never found them on china which he considers of Worcester manufacture. All these marks are painted in blue on early ^ /<"N^i/ printed ware, with Oriental designs in ^5--^^^ ^ JU the blue, which was brought to such per- V.\ fection by Turner. From specimens in the author's possession. Caughley. Another specimen of the sort of Oriental mark or numeral adopted by Turner, quoted by Mr. Llewellyn Jewitt ; it is on a blue printed mug ; he says another from the same engraved plate bears the letter S (Shropshire). A curious puzzle jug of Caughley ware, with three spouts, the liquid passing through the hollow handle, where there is a hole to prevent its flowing, by placing the thumb upon it, is inscribed, ''John Geary, Cleak {sic), of the Old Church, Brosley, 1789;" underneath the foot, " Mathew, the v. & 16." In the possession of Mr. Edmund Thursfield. CoALPORT IN Colebrook Dale, Shropshire. These works were established by Mr. John Rose between 1780 and 1790, when he removed his manufactory from Jackfield, where he had commenced business in or about the year i 780, but only remained there a few years. He carried on these and the Caughley works, purchased in 1 799, simultaneously until the latter were finally removed to Coalport in 18 14. In 1820, having purchased both the Swansea and the Nantgarw manu- factories, they were incorporated with Coalport, and Messrs. Billingsly and Walker, proprietors of Nantgarw, were both engaged, and remained until Billingsly's death, which happened o o 562 PORCELAIN COLEBROOK DALE. in 1828. In 1820 Mr. Rose received the gold medal of the Society of Arts for his felspar porcelain and an improved glaze, which is found recorded on some pieces, by a tablet 2 inches in diameter, as follows : Coalport Felspar porce- lain ; J. Rose & Co. The gold medal awarded May 30th, 1820. Patronised by the Society of Arts." It occurs on a dish in the Langford Collection. The " worn sprig " and the " Tournay sprig," which last had been originally intro- duced by Billingsly at Pinxton, still continued to be a favourite pattern at Coalport. So also was the Dresden pattern of the Berlin china edge." In porcelain and pottery the old "willow pattern" and the blue dragon" still remained staple articles. About 182 1 Walker, of Nantgarw, introduced at Coalport a maroon-coloured ground, which is now much sought after. They not only copied the patterns of Dresden and Chelsea china, but counterfeited the crossed swords and the gold anchor, a practice which ought to have been avoided. Billingsly's original receipts for making his china ware are still in the possession of Mr. Rose, and it can be made at Coalport of as fine a quality as ever, but it is too expensive a process to be followed to any great extent. It is easily identified whether made at Pinxton, Nantgarw, Swansea, or Coalport. The marks used there are as follow : CoLEBROOK Dale is another name for the Coalport works, which has been occasionally used for decorative china. CoLEBROOK Dale. On a china basket of flowers, finely modelled and painted. CoLEBROOK Dale. A mark, in blue, on a pair of china vases, with leaves and flowers in relief CoLEBROOK Dale. Another mark of C. B. D. in monogram, used by the same firm on ornamental china. PORCELAIN COALPORT. 563 CoALPORT. On a pair of porcelain tulip-shaped cups. CoALPORT ? This mark, in red, is on a porcelain tea set, painted with ribbons and roses, thought from the quality of the china to be the mark of Mr. Rose the Potter. CoALPORT. The letter S scratched in the body implies Salopian ; on porcelain made at Coalport from the improved Nantgarw body of Billingsly. A monogram used since 1861 for porcelain. This curious mark, usually in pink and gold, may be thus explained : the cursive letters represent a C and for Coalport and Salop ; the Roman capitals within the bows, C, S and N, intimate that the works of Caughley,Swanswea. and Nantgarw have been incorporated with Coalport. The style of the firm has ever since its establishment been Messrs. John Rose and Co. Mr. John Rose died in 1841 ; he was succeeded by his nephew, Mr. W. F. Rose, of Rock House, Coalport. The present proprietor of the Coalport Works is Mr. William Pugh, who has long been a member of the firm. Benthal, near Broseley, Shropshire. Messrs. Maw and Co. are makers of the encaustic tile MAW & Co. pavements in the mediaeval style for public or private buildings ; their pro- ductions have a very extensive sale. 002 5^4 PORCELAIN — WORCESTER. WORCESTER. Worcester. Soft Paste. This manufactory was esta- blished in 1 75 1, chiefly through the exertions of Dr. Wall, a physician and good practical chemist, who, in conjunction with others, formed the Worcester Porcelain Company," for the manufacture of soft paste. Dr. Simeon Shaw says that this establishment was formed by the enterprise of some of the clergy of the Cathedral, and for many years the principal director, sub rosa, was Dr. Davies." This was no doubt the William Davies, apothecary, who afterwards became one of the proprietors. He was certainly manager in 1763, as may be seen in an indenture of apprenticeship of that year, and remained so until the works were sold to Messrs. Flight in 1783. The original proprietors between 1751 — 1772, were — John Wall, M.D. John Salway. Richard Holdship. Germain Lavie. Rev. Benjamin Blayney. Rev. Thomas Vernon. Samuel Bradley. Mary Blayney. Rev. Samuel Pritchett. Richard Cook. William Oliver. Henry Cook. David Henry (in lieu of Holdship). John Thorneloe. William Davis, The entire property of the Worcester Porcelain Company was sold by auction in January, 1772, for the sum of ;^5,25o. It was purchased nominally by the Rev. T. Vernon, who gave up possession in favour of Dr. Wall, but he was only taking charge of the works until the new Company could be formed. In January, 1773, the following gentlemen were selected: — John Wall the Elder, M.D. Rev. Thomas Vernon. William Davis the Elder, Apothecary. Robt. Hancock, Engraver. William Davis the Younger, Gent. Richard Cook, of London. A cylindrical mug, painted with blue flowers, of the well- known Worcester type, in the possession of Mr. J. Loraine Baldwin, has deeply scratched in the paste the date, ''July 13, ,1773/' which probably refers to the first issue of the ware made by the new firm, on which occasion a number of these common mugs may have been distributed to the people con- nected with the works, as mementos of the event. PORCELAIN — WORCESTER . 565 In 1774 Hancock sold his share in the manufactory for ;^900. On the loth of April, 1783, the entire property was sold to Messrs. Flight for ^3000. It has been stated that William Cookworthy had some interest in the W orcester works, and made hard paste there, but we have no authentic account of his ever having had any connection with them ; in fact there was none made at that manufactory; except that we find, about 1790 to 1800, a porcelain paste, both hard and soft, whether on the glaze or body, or both, is difficult to say, but it has that appearance. The marks upon this ware are of great variety, but they still historically denote the changes that have occurred in the direction of the manufactory, and we are thereby better able to ascertain the dates of particular specimens. This is one of tl)e few old English manufactories which is still carried on with success, and no pains or expense is spared in perfecting the quality and decoration of the porcelain. The total number of hands now employed is about four hundred. The principal painters under Messrs. Flight and Barr were : Pennington, who painted figures, &c. ; Astle, flowers ; Davis, exotic birds, in the Chelsea style; Webster, landscapes and flowers; Barker, shells ; Brewer of Derby, landscapes ; Baxter, an accomplished artist, and his two pupils, Lowe and Cole, figure subjects ; Billingsly was one of the best flower painters turned out by the Derby works. Mr. Baxter's father had workshops at No. i. Goldsmith Street, Gough Square, London, for painting and gilding china obtained principally from France and Staffordshire. Mr. Baxter, Jun., his son, established a school of art during his stay at Worcester, from 18 14 to 18 16. Among other of his pupils were Doe Astle, Webster, Pitman, Lowe, and Cole. The two principal manufactories of Messrs. Flight and Barr and Messrs. Chamberlain continued working separately until 1840, when the two firms were amalgamated, the plant and stock removed to the premises of the latter, and it was styled Chamberlain and Co. The tile business of Mr. Chamberlain was removed to the old manufactory and worked by the firm ; 566 PORCELAIN WORCESTER. subsequently it was given up to Messrs. Maw, and about 1853 they removed the manufacture to the Benthal works, near Iron Bridge, in Shropshire. There are some Worcester vases, finely painted with classical subjects and figures by John Donaldson, who obtained medals from the Society of Arts for the best enamel paintings in the years i 765 and 1 768, in the possession of the Right Hon. W. E. Gladstone. As Donald- son does not appear to have been engaged at Worcester, it is probable these vases were purchased there in the white, and decorated in London — a very common occurrence. Mr. Binns is of this opinion ; he says : The peculiar character of Wor- cester china was generally acknowledged about the year 1 760, for both prior and subsequent to that date, an artificer named John Giles, of Kentish Town, advertised to procure and paint for any .person Worcester porcelain to any or in any pattern." This is the John Giles alluded to by Thomas Craft in his account of the Bow bowl in the British Museum, and here no doubt were burned the fine vases painted by Donald- son, and many other specimens which occasionally puzzle us as to their parentage." About the year 1 760 porcelain tokens were issued by the proprietors of the Worcester Porcelain Company, for two shillings, one shilling, and a sixpence. On the obverse is written : " / promise to pay to the bearer on demand One Shilli7ig. W Davis At the China factory!' On the reverse are the letters W. P. C. stamped in relief. They are about the same size as the coins of the value represented. There is a set of these porcelain tokens in the British Museum, and in Mr. A. W. Franks' Collection. Richard Holdship, an engraver, was brother of Josiah Holdship, to whom the verses were addressed in the Wor- cester Journal, and in the Gentleman s Magazine, in January, 1758, "on seeing an armed bust of the King of Prussia curiously imprinted on a porcelain cup of the Worcester manufacture," which ascribe to Josiah the merit of bringing to perfection an art, the successful application of which had long been sought for by curious artists, alluded to in the following extract : — PORCELAIN WORCESTER. " What praise is thine, ingenious Holdship ! who On the fair porcelain, the portrait drew ? — To thee, who first, in thy judicious mind, A perfect model of the art designed ; An art which, long by curious artists sought, By thee alone to great perfection's brought," These verses do not attribute the invention to him ; in fact, that the art was not new is proved by a specimen of transfer printing on enamelled copper in the possession of Mr. Joseph Mayer, of Liverpool, being also a portrait of Frederick the Great, done from the original painting at Berlin in 1756; and another with the portrait of George II. and the arms of the Bucks Society, signed " y. Sadler, Liverpool^ enam.;' and the same art of transferring prints to enamel was in general use at Battersea in 1753. These interesting cups are much sought after, and conse- quently are becoming scarce ; a detailed description of the subjects upon them may be acceptable to some of our readers, showing the difference between the Worcester and Liverpool types, which are frequently confounded. They were sold in sets of three, holding a quart, pint, and half-pint, and of beau- tiful curvilinear form. Dr. Diamond has a full set of them, and his well-selected Collection embraces all the varieties of transfer-printed wares. The Worster transfer-printed mugs and other pieces may be thus described : — They are printed in black, and com- mencing from the handle to the left we find a three-quarter portrait of Frederick the Great ; he is in armour, with a cloak lined with ermine thrown over his shoulder, pointing with his finger, and a full-bottomed wig on his head, without any hat ; the inscription is " king of Prussia," and at the bottom is R H in monogram and an anchor, the rebus of Richard Hold- ship, and the date 1757 ; above, to the left, is a small cupid. The next subject is a large trophy of arms, among which are three flags, enumerating his nine great battles. And thirdly, a large figure of Victory. They are printed above the glaze. The Liverpool printed mugs differ in many respects, they are frequently in lake or some other colour. First we have 568 PORCELAIN — WORCESTER. Frederick the Great, unarmed, dressed in court costume, with a broad sash, and star on his breast, which bears the Prussian eagle ; he wears a cocked hat, and holds a baton in his hand, inscribed the Prussian hero," and the face appears younger than in the former print ; above his head, to the right, is a cupid, with helmet and flag. Next is a large trophy of arms, but without any flags, and a smaller figure of Victory flying above to the left. It has no date or artist's initials, and is also printed over the glaze. Richard Holdship, the elder brother of Josiah, assisted him by engraving the plate which was so successfully transferred to the surface of the poreelain. He also engraved other early plates — the portrait of George II. mentioned below, and the well-known garden scenes and tea party are sometimes found with his monogram. He was connected with the Worcester Works from their commencement, and in 1 75 1 a lease was granted in his name, on behalf of the Company, for twenty-one years, and he was part proprietor, and was the leading business man of the factory, until 1761, when he became bankrupt and left the concern ; he worked for some time at Derby. Mr. Llewellyn Jewitt has in his possession an agreement, between *' Richard Holdship, of the city of Worcester, china maker," and Mr. Duesbury, of Derby, dated 1 764, to print such china as may be required, and his monogram and rebus (the anchor) is found upon a piece made under this agreement, the word Derby being substituted for Worcester, Robert Hancock was another engraver employed at Wor- cester in engraving plates for the purpose of transfer ; he was perhaps from Battersea. Mr. Binns has an enamelled copper watch back, representing a garden scene (bearing his initials), which was transferred there, and he attributes the excellence for which the Worcester printed porcelain has always been distinguished to his supervision. He sometimes printed his name in full. It is not known at what time he first worked there, but it must have been previous to 1757, from the couplet which appeared in Berrow's Worcester Journal of December, 1759, appended to the verses in honour of Josiah Holdship : — PORCELAIN WORCESTER. " Hancock, my friend, don't grieve, tho' Holdship has the praise, 'Tis yours to execute, 'tis his to wear the bays." By these lines we may infer that Hancock ececuted the copper plates which were transferred to the porcelain by Josiah Holdship. Hancock was celebrated as a line engraver, and in 1765 instructed pupils in his art. He eventually be- came a proprietor, and director of the works in 1772 ; but his partnership was not of long duration, as he left in consequence of some disputes with the other partners in 1774.* The following printed subjects on Worcester china are in Lady Charlotte Schreiber's Collection : — George II, with trophy and ship, on a jug, by Holdship. Queen Charlotte, her portrait on a flower pot. George III, young head, Fame and Britannia, on a half-pint mug. Rt. Hon. William Pitt, Earl of Chatham. Marquis of Granby. Frederick the Great, King of Prussia. Ruins and figures, and Chinese subjects. Haymakers, Angler, and Fortune-teller. Dancing group, with a man carrying some Worcester china on his head. Freemasons' Arms and Masonic emblems. Swans, taken from the plate in The Ladies^ Amiisemcjit, on a finger basin. The progress of the Chase, printed round a punch bowl, with the death of the fox on the inside. Conversations and Dancers, on a pair of open-work baskets. The Ages of Life and the Four Seasons, in small medallions, round two butter boats. Two groups of birds, one from an engraved plate by R. Hancock, in T/ie Ladies' A?nusemefit, p. 73 ; the other transfer has on the left side, Rhodes pi?io(^ painted in red, on a pair of leaf-shaped dishes, edged with green. Tea parties and pastoral scenes. Shakespeare between Tragedy and Comedy. Bat-printing succeeded the printing from engraved or etched plates. This new style, instead of being first printed upon paper and then transferred, was accomplished thus : — * Demmin soon settles the dispute as to the priority of invention {Guide de P Amateur, &c.). '* Aucun de ces potiers n'en est I'inventeur, La Lithogeognosie est due a Pott de Berlin, qui avait public I'ouvrage Lithogt^ognosie, (Sec, Paris, J 753, 2 vols., en planches; tandis que Ic brevet de Sadler & Green, ne date que dc 1756." 5 70 PORCELAIN WORCESTER. the plate was stippled with a fine point by London artists, after designs by Cipriani, Angelica Kauffman, and Cosway, and the engravings of Bartolozzi, so fashionable about the beginning of this century — landscapes, shells, fruit, flowers, &c. The copper plate being carefully cleaned, a thin coating of linseed oil was laid upon it, and removed by the palm of the hand from the surface, leaving the oil in the engraved spots; instead of paper, bats of glue were used, cut into squares the size of the engraving ; one of these bats was pressed on to the plate, so as to receive the oil out of the engraved holes, and laid on the china so as to deliver the oil marks on to its surface ; it was then dusted with the colour required, the superfluous colour being removed carefully with cotton wool, and then placed in the kiln.* The manufacturers of Worcester seem to have copied the marks of most of the celebrated fabriques in their turn. We find the Oriental and the Dresden, both the caduceus and crossed swords, and perhaps the Chelsea. Worcester. This is one of the earliest marks : a crescent outlined in blue, frequently used, together with other marks, down to 1793, but not after. It is most likely taken from the Warmstry arms, that being the house where the manu- factory was first established. Worcester. These are early marks, X4r^ /^^K^^^ used when under the direction of Dr. Wall, who died in 1776. Worcester. An early mark found on blue printed china, which was invented about 1755. A crescent filled in with blue, under the glaze. Worcester. Marked in blue on early printed china. € w * Binns' Cenhiry of Potting ai Worcester, p. 112. PORCELAIN — WORCESTER. #1 Worcester. Marked in gold. Worcester. These marks, in blue, or sometimes red, are found on china of ^an early character and good finish ; they are not confined to Chinese patterns. Occasionally a crescent in red is found, with one of these in blue. A Worcester plate in Mr. J. E. Nightingale's posses- sion, painted in landscapes, with d/c?i borders, bears the square Japanese mark, and on a stone in front is inscribed : Cronon. Croc. Fogo. 1768. The meaning of which we leave in other hands to be solved. Worcester. The Dresden mark of the caduceus is sometimes found, as well as the crossed swords. This, in blue, is on an early basin, embossed and painted with blue flowers. Worcester. This mark, in imitation of that of Dresden, usually in blue, is on a jug in the Museum of Geology in Jermyn Street. Worcester. On asmall hexagonal cup, no handle, with Chinese ornaments and flowers alternately and richly enamelled in gold and colours, similar to the tea kettle following; in the possession of Mr. T. Hughes, Chester. Marked in blue. Worcester. On a choice little china tea ketde with raised medallions of flowers, enamelled in colours and richly gilt, bamboo-shaped handle. The mark in blue. In the possession of Mr. T. Hughes, Chester. 572 PORCELAIN WORCESTER. Worcester ? This mark in red, ac- companied by the numbers 20 and 1 7, is ^^.^ cup and saucer of the " 129 sprig" pattern of small blue flowers like the Angouleme, which appear to be of Worcester porcelain. In Mr. J. Loraine Baldwin's Collection. 1^ Worcester. A mark, painted in blue, _ on a fine old Worcester dish, in imitation til of Japanese porcelain, in the possession Jvt B B of Mr. Reynolds. Sometimes only por- tions of this mark occur on the china. Worcester. A mark, founded upon the Japanese, painted in blue. i Worcester. This mark is on a dessert dish, copied from a Chelsea model, formed of two leaves. Quoted by Mr. Binns. Worcester. This is copied from a J I U 1 1 chocolate cup, of Japan pattern. Quoted 11 'trL by Mr. Binns. /- Worcester. From a large bowl and milk pot of a tea service, both Japan ^ pattern. Quoted by Mr. Binns. Worcester. From a punch bowl and ^ ^ ^ part of a tea service, of rich Japan fan A r-[n pattern. Quoted by Mr. Binns. Many H FT of these marks are evidently suggested ' ' by the Chinese characters of the Ming dynasty. ^-fj/ ^0 Worcester. These two sets of marks y J are on different pieces of a dinner service 7^ V of octagonal shape ; the pattern in pow- / dered blue, with fan-shaped and circular 3^ ^^^^2^ compartments, having sprigs and land- V n ^ scapes in the Chinese style. Quoted by 'jS /\CP Mr. Binns. PORCELAIN — WORCESTER. 573 Worcester. This mark occurs on a jug, with portrait of the King of Prussia, dated 1757, in the Geological Museum, Jermyn Street, and on a set of three, in sizes, in Dr. H. W. Diamond's Collection. Worcester. The mark of Richard Holdship. On a jug, of white ware, with vignettes, in black, of a child with the cap of liberty and martial trophies, and a ^^^I4^ce4fl7<^^ portrait of George II., and two men-of- war, executed, therefore, previous to 1760, as the King died in that year. The same mark is on a porcelain tea cup and saucer, of fine quality, with black printed garden scenes of the well-known subject — the Tea Party. Worcester. The mark of R. Hancock, found on painted subjects only. His subjects are generally garden scenes and ^ y / 'J figures, like those of Watteau, and when / signed are usually at full length. C Worcester. These works were pur- chased by Messrs. Joseph and John ^tli7nyt Flight in 1783, when this mark and the ^ next were used until i 788. Worcester. The mark of Messrs. ^ r light, as before. Worcester. This mark was used after the King's visit in 1788 until 1792. Worcester. This letter is found ^ scratched on pieces of this ware (not stamped), from 1793 to 1803. Worcester. Messrs. Joseph Flight ^ and Martin Barr were proprietors from ijlc^kt^^cCT^r 1793 to 1807, used this mark. Worcester. From 1807 to 18 13 the au a^cjaui^^^ ^as Martin Barr, Joseph Flight, and M. Barr, Jun. 574 PORCELAIN WORCESTER. Worcester. Messrs. Barr, Flight, and Barr. The letters B. F. B., with a crown above, impressed on the ware without colour; used from 1807 to iSi3- Worcester. From 18 13 to 1829 the cfl^^ S&uu ^* at the Humber bank. Note. — To give an idea of the working of such an establishment, we here quote the expenses for the year 1837, extracted from the books of the Belle Vue Pottery, in the possession of Mr. John J. Bagshawe : Flat men. Pressers . Modelling .. 96 19 0 .. 144 4 9 47 I 10 376 5 6 •• 33 15 1 1 26 18 10 21 0 0 .. 59 16 1 1 89 18 8 .. 113 9 4 104 19 8 79 10 5 .. 76 17 9 £^434 19 6 This amount does not include rent, steam mills, sheds, kilns, wear and tear or materials, &c. The "cock spurs" are the small triangular or pyramidal pieces of clay, three of which are placed under each piece in the seggars to prevent adhesion in the kiln. 582 POTTERY — CASTLEFORD. MIDDLESBRo'. Castleford, 12 miles from Leeds, established about 1790, by David Dunderdale, for the manufacture of the finer kinds of pottery, especially Queen's ware and Black Egyptian. Mr. Dunderdale took into partnership a Mr. Plowes, and in 1803 Dunderdale and Co. The works were closed in 1820, and a part of them was taken by some of the workmen, whose names were George Asquith, William and Daniel Byford, Richard Gill, James Sharp, and David Hing- ham. They were succeeded by Messrs. Taylor, Harrison and Co., and in 1854 by Thomas Nicholson and Co. ; their mark is T N and Co. in a garter, surmounted by a crown. The name, impressed, occurs on a black Egyptian earthen- ware service, with raised flowers, like Wedgwood ; the coffee pot has on the cover a female figure seated ; in Mr. Roach Smith's Collection. The late Rev. R. Pulleine had a mug with raised figures, white, with a brown rim similar to Wedg- wood, and part of a dessert service, D D & Co. painted with landscapes and views in CASTLEFORD bistre, on white ground ; these all have POTTERY. the initials of the name impressed as in the margin. Stoneware tea pots, with subjects in relief and blue line borders, have a hinge of earthenware attached to the lid, through which a metal pin is passed and fastened to the rim. MiDDLESBOROUGH, Yorkshire. Im- MIDDLESBRO pressed on a white cup and saucer, em- POTTERY CO. bossed with flowers on the borders. In the possession of the Rev. T. Staniforth. MiDDLESBOROUGH. This mark is stamped plain on a square earthenware dish, with raised embossed edge like a picture frame; border marbled with arsenical lustre, pinky ; white centre, on which is printed in black, with a wreath of flowers round it — " Job. 14, TO. Eor man dieth and wasteth away, yea, man giveth up the ghost, and where is he." Bought at the pottery about 1848. In Mr. Fishers possession. POTTERY FERRYBRIDGE. YEARSLEY. 583 Ferrybridge by Knottingley, near Pontefract. Established in 1792 by Mr. Wm. Tomlinson, with whom were associated Mr. Seaton, a banker, Mr. Foster, a ship owner, Mr. Timothy Smith, a coal proprietor, and a retired gentleman named Thompson, under the name of Tomlinson & Co. In 1796 they took into partnership Ralph Wedgwood, son of Thomas Wedgwood, partner of Josiah, the firm being Tomlinson, Foster, Wedgwood and Co. During this WEDGWOOD & CO. time they imitated Josiah s ornamental jasper and other wares, to which they were very inferior, and placed upon these articles the name of Wedgwood & Co. alone, omitting the names of the other partners. Until 1804 the works were known as the Knot- tingley Pottery, but they were then altered to Ferrybridge Pottery. In 1826 the name of the firm was for a short time Wigglesworth and Ingham, and afterwards Messrs. Reed, Taylor, and Kelsall, until 185 1, when the works were purchased by Mr. Lewis Woolf. Yearsley. Wedgwood. Circa 1 700. There was a manu- factory of pottery here in the beginning of the XVIIIth Century on the estate of Sir George Wombwell, adjoining New Burgh Park ; where his tilery now stands " Old Wedg- wood made pajichconsr A pancheon was a sort of deep pan. Several earthenware pitchers and fragments have been dug up on this spot of a coarse brown ware, with lead glaze. There is a traditionary distich in the district, as follows : — At Yearsley there was puncheons made By WilHe Wedgwood, diat young blade." A brown earthenware oven, green glaze, semi-circular, open at top, with a hollowed ledge round the inner side about half way, and a flat bottom, having two handles at the sides, and between them a crinkled ornament, was dug up at Yearsley, near Easingwold, Yorkshire, together with a plain earthen crock or pa^icheoii of red earth, green QgJ^ 17I9 5SAT'^^ ^^^^""^ ^ '^^^^\^ on each side. >^^IJ X f o^r\ These are in the possession of Mrs. Eason Wilkinson, of Green Heys, Man- 584 POTTERY MEXBOROUGH. SWINTON. Chester. This mark, incuse before the glaze, is on the upper part inside the oven. They were bought at the sale of Mr. Scott, steward to Sir George Wombwell, on whose estate the pottery of Wedgwood was. At Yearsley there still exist members of the Wedgwood family,"^ who have recently been claiming, as heirs of Josiah, some property in Staffordshire. The distich has been handed down orally for many generations in the neighbourhood. Mexborough, near Swinton. A manufactory of pottery, established towards the end of the last century, for a common description of pottery, by a person named Beevers, trading as Beevers and Ford ; being built close REED. to a rock, it was called the " Rock Pottery." — Subsequently it was Ford, Simpson, and Beevers, who made cane-coloured jugs, dishes, &c., for household use. The works passed into the hands of Messrs. Reed and Taylor, who also owned some works at Ferrybridge; they introduced a finer ware. In 1839 it belonged entirely to Mr. John Reed, and is still successfully carried on by his son. At the sale of the Rockingham works, about the year 1842, Mr. Reed purchased many of the moulds, among which were Conisburgh Castle, and some large vases in close imitation of the Oriental, called the lotus vases," which have frequently been purchased as Chinese. Mr. Reed kindly presented the author with a pair made from these moulds, but without the coloured decorations they were wont to be adorned in, at the Rockingham works. SwiNTON, near Rotherham. A manufactory of pottery on the estate of Charles, Marquis of Rockingham, established in the year 1757, conducted by Mr. Edward Butler. In 1765 it was carried on by Mr. William Malpass, who had another manufactory at Kilnhurst, in the neighbourhood. In 1778 * According to the Register, John Wedgwood of Yearsley, was " buried in wollen " in 1682, and in 1692 a William Wedgwood, who was probably the father of Willie Wedgwood. We also find in 1690 the death of Isabel Wedgwood recorded, perhaps his mother. POTTERY AND PORCELAIN SWTNTON. 585 the works were taken by Messrs. Thomas Bingley and Co. (John and WilHam Brameld being partners,) who enlarged them, and made earthenware of a superior quaHty, and stone- ware. From about 1790 to 1800 the firm was Greens, Bing- ley and Co., one of the Greens of Leeds having joined it. In 1807 the works passed entirely into the hands of Messrs. John and William Brameld, and subsequently Messrs. Thomas, George, Frederick, and John Wager Brameld became the tenants. The Rockingham tea pots were in great repute for extracting the full flavour of the tea ; they were taller than usual, and in form more like a coffee pot, which was considered a great improvement. Mortlock, the china seller of Oxford Street, is said to have ordered of this article alone £goo. worth for one season's demand. These tea or coffee pots were of a choco- late-coloured glaze, lined with white. Occasionally we find the name of mortlock stamped upon them ; sometimes they are stamped with brameld. About the year 1823 Mr. Thomas Brameld directed his attention to the manufacture of porcelain of the finest descrip- tion, employing the best artists and sparing no expense to bring it to perfection. John Wager Brameld was himself a painter on porcelain ; there are some authenticated pieces presented by him to Mr. Robert Allen, of Lowestoft, formerly a painter in that manufactory, viz., a snuff box and a set of vases. In 1826 they became embarrassed, but the works were continued by the assistance of Earl Fitzwilliam till 1842. There is a very lofty Rockingham vase in the S. Kensington Museum; it is nearly 4 ft. high, and fired in one piece. It is most elaborately painted with flowers and small medallions of landscapes ; the three handles are formed of gilt oak branches, and it rests on three lions' paws on morone ground. The cover is surmounted by a rhinoceros. The companion vase ' is at Wentworth House. Dr. Nunnely, of Leeds, has a dessert service, delicately painted with birds, and some biscuit figures of peasants, produced at this factory. Mr. John Manning, of Leeds, has a compotier of blue and gold trellis ground, bor- 586 POTTERY AND PORCELAIN — SWINTON. dered with flowers in relief, with views of Lowther Castle, &c. This is part of a service made for King William IV. in 1832, and which, from its expensive character, is said to have caused the ruin of the firm ; it was painted with views of the seats of the nobility and gentry. A specimen plate of this service was recently sold by auction for the enormous price of ^30. Mr. Emerson Norman, of Norwich, has some fine sets of Rockingham china tazzas, designed for dessert services, the stems having plants and fruit in relief coloured after nature, especially the mulberry, painted with views of gentlemen's seats ; also a lofty centre piece, light blue ground, and acorns in relief, painted with " The Tight Shoe " and The Young Soldier." ROCKINGHAM. SwiNTON. Called the Swinton Pottery." The annexed mark of a griffin, the Rockingham crest, is usually placed on china. It was adopted about 1823, the commencement of the manufacture of porcelain under the patronage of Earl Fitzwilliam, whose second title is Marquis of Rockingham. This mark is in red, on porcelain vases, in imitation of Oriental. The name is also found on tea services of yellow clay, glazed inside, with figures outside in blue, of children playing, in the style of Wedgwood. A portion of the works is still occupied by Mr. Isaac Baguley, formerly in the employ of Messrs. Brameld, who purchases earthen- ware and china in the biscuit state and decorates it. The flint mill is still occu- pied and worked by the widow of Thomas Brameld. Baguley was a painter of birds. Speight painted interiors and figures, copies of Wilkie, &c. Cordon painted landscapes and views of gentlemen's seats, in which he was succeeded by Lucas. Brameld. POTTERY — WAKEFIELD. SUNDERLAND. 587 OsMOTHERLEY PoTTERY, Yorkshire,^ has been discontinued many years. A brown jug is in Mr. John J. Bagshawe's Collection. Holmes Pottery, near Rotherham, a manufactory of earthen- ware, is still carried on at this place. Wakefield. Thoresby, in his Diary, writes : — " March 1 6, 1702. From Wakefield then by Allerthorp and Silkhouse to the Pot-ovens (Little London in the dialect of the poor people), where I stayed a little to observe, not only the manner of forming their earthenware, which brought to mind the words of the Prophet, ' As clay in the hands of the potter, so are we in the Lord's,' but to observe the manner of building the furnaces, their size and materials, which are small, and upon the surface of the ground, confirming me in my former apprehensions that those remains at Hawcaster-rigg(P////(?^^///. Trans., No. 222) are really the ruins of a Roman pottery." Sunderland. The Sunderland Pottery" was established in the early part of this century, doing a considerable trade in 1824. Some common figures of the Seasons are in the Jermyn Street Museum. The ware made here was also frequently decorated with the pink metallic lustre so usual on the Sunderland jugs, &c. ; one favourite pattern was a ship of war, accompanied by verses suitable for DIXON AUSTIN & Co. sailors. A butter dish, showing the character of the ware, may here be given ; it has " The Northumberland, 74 guns," printed in colours : — " The troubled main, the wind and rain, My ardent passion prove ; Lash'd to the helm, should seas o'envhelm, I'll think on thee, my love." DIXON & Co. Underneath is the manufacturers Sunderland Pottery, name. In Mr. J. L. Baldwin's Collection. 588 POTTERY — SUNDERLAND. NEWCASTLE. Sunderland. The Newbottle Pottery, carried on in the last century by Anthony Scott, was removed in 1788 to the Southwick Pottery ; the works being then newly built, it was carried on by his descendants Scott, Brothers & Co. und&r the name of Scott, Brothers and Co. PHILLIPS & Co Sunderland. The Garrison Pottery Sunderland 181 3 established in the early part of this century by a Mr. Phillips, who produced PHILLIPS & Co. Queen's ware, &c. The marks in trans- Sunderland Pottery. ^^^^ ^^^^j^^^ Sunderland. The Ford Pottery, at Hylton, near Sunder- land, where brown ware and white and coloured goods were made ; now discontinued. There was J. PHILLIPS, also the Hylton Pottery, established Hylton Pottery. about 1 780, carried on for some time by Mr. J. Phillips and Mr. Maling. Sunderland. A manufactory of pottery and earthenware services was flourishing here in the beginning of this century, and it is spoken of in the papers of the DAWSON. Belle Vue Company (in possession of Mr. John J. Bagshawe). A specimen of the ware made here, a cup and saucer, in Dr. Diamond's Collection, has a coloured transfer of figures bordered with the pink metallic lustre ; the name stamped in the clay. New^castle (upon Tyne). The name impressed on a quart mug, handsomely mounted in silver ; on the cover is inserted a gold coin of Charles XIII., FELL. King of Sweden. The mug is of fayence, with raised and coloured flowers round the top, and a belt of bronze lustre, on which is written, "Warranted Winchester measure." In Mr. Reynolds' Coll. Newcastle (upon Tyne). T. Fell and Co. proprietors. It was called St. Peter's Pottery." T. FELL & Co. They exhibited common earthenware at the International Exhibition in 1862. POTTERY — NEWCASTLE. SOUTHWICK. SEWELL & DONKIN SEWELL St. ANTHONY'S. Newcastle (upon Tyne). This pot- Sheriff Hill Pottery, ^ery was carried on by Mr. Edward Lewins, in partnership with Mr. George Patterson. Newcastle (upon Tyne) at St. An- thony's," about 2\ miles from Newcastle, makers Sewell and Donkin ; Queen's ware and pink metallic lustre ; also printed subjects ; sometimes Sewell alone, the name stamped. A jug of his make, his cupids in relief, coloured with pink metallic lustred clouds and bronzed borders. He also produced ware like that of Leeds, pierced wicker baskets, &c. Newcastle. This occurs on an earthenware fruit dish on stand, embossed with wicker pattern sides and pierced border, a group of fruit in the centre, 'Ol (date about 1800). The ware is like Leeds pottery, but of a whiter and better colour ; there are numbers underneath the mark, all stamped. SouTiiwiCK, near Sunderland. The Wear Pottery," esta- blished by Messrs. Brunton and Co., succeeded by Messrs. Moore and Co. Their names occur on jugs, with prints of a view of the bridge over the Wear at Sunderland, commemo- rating the erection and opening of the MOORE & CO. potteries at Southwick, which are alluded SOUTHWICK. to in the Penny Cyclopcrdia, among other manufactories. These transfers of Nel- son's victories and other popular subjects were surrounded by a pink metallic lustre. On a mug, with a toad inside the cup, which is discovered when the drinker has half emptied it, is inscribed, " Though malt and venom seem united, Don't break my pot or be afitrighted." Two of these jugs are in the possession of Mr. Hawkins of 590 POTTERY — STOCKTON-ON-TEES. NOTTINGHAM. Grantham ; they are of a creamy white colour, similar to the Leeds pottery. The manufactory is mentioned in the Belle Vue papers (in Mr. John J. Bagshawe's possession) as doing an extensive business. Stockton-on-Tees. This pottery was established in the early part of this century by William Smith of Stockton, in conjunction with John Whalley, a Staf- STOCKTON fordshire potter. They entered into POTTERY. partnership with Wm. and Geo. Skinner. In 1833 the firm was Messrs. J. Smith and Co., Stockton Pottery." In 1840 we find W. Smith and Co., North Shore Pottery, Stockton," which was perhaps another firm. About the year 1848 Messrs. Wedgwood of Etruria applied for an injunction against Messrs. W. Smith and others of Stockton for using their name stamped or printed on pottery made to imitate their WEDGEWOOD. productions. The stamp used by them was WEDGEWOOD instead of wedgwood. The mark in the margin is impressed on a plate, with embossed may-flower border painted in W. S. & Co. purple camaieu, with Virginia and her QUEENS. WARE, goats. In the Rev. T. Staniforth s CoU STOCKTON. lection. They also made great quanti- ties of coble boats, which were pur- chased by sailors and others to give as presents on long voyages. One of these, painted with green stripes, is in Mr. E. Hailstone s Collection. Nottingham. In D^^nngs Historical A ccotmt of Notting- hafUy 1 75 1, he speaks of potter's ware being made here. No manufactory exists at the present day. There is a specimen in the Geological Museum — a large brown earthenware bowl — with ''November 20, 1726," impressed on the outer rim. Nottingham. This inscription, in- al»^7\^^nctAVun^o^^^k^^ci^ near cuse, is round an earthenware jug, of light Tixittln^/lunu,, 7'7/2*. browu glaze, and a slight metallic lustre. In the Collection of Mr. E. Norman. POTTERY CHESTERFIELD. BRAMPTON. The ware made here in the first half of the XVIIIth Century is very hard and durable, and has usually a light brown lustrous glaze, frequently ornamented with dotted designs, or incised outlines of stalks and flowers, especially the pink. The earliest dated specimen we have met with is the jug described opposite. Mr. John Hawkins, of Grantham, has a tobacco jar, in form of a bear, of brown lustrous glaze, his head being the cover, a collar round his neck, and a chain to which is attached a large hollow ball, containing stones and holes, used as a rattle ; on the ball is impressed the name Elizabeth Clark, Dec' y"" 25*^ 1769 also a neatly made puzzle jug, of the same lustrous glaze, ornamented with a vase of pinks and scrolls round the lower part, the flowers being a dark red colour, on the front is the date 1755, underneath the bottom the initials G. B. Chesterfield.* In this neighbourhood many pot works were established in the last century, the principal productions being a brown ware of peculiarly hard and durable quality, as well as stoneware. The clay was obtained from the East Moor, Derbyshire, and from Brampton, a few miles away, the former standing a higher degree of heat, they were usually mixed and covered with a salt glaze. A number of quaint vessels and bears," like those of Nottingham, were made here. Whittington, near Chesterfield. The manufacture of pottery was carried on in the early part of the last century by Mr. Wm. Johnson and Mr. Aaron Madin. Brampton, near Chesterfield. Potteries were established here in the early part of the last century, the principal ware produced being the ordinary brown ware, of hard and close texture and reddish glaze. About 1800 these works were carried on by Mr. Wm. Bromley, who, in addition to the brown ware, made a cream-coloured fayence with transfer prints. They were subsequently worked by Robert Bambrigge and Co. * These particulars are taken from Mr. Llewellyn Jewitt's notices in the Art Journal. 592 POTTERY AND PORCELAIN BRAMPTON. DERBY. Brampton. In the last century there were six earthenware manufactories at this place, conducted by Mrs. Blake, Mr. Wm. Bridden, Mr. Luke Knowles, Mr. Thomas Oldfield, Mr. John Wright, and Messrs. Wright and Co., producing brown- ware filters, jugs, tobacco jars, puzzle jugs, &c. In Mr. John J. Ba^shawe's Collection is a brown-ware posset pot, made at Brampton, decorated with raised ornaments, and dated 1774. The firm of Oldfield and Co. is mentioned by Bron- gniart, as located in 1843 at Chesterfield. TiCKENHALL PoTTERY, supposcd to havc been established as early as the XVIth Century, produced articles of a coarse, hard body, of a dull brown colour, sometimes decorated with yellow slips. DERBY. This important manufactory of porcelain was founded in 1 75 1 J by Mr. William Duesbury of Longton, Staffordshire, the son of William Duesbury, of Cannock, in the same county. Among the collections of papers relating to pottery and porcelain which belonged to the late Jacob Burn, and have recently come into our possession, there are two letters, con- taining reminiscences of the old Derby manufactory in the Nottingham Road ; one by Mr. Locker, who was apprenticed there in 1 809, and subsequently carried on a smaller business in King Street, Derby, about 1849 5 the other notice is by Samuel Keys, apprenticed to the first William Duesbury in 1785. He was a clever ornamentalist, and ended his days in the employ of Minton. From these documents, written about 1855, we obtain the following history, the interesting nature of the information contained in them must be our excuse for the length of the extracts : — Mr. Locker tells us that The earliest manufactory of earthenware at Derby was carried on by Mr. Heath, at Cock Pitt HilL This gentleman was also a banker in Full PORCELAIN — DERBY. 593 Street ; it was on a very extensive scale, but we have no record of the date of its establishment. Mr. Duesbury was a clever man, and took a fancy to the pot and china business, and he became acquainted with Mr. Heath, with a view to carrying out his own idea of china making, which he did successfully, by first making animals in a small way, and by degrees building a very extensive manufactory himself." About 1745, a man, said to be a foreigner, in very poor circumstances, living in Lodge Lane, made small articles in china, such as birds, cats, dogs, sheep, and other small orna- mental toys, which he fired at a kiln in the neighbourhood belonging to a pipe-maker named Woodward. Mr. Duesbury frequently visited this image maker and took great interest in his small manufactory, and becoming desirous of improving the art, he engaged his services on his own account, and with the assistance of Mr. Heath, at that time considered a man of large property, he soon added considerably to his stock of useful and ornamental articles.* " The Cock Pit Hill manufactory, however, began to decline, and from a variety of causes Mr. Heath, to the surprise of every body, became a bankrupt. At the sale which ensued Mr. Duesbury was a large purchaser, and he took the earthen- ware over to Ireland, which proved to him a very fortunate speculation. Mr. Duesbury commenced building a manu- factory over St. Mary's Bridge, which was finished in 1751, and he made porcelain there in the same year." Mr. Locker says, "It was a remarkable thing, that the old hands could never furnish any precise data, about the Derby factory, prior to 1751 ; not even Keys, who was an apprentice to the first Mr. Duesbury, as far back as i 785 ; I have had many conversations with Miss Duesbury, who is the daughter of the second Mr. Duesbury, and used to sell china at the warehouse over St. Mary's bridge, about the time Isaac ♦ Mr. Jewitt thinks the foreigner was a French refugee, named Andrew Planche ; having in his possession the draft of a deed (which was never executed) of partnership for ten years between Heath, Duesbury, and Planche. Probably Mr. Heath's bankruptcy, about 1750, altered all these arrangements, for Planches name never appears again in connection with the works. Q Q 594 PORCELAIN DERBY. Farnsworth was the leading man for her father, in the figure trade ; but I could glean nothing, for she and other branches of the family, when they were at fault for data, always applied to me, as I was the person employed to look over all the old documents, when the Derby factory unfortunately got into Chancery, and every thing relating to the figure trade was required by the Chancellor, in order to ascertain the value of the models, for that was the bone of contention between the second Mr. Duesbury and Mr. Kean, so that the historical part was destroyed, but I have no doubt in my own mind that china was made at Derby some 5 or 6 years before Worcester ; I however did not take any particular notice of dates, for I did not like the job of looking over books and papers above one hundred years old ; they were very dirty and injured my clothes very much. With regard to printing, I know comparatively little as to its rise ; I however do know that there were things printed amongst the stock, removed from Cock Pit Hill to the factory, and wooden sort of things they were ; I have seen cups and saucers and plates, all printed, they were chiefly water fowl, such as ducks, &;c. ; they remained in the back office and must have been done at least a century ago." Samuel Keys tells us, that about the same time, there was an excellent china manufactory at Chelsea, where a variety of splendid figures, vases, and other beautiful ornaments were produced, and also a great assortment of useful china. They employed first rate artists, in the painting, gilding and general decoration, then superior to anything of the kind in England, but from some mysterious cause, at the time unknown, the Chelsea manufactory suddenly ceased working, although pro- ducing excellent ware, and being greatly encouraged and highly patronised. The cause suddenly transpired : English vessels which went to China for teas and other merchandise, were in the regular habit of procuring clay from the natives as ballast on their return ; but at length becoming so prying for clay, the Chinese were suspicious and positively prohibited clay being taken as ballast in future ; the consequence was, PORCELAIN DERBY. 595 the Chelsea manufactory being deprived of their principal material could not carry it on. Mr. Duesbury became the purchaser of the whole stock of models, moulds, and unfinished ware, &c., belonging to the concern." Mr. Locker adds, "Mr. Duesbury bought all the stock in trade, finished and unfinished, had it sent to Derby, and engaged the hands employed at Chelsea, and the first painter of that day was brought down to Derby to finish all their first-rate things, his name was Bowman, this was in 1 785 or 6." Keys continues, " A small manufactory at Bow closed about the same time, and Mr. Duesbury had several beautiful figures and ornaments from thence. The Derby manufactory very soon after began to make a conspicuous figure in the town of Derby, and in the china trade of England. Mr. Duesbury lived to an advanced age, when, by paralysis, he was deprived of speech and the use of one side, and in a few months died, sincerely regretted. (Mr. William Duesbury, Senior, died in 1788). He left two sons, William and James, and two daughters ; William the elder succeeded his father, and in a short time married Miss Edwards, an amiable and beautiful young lady ;* they had several sons and daughters. Mr. W. Duesbury, Junior, was a persevering man of very superior talent. Patronised by the King, the Royal family, and the principal nobility and gentry, he advanced the porcelain manufactory of Derby, in every branch, to very great per- fection. The Duchess of Devonshire honoured him with very extensive orders. Chaste and classical figures in great variety were modelled by first-rate artists, and produced in white bisque, as well as being richly painted ; and in the figure trade Derby was at that time without a rival ;f dinner, dessert, breakfast, and tea services, with ornaments of the most splendid description graced the show room, which at that time was superior to any in the kingdom." • Married at St. Pancras, by special license, September 26th, 1808, William Duesbury, Esq., of Derby, to Annabella, daughter of William E. Sheffield, of the Polygon, Somers Town. t There were upwards of 500 figures and groups made at the Derby works, but there were often three or four different sizes of some subjects. Q Q 2 596 PORCELAIN — DERBY. I was the last apprentice bound to the first Mr. Duesbury in 1785 or 6, and it was soon perceptible that the constitution of his successor being naturally very delicate, the anxieties of business, and too close application and study, were becoming too powerful ; he was therefore advised to take a partner, and selected Mr. Michael Kean,* a gentleman in every respect, and a first-class artist ; he was an excellent designer, and introduced a great variety of new and splendid specimens of ornamental and useful articles. Mr. Duesbury got gradually worse and died in the prime of life, leaving very few his equals." The management of the concern for the widow, her family, and himself, devolved upon Mr. Kean, and in a short time Mr. Duesbury's son William assisted in the business. It was so conducted for several years, until some family disagreements took place, which caused Mr. Kean to withdraw rather hastily from the connection, and it was disposed of to Mr. Robert Bloor (about the year 18 15), who had been clerk and salesman to the firm several years. He greatly increased the business, employing fifty painters and gilders, besides a great number of apprentices, and several females, burnishers, potters, &c., to correspond. In 1820, he manufactured to a great extent, and selling largely by auction, dispersed his wares over all parts of England." That system proved destructive to the reputation of the manufactory, which began to decline, and his health failing, he was compelled to relinquish taking an active part in the business, and there being no one capable of conducting it with any spirit, it of course fell off, and Mr. Bloor after a distressing and protracted illness died.''f " The business was continued for a short time for the widow and two children, until they also died, leaving a granddaughter of Mr. Bloor s, who married Thomas Clarke, a malster and corn-factor at Derby ; but not understanding the business, and having no inclination to persevere, he sold the entire plant, * Mr. Kean married Miss Duesbury, October 29th, 1798. f From 1828 till the time of his death in 1849 Mr. Bloor was mentally incapable of taking any part in the business, and during that time Mr. Thomason had the entire management of the concern, until a few years before Mr. Bloor's death, when a statute of lunacy was taken out. PORCELAIN — DERBY. 597 models, moulds, ware, tables, stools, and in short every movable article, even to the old clock, to Mr. Samuel Boyle, a china manu- facturer of Fenton, Staffordshire potteries ; and the Derby china manufactory is no more." So far Samuel Keys; and to continue his narration, Boyle subsequently failed, and the models, &c. were laid by as useless ; they have since become the property of Alderman Copeland, by whom various articles are being very creditably revived. In 1769, Mr Duesbury, of Derby, purchased the Chelsea China works, and carried on both manufactories simulta- neously until 1 784. The date of the agreement to purchase was Aug. 17, 1769, and on the 5th of Feb. 1770, the Chelsea Porcelain Manufactory and its appurtenances were assigned to Mr. William Duesbury. This purchase entailed upon him some heavy law proceedings against M. Sprimont, for the re- covery of a quantity of goods made by him, which Mr. Dues- bury considered as part of the purchase. M. Sprimont died in 1 771, and we find in the Westmmster Magaziiie that in ** April, I 773, John Chetwood, Esq., counsellor-at-law, married Mrs. Sprimont, widow of Nicholas Sprimont, Esq., proprietor of the Chelsea porcelain manufactory." In 1784 the works were discontinued, the kilns and every part of them pulled down, and what could be made available sent to Derby. The following is a list of the principal artists engaged in the Chelsea- Derby Works : — Painters. — Zachariah Bowman, landscapes, flowers, and birds, from Chelsea ; Hill, landscapes ; Brewer, landscapes and figures ; Thomas Steel, fruit ; Bancroft, flowers, insects, &c. ; George and John Hancock, flowers ; Moses Webster, flowers ; Edward Withers, flowers ; Robinson, landscapes ; Cuthbert Lowton, hunting subjects ; E. Prince, landscapes ; William Corden, flowers ; Stanesby, flowers ; George Mellor, insects and flowers ; William Pegg, still Hfe ; Thomas Pegg, gilder ; Samuel Keys, ornamentalist ; John Keys, flowers ; Holland, flowers ; William Billingsley, flowers ; Thomas Soar, gilder ; Joseph Stables, gilder; William Taylor, Oriental subjects and patterns; John Haslem, flowers, afterwards figure painter; Cotton and Askew, figure painters ; others of less note were William Cooper, William Yates, John Yates, Joseph Button, John Blood, William Smith, William Longden, &c. Modellers of Figures, &c. — Spangler, Stephan, W. J. Coffee, Hartenberg, Complin, Duvivier, Webber, Dear, and others, including Bacon the sculptor, who is supposed to have sent models occasionally, and John Duesbury overlooker. 598 PORCELAIN DERBY. William Billingsley, son of Mary Billingsley of Derby, was apprenticed to Mr. Duesbury of Derby, china or porcelain maker, Sept. 26, 1774, for five years, ''to be taught the art of painting upon china or porcelain ware," and to receive 5s. per week during the whole of the five years. Supposing Billingsley to have been 16 years of age when apprenticed, he must have been born in 1758. Mr. Locker thinks that Billingsley was born at Wirksworth. Coffee was formerly a painter in oil, not on china ; he also was a modeller, especially of animals. Mr. W. Bemrose, Jun., of Derby, has several examples of dogs and a bull in terra cotta, on which is written in the clay, " W. T. Coffee, fecit 181 1. published." He left the works about 1 790, and subsequently worked on his own account. A writer in the Derby Mercury of the loth of May, 1865, (Mr. F. J. Jessop), says that Duesbury was proprietor of some china works at Longton as well as Derby. He alludes to a china jug made in commemoration of Admiral Rodney's vic- tory over the French fleet under De Grasse, which was pre- sented to a club of Derby china workmen, called the Sick Club." The spout is a head of Rodney, under which is the date April 12th, 1782, and is ornamented with groups of flowers painted by Withers. He also speaks of a prentice plate," painted by Billingsley, which was kept as a pattern in the Old Derby manufactory until its close in 1848, now the property of Mr. Haslem of Derby. There was another painter, named Pegg, a quaker, who was clever in painting single flowers and plants, but from a singular notion that it was sinful " to make the likeness of anything," retired from the profession, and kept a shop, which, however, barely kept him ; his conscientious scruples did not prevent him from occasionally indulging in the sin, for he painted a water-colour group of red herrings, which was placed in his window to intimate that he dealt in that savoury edible. Mr. Haslem of Derby has a thistle plate or square china tray painted by Pegg, with one gathered from Nuns Green." PORCELAIN — DERBY. 599 Shortly after the purchase of the Chelsea works, new pre- mises were taken in London for the sale of porcelain from the manufactories of Chelsea and Derby. This was in June, 1773, on which occasion a large engraved card was issued by Mr. Duesbury; one of these, in the authors possession, has a deep border, grounded in green, with designs of amphorae, flower vases, tripod candelabrum, obelisk, ewer and basin, cabaret, tureen, dishes, &c. At the top are two amorini holding festoons, to which are attached medallion busts ; on an oval in the centre is written : " Duesbury & Co., Manufacturers of Derby and Chelsea Porcelain ; most respectfully beg leave to inform the Nobility, Gentry and the Public in General, that they have fitted up the large and elegant Suit of Rooms at No. i Bedford Street, Covent Garden ; which are now opened with a great variety of Capital as well as useful and Ornamental Articles. A fine assortment of Biscuitgroops and single figures ; Also a curious Collection of Derbyshire Fluors, Mabasters (sic), Marbles, &c. N.B. The rooms are well air'd."* At the same time a catalogue in small 4to. of 20 pages, comprising nearly 200 objects, was published. The title states: " Messrs. Duesbury & Co. proprietors of the Derby and Chelsea Manufac- turies, most respectfully beg leave to acquaint the Nobility, Gentry and the Public in General that they have now opened a commodious warehouse in Bedford St. Govent Garden, with large assortments of the following articles specified in this Catalogue : The ornamental part consists of Jars, Vases, Urns, tripods. Altars, &c. Designed in the Antique and Modern taste, &c. The useful part furnishing an extensive variety of rich and select Table and Desert Services, &c. Great Choice of Biscuit Groups and figures in a Gro- tesque style, from accurate designs, elaborately finished even to the minutest imitation of lace." Also a Collection of Derbyshire Fluors worked into slabs, obelisks, vases, &c. &c. Our limits will not allow of a lengthened extract from this list, the more especially as the objects are so minutelydescribed, but we will copy a few important specimens : — . Their present majesties the King and Queen and Royal family, in 3 grouped pieces in biscuit — the center piece represents the King in a Vandyke dress, on a blue and gold basement, supported by 4 lions, leaning on an altar richly ♦ The manufacturing of vessels and ornaments from solid fluor spar (called blue John) was begun in Derbyshire in 1765. — Watson's Chemical Essaysy ii, 227. 6oo PORCELAIN — DERBY. ornamented in blue and gold, with hanging trophies of the polite arts and sciences. The crown, munde, and scepter reposing on a cushion of crimson, embroidered, fringed, and tasselled in gold. Height 14 inches. "13. A set of 3 crimson coloured crown topped urns^ with white and gold buttoned squared anses, and circular cartouches, representing on the center urn Venus and Adonis, painted after a drawing of Boucher, and a bouquet ; the two side urns of the same form, representing Dido receiving ^neas, Ver- tumnus and Pomona, and two landscapes, white and gold festoons pass through the anses. Height 13I and 9I. N.B. Two other vases No. 28 being added form a set of five. " 96. A pair of Mazarine blue and gold Chelsea jars, with white and gold foliage anses and bottoms ; the two cartouches represent a shepherd filling the lap of a sleeping shepherdess with flowers, and a nymph uncovered in her sleep by a curious satyr; — both are matched with flower pieces on the opposite cartouches. "101. A pair of crimson coloured cabinet cups and saucers, spangled with gold ; the cups with two white gold tipped foliage handles ; cups and saucers embellished with white compartments to detach two antique heads framed in gold, and suspended on a green and red laurel festoon tied with blue knots." There are no groups or figures enumerated in this list, but in a catalogue of a sale by auction, by Mr. Christie, at the Royal Academy, Pall Mall, on the 9th and loth February, 1773, being of the last year's produce of the Derby and Chelsea porcelain manufactories, we find among various orna- mental and useful objects, the following biscuit and coloured groups, which the catalogue states are modelled with the greatest nicety, and particularly suited for the embellishment of deserts." 1. A pair of sitting figures, finely enamelled, and richly finished with gold. 2. Apollo and four Muses : Calliope, Terpsichore, Urania, Melpomene, finely modelled in biscuit. 3. A pair of sitting figures, with a dog and cattle, enamelled, and richly finished with lace. 4. A group of two figures (Spring) finely modelled in biscuit. 5. Four groups of the Elements (Earth and Air, Fire and Water) finely modelled in biscuit. 6. Five Muses : Euterpe, Polyhymnia, Thalia, Erato, and Clio, finely modelled in biscuit. 7. A pair of sitting figures : gentleman singing, and lady playing upon the guitar, finished with lace in biscuit. 8. Two groups, Poetry and Grammar, finely modelled in biscuit. PORCELAIN — DERBY. 60 1 9. A pair of elegant sitting figures, finely enamelled, gentleman reading, and lady knotting, richly finished with gold. 10. An Altar dedicated to Bacchus, enamelled in figures, a fine crimson ground, superbly decorated with gold. 1 1 . A pair of French horn and guitar figures, finely modelled in biscuit. 1 2 . A pair of sitting figures, with a dog and cat finely modelled, and finished with lace in biscuit. 13. A fine figure of Garrick in the character of Richard III, in biscuit. 14. Two groups, Music and Painting and Sculpture, finely modelled in biscuit. 15. A set of antique Seasons on pedestals, finely modelled in biscuit. 16. A pair of small sitting figures, finely modelled and finished with lace, in biscuit. 17. A pair of elegant dancing groups, enamelled and finished with gold. 18. A pair of figures. Prudence and Discretion, finely modelled in biscuit. 19. A pastoral group, finely modelled, with an antique vase, enamelled. 20. Four groups of the Arts and Sciences, viz. : Painting and Sculpture, Poetry and Music, and Astronomy, in biscuit. 21. A bust of Voltaire, finely modelled, in biscuit. 22. A pair of sitting figures : gentleman playing on the flute, and a lady singing, enamelled, and decorated with gold. 23. A large group : Jason and Medea vowing before the Altar of Diana, enamelled, and richly finished with gold. Among the splendid services executed at Derby, the fol- lowing may be particularly noticed : — An elegant dessert service of 120 pieces, for his late Majesty when Prince of Wales, in 1788. A service for the Earl of Shrewsbury, upon a rich ground of chrome green, embellished with fruit subjects. Another for the Duke of Devonshire, enriched with original views of Chats- worth, Hardwick, &c. Elegant services for Lord Muncaster and for Lord Ongley, richly and taste- fully embellished with historical designs, A service consisting of numerous bowls and dishes for the Persian Ambas- sador was, in 1819, executed in a style of superior splendour; the ground was gold, chased, and inscribed with Persian characters. Mineral colours solely are used in painting porcelain, and it is finished with a rich enamel. The gold with which it is splendidly ornamented is reduced to a liquid previously to being laid upon the difi'erent articles to which it is applied ; they are then committed to the heat of the kiln, when the gold reassumes a solid form, and is afterwards brilliantly polished. {^Glover's Derby, 1831, i., 205.) Towards the end of the last century it was very much the fashion for ladies to paint china, not only cabinet specimens, 602 PORCELAIN DERBY. but sometimes whole services, elaborately covered with flowers and fruit ; these were painted in mineral colours, and after- wards burnt in or set in a muffle kiln. The white Derby china was a favourite medium of handing down to posterity these proofs, if not of the taste, at least the industry and perseverance of their grandmothers and maiden aunts, who employed their leisure hours in this way. Many of these anomalous and frequently gorgeous relics present themselves to the perplexed collector. We have before us an advertisement of a sale by auction, by Mr. H. Phillips, on the 4th July, 1798, at his great room, New Bond Street : — " Part of the stock of a White Derby China Manufactory, comprising tea and coffee services, many hundred cabinet cups and saucers and ornamental articles, the property of the manufacturers. The above affords to the gentry a favourable opportunity of providing themselves with white porcelain, either for immediate use or to paint upon as specimens of ornament." Mr. W. Bemrose, Jun., has kindly enquired of an old man who was engaged at the Old Works about this White Derby China Manufactory," of which he gives the following ex- planation : — "At the old works in the Nottingham Road there was a workman employed in the ornamental room named Wm. Duesbury ; he was a relation of the Wm. Duesbury in partnership at that time with Mr. Kean, carrying on the works. When Coffee the modeller left the Derby china factory, Wm. Dues- bury, who was a potter, left also, and Coffee and Duesbury became partners and manufacturers in a small way in the neighbourhood of Friar Gate ; their partnership was of short duration, for Messrs. Duesbury and Kean, thinking these men were likely to become their rivals in the china trade, induced their relative to return to their employment and cease to be a partner with Coffee. This broke up the Friar Gate factory, where, I believe, Coffee afterwards manufactured terra cotta ornaments and figures. The above facts I have frequently heard related by the old potters at the china works in the Notting- ham Road. I have no doubt this is the 'white Derby china' named in the advertisement ; the articles named are exactly what I should expect a small establishment to produce, and the date corresponds, so far as I can ascer- tain, with the time Coffee ceased to be employed at the Old Derby China Works." The old Derby Manufactory in the Nottingham Road was PORCELAIN — DERBY-CHELSEA. 603 advertised for sale or to be let, in December, 1 846, as there stated, in consequence of the death of the late owner and occupier, Robert Bloor, Esq. ; formerly the property of Messrs. Duesbury and Kean. To treat for the purchase or to rent, apply to Mr. James Thomason, executor of the late Robert Bloor, Esq., or to Mr. Thomas Clarke, corn factory, Derby." It was subsequently pulled down, and a convent was erected on its site, which cost ^10,000. This building was also demolished in 1863. The early mark used before 1 769 was either a simple D or the word Derby. The latter occurs on a very old Derby ^^fyr^l-/ white china cream jug, painted with fruit ^ and leaves, in the possession of Egerton Leigh, Esq. Derby-Chelsea. This mark is on part of the same service, marked with the double anchor, on Chelsea porcelain, painted with flowers, and the gold un- usually thick. In Dr. Diamond's Coll. Derby-Chelsea. The Chelsea Works were united to those of Derby in 1769, and the moulds and models from both Chelsea and Bow (abandoned about the same time) were subsequently transferred tf) Derby, which then became an important manufactory. This union is denoted by the anchor of Chelsea crossing an italic capital D. Derby-Chelsea. This mark in gold, is on every piece of a dessert service of forty-four pieces, purchased of W. Dues- bury and Co., Derby, for ^33. 8s. in June, 1773. In the centre is painted a large bunch of grapes, and round the border, medallions of cameo busts of Roman Emperors, in white on chocolate ground, connected by festoons. In the possession of Sir Philip de Malpas Grey Egerton. The invoice is still preserved, and as it alludes to other pieces, some of which are well known, it is here oriven entire : 604 PORCELAIN DERBY-CHELSEA. Philip Egerton, Esq. Bo\ ^William Duesbury & Co. Derby. 1772. £. s. d. Nov. 7. Pair of knotting figures, finely enamel'd & gilt 2 2 o 1773- Jan. 28. Large Tea Pot, enamel'd blue and gold, chased and burnished i 11 6 April 7. A Tythe pig groupe o 16 o A pair — The Welch taylor and family i i o April 7. A pair of small Prudence and Discretion o 12 o June 22. 24 Disert plates in medallions and grapes @ 13/ ... 15 12 o 2 Large Oval Comports ©25/ 2 10 o 2 Large heart-shaped Comports at ©25/ 2 10 o 16 smaller, different shapes @ 16/ 12 16 o Dec. I. 4 Baskets and Stands @3i/6 6 6 o 3 large punch bowls, painted ; y^ allusion of stag hunting, hare hunting and fishing @ 42/ 660 2 Quart Jugs with the word Fiat and rose and thistle* 220 2 Half pint mugs do. do. - do. 010 6 A nest of mugs, 5 pieces finely painted with heads and trophies 3 3 o 3 Jugs, various sizes, painted in flowers and gold ... 3 o o Boxes 046 A trident for Neptune gratis. f ; £6l 2 6 Received Sarah Duesbury, 9 July, 17744 The following mark, In gold,§ occurs on a set of four oviform vases, made in Aug. 1777, for Philip Egerton, Esq., of Oulton Park, with portraits of himself, his wife and two children. The invoice of William Duesbury of Derby, is also still pre- served, and they are thus described : " 4 cups and covers enameVd with portraits in compartments and striped with gold £6. 6s. od. In the pos- * These mugs were made for a Jacobite Club of the border counties, and North Wales, called the Cycle (still in existence as a convivial club), of which many relics are preserved at Oulton Park, especially a portrait of Prince Charles Edward, enclosed in a walnut-wood cabinet, which, according to tradition, was placed upon the table and unlocked when the health of Prince Charlie was given ; and some drinking glasses with the same motto. t The old Chelsea centre piece of Neptune, here alluded to, is still at Oulton, and was exhibited at the Art Treasures Exhibition at Manchester, in 1857, but in the confusion of returning the contributions the left arm holding the trident was lost. X Miss Sarah Duesbury was the daughter of the second William Duesbury, who managed the sale business over St. Mary's Bridge, Derby, for many years. § The pieces bearing the anchor and crown (without the D) were probably made at Chelsea by Duesbury, after his purchase of the works in 1 769, as they were continued by him at Chelsea for more than ten years, and not finally abandoned until 1784. PORCELAIN DERBY-CHELSEA. 605 s. 1 1 5 1 1 14 1 1 plates, UUIIIIIIJlii? session of his grandson, Sir Philip de Malpas Grey Egerton. The following items occur in the same bill : — 2 Trouts heads for Drinking cups o Pair of Duck Sauce Boats o Dejeuner enamel'd Chantilly pattern i Punch Cask, enamel'd with oak leaves and acorns, mounted with a silver cock, gilt 4 2 Druid Cups in compartments, green ground i The receipt is signed by W. Duesbury, Jun. The same mark occurs on some Derby Chelsea painted with vases of flowers in the centre, and festoons with gilt ornaments. In the Collection of Mr. E. Norman. P^^^ Derby. Marked in pink on a semi- ^ ^i . circular porcelain jardiniere, painted with detached flowers in natural colours and small gold sprigs between, gilt borders, and a gilt ram's head at each end. In the possession of Mr. Jeans. It is of English manufacture, and apparently 0/d Derby. Derby-Chelsea. On a porcelain plate, painted with trees and birds in blue cn camaieu ; on the rim eight compartments of flowers, and underneath the rim are also flowers. In the possession of the Rev. Henry Legge. Derby Chelsea. This mark was used on porcelain, painted in the Chinese style in fine enamel colours, scarcely distin- guishable from the Oriental, except in the softness of the paste. These three marks are copied from the Chinese, representing, apparently, a mo- delling table. There are five plates in the S. Kensington Museum so marked, finely enamelled in colours, with Chinese flowers, amorini in the centre. Mr. J. Loraine Baldwin has a Derby jardiniere, with white goats' head handles, painted with flowers and gold, bearing this mark. 6o6 PORCELAIN CROWN DERBY. Crown Derby. This mark is on a handsome gilt Derby tea service, in the possession of the Earl of Chesterfield. Crown Derby. The crown and letter painted red, the square impressed. On a porcelain plate, of Oriental pattern, in the S. Kensington Museum. Sometimes the square is used without the crown. This Crown-Derby mark, in purple, with DK, is on a large china mug pain- ted with a landscape and rainbow, gilt edges. The mark of Messrs. Duesbury and Kean, used occasionally after 1795. In the Coll. of the Rev. T. Staniforth. Crown Derby. A later mark than the preceding, usually in red, but occasionally in blue. A crown above a cross, and three dots in each side angle, below which is a capital D ; used, from about 1 780, by the Duesburys, and continued by Mr. Robert Bloor as late as 1830. Sometimes the cross is omitted, and only the crown and letter pencilled upon the ware. Crown Derby. Showing the mark used in 1803. Part of a set made for the second W. Duesbury. On a green leaf dessert dish, veined and coloured after nature. In Mr. J. Loraine Bald- win's Collection. Crown Derby. Usual pencil mark in red. This occurs on a florid tea and coffee set of the toilet pattern, made for Mr. Roger Cox of Spondon Hall, by W. Duesbury, about 18 10. Derby. On a coloured china groug of Neptune, standing on a dolphin, and pedestal of rock-work and shells, besides 1803. PORCELAIN — CROWN DERBY. 607 this mark it has i size No. 299." In the Rev. T. Staniforth's Collection, who has also a specimen of Crown Derby RRy" ... . china with a triangle cut, not stamped in the clay as on Bow and Chelsea porcelain. A biscuit vase, with flowers, taken from a sulphur mould, in the Collection of Mr. W. Bemrose, Jun., is marked in the clay with a triangle, and underneath No. 115, as well as the usual Crown Derby mark, which, that gentleman says, signifies John Hills, ''his marke," and nothing more. There is frequently found on Crown Derby china in the centre, at the bottom of the piece, a star of six points stamped in the ware ; usually without the painted mark in red, but occasionally with it. Crown Derby. This mark is given by Mr. Jewitt, from a design by Mr. D u EsmjRY Duesbury, but which was not, perhaps, tDERBY used, as we have never seen a specimen so marked. Mr. L. Jewitt in his ''Chelsea China'' gives this mark, which he thinks may have been used at Caughley to pass as Derby- Chelsea ; it occurs on a copper plate for a mug, with landscapes and figures, but 1 it is doubtless the mark of Richard Holdship, who worked both for Derby and Worcester, placing the name of each city under or by the side of his rebus, the anchor (Holdship) according to his engagement. It will be observed that his anchor (in both instances) differs from that of Chelsea, by the omission of the ring at the top, and in the angle of inclination (see the mark on the jug with the King of Prussia printed on it, p. 573). Mr. Jewitt has in his possession an agreement between Mr. Duesbury, of Derby, and " Richard Holdship, of the city of Worcester, china maker," to print such china as may be required, and this was one of his copper plates. The date of this deed is i 764, after he retired from the Worcester works. This counterfeit mark of the Meissen fabriqneis sometimes found upon Derby as well as Worcester ; it occurs on several 6o8 PORCELAIN — CROWN DERBY. ELOOR J)ERBY pieces of a service, the greater portion being marked with the Crown Derby mark in red ; also on some copies of Chelsea plates, crimson and gold borders, painted with exotic birds. Derby^ Robert Bloor succeeded Duesbury and Kean about 1815, but continued using the marks adopted by them, of the crown, crossed daggers and dots, with the letter D, until 1830, when he discontinued it, and substituted his own name. Derby. Bloor's mark, used about 1830 on first-class pieces. The old marks were always painted, but those adopted by Bloor were printed. Derby. On a statuette in the posses- sion of Mr. Kidd of Nottingham. It may be as well to note, that all the Derby marks previous to 1830 were painted hy a brush, the latter ones were printed in colour on the ware. Derby. Mark used by Bloor about 1835. Sometimes this scroll is found under the crown. Derby. This was used by Bloor about 1839. The works in the Notting- ham Road were closed in 1848. Mr. Bloor died in 1845. Derby. Messrs. Locker and Co. suc- ceeded Bloor when his works were dis- continued, and opened a manufactory in King Street, Derby in 1849. Derby. Courtney was Bloor's London agent, and after the works closed carried on the business in his own name, in London. PORCELAIN DERBY. PINXTON. 609 Derby. Messrs. Stevenson, Sharp^ and Co. succeeded Locker in King Street, who died in 1859. Derby. The late proprietors were Messrs. Stevenson and Hancock. For many years past the old mark of a crown and D, with the cross and dots, had been used on ornamental porcelain ; but, it having been suggested to Messrs. S. and H. that such a practice was calculated to mislead collectors, they adopted this, which identifies them with the old-established works, and, by the addition of the hilts and the initials of their names, sufficiently marks the difference of the epoch. Mr. Stevenson died in 1866 ; the works being now carried on by Mr. Samp- son Hancock, who still retains the same marks, being the initials of his own name also. PiNXTON, Derbyshire. Established about 1793 or 1794, for the manufacture of porcelain, by Mr. John Coke and Mr. William Billingsley. The latter was a practical potter, having been engaged at the Derby China Works as a flower painter ; he brought with him a staff of workmen and their families to assist in the manufactory. It went on successfully, and as many as fifty to sixty men, women, and children were em- ployed, and twelve or fourteen painters. In the British Mu- seum are three tokens of Pinxton porcelain, circular, about I J in. diameter, respectively for 5s., 7s., and los., marked in figures in the centre, with this inscription, " Let the bearer have in goods 7," and on the other side, Which place to the account of John Coke, Pinxton, Dec. 4, 1801." In the begin- ning of this century, Billingsley left the concern, and it was carried on by Mr. Coke alone for seven or eight years. Mr. Cutts, a painter, who had been his foreman, then took the works ; they were altogether discontinued about the year 181 2, and Cutts went into Staffordshire. The china made here was soft paste, and very translucent, r r 6io PORCELAIN — PINXTON. similar to that afterwards produced at Nantgarw by Billingsley, A favourite pattern was called the French sprig," or Chan- tilly," technically called in the Derby works " 129 sprig," being an imitation of the Angouleme china, painted with a forget-me-not, or small blue corn-flower, and a gold sprig laid on the white, edged with gold ; groups of flowers, and occa- sionally landscapes, but never with raised flowers like the Derby, and the ware when not edged with gold was usually blue, but sometimes a morone colour. After Billingsley's re- tirement, another description of china was made, of a more opaque character, as he kept the receipt of mixing his ingre- dients entirely in his own possession, and never divulged the secret ; at his death it came into the hands of his employer, Mr. Rose, of Coalport. There are numerous specimens of the china in the parish and neighbourhood of Pinxton. An aged widow, upwards of 80, named Vallance, who worked there many years as gold burnisher (of whom there were about a dozen), possesses several pieces, presented to her when she left. She said she well remembered Billingsley, Slater, Marriott and Musgrove as painters, and several hands from Derby ; George Mellor was one of them. She also remembers Sir Joseph and Lady Banks visiting the works in 18 10, when they purchased three hampers of china ; they were received during their stay at the house of Mr. and Mrs. Simpson, who lived close by, and Mr. Cutts, the proprietor, presented the latter with a quart jug, with the letters J MS entwined, in gold (Joseph and Mary Simpson), which is still in the possess- sion of Mr. E. M. Kidd, of Nottingham, their grandson, who has several other specimens of Pinxton china, especially a piece marked with an italic <^ purchased at the works by his grandfather. Mrs. Vallance thought they never made china at Mansfield, though they might paint and enamel it there. The site of the manufactory is well known, being close to the canal, and the tenements built upon it go by the name of "Factory Square" and ''China House Square;" they are inhabited by the colliers of the neighbouring coal mines. Mr. Hawkins, of Grantham, to whom we are indebted for the PORCELAIN — WIRKSWORTH. CHURCH GRESLEY. 6ll above information, possesses some specimens purchased on the spot, and Mr. E. Norman, of Norwich, has a large coffee pot, of soft paste, painted with the "French sprig" pattern, and a tea service, well painted with landscapes and gold borders, marked P. 300, and Mr. W. Bemrose, Jun.,of Derby, has a set of three flower vases of the sprig pattern, with ring 'handles. WiRKSWORTH. About the year 1770 there was a manufac- tory of china here, said to have been established by a person of the name of Gill. Pottery was first made, and a punch bowl of copper-coloured lustre, in the possession of Mr. Lucas, of Bentley Hall, Ashbourne, is believed to be a specimen of the manufacture. They afterwards made porcelain (soft paste), the usual decoration being flowers, roughly painted, and shells; tea services, white and gold borders. No mark is known. About seventy years ago it was a cotton store, occupied by the Arkwrights of Cromford. The place where the Old Works stood is still called ''China Yard." Church Gresley, Derbyshire. Porcelain. There was a manufactory of china established at Gresley Hall, the seat of the Gresley family, in 1795.* It was in existence for about 20 years, and the property was sold in 1825, not being remu- nerative. My informant, Mr. W. Brown, says, " Part of the buildings were standing as stables in the farm yard, and were repaired in 1848. My mother told me about the Miss Gres- leys painting china for themselves, when she went over the works. Gresley Hall was bought by my father from the Gresleys, and was occupied by my grandfather, and we re- tained it until 1 85 1. We had many dozens oi wastrels, plates of very fine transparent china, white, with a deep blue tree with birds ; they were all said to be imperfect, or they would have received a second colour in gold." * Sir Nigel Gresley, Bart., was lord of the manor of Burslem ; his seats were at Knipersley, Drakelow, and Gresley Hall, which have all passed out of the family. Wedg\vood, writing to his brother in 1765, says : ** Sally and I are taking a ride to look at poor Sir Nigil's goods, &c., which are to be sold in a fortnight. He hath left Knipersley with his family, and it is much feared his aflairs will never suffer his return." R R 2 POTTERY AND PORCELAIN LOWESTOFT. LOWESTOFT. Lowestoft, Suffolk. Established in 1756, for the manu- facture of pottery and porcelain, soft paste. About 1775 hard paste was introduced. According to Gillingwater {History of Lowestoft), 1 790, but probably written some years earlier : " The only manufactory carried on at Lowestoft is that of making porcelaiii or china ware, where the proprietors have brought this ingenious art to a great degree of perfection, and from the prospect it affords, promises to be attended with much success. The origin of this manufactory is as follows : — In the year 1756, Hewlin Luson, Esq., of Gunton Hall, near Lowestoft, having discovered some fine clay or earth on his estate in that parish, sent a small quantity of it to one of the china manufactories near London, with the view of discovering what kind of ware it was capable of producing, which, upon trial, proved to be finer than that called the Delph ware. Mr. Luson was so far encouraged by this success as to resolve upon making another experiment of the goodness of its quality upon his own premises ; accordingly, he imme- diately procured some workmen from London, and erected upon his estate at Gunton, a temporary kiln and furnace, and all the other apparatus necessary for the undertaking ; but the manufacturers in London being apprised of his intentions, and of the excellent quality of the earth, and apprehending also that if Mr. Luson succeeded he might rival them in their manufacture, it induced them to exercise every art in their power to render his scheme abor- tive ; and they so far tampered with the workmen he had procured, that they spoiled the ware, and thereby frustrated Mr. Luson's design. But, notwith- standing this unhandsome treatment, the resolution of establishing a China Manufactory at Lowestoft was not relinquished, but was revived again in the succeeding year (1757) by Messrs. Walker, Browne, Aldred, and Richman, who, having purchased some houses on the south side of Bell Lane, converted the same to the uses of the manufactory, by erecting a kiln and other conve- niences necessary for the purpose ; but in carrying their design into execu- tion they also were liable to the same inconveniences as the proprietor of the original undertaking at Gunton Was ; for being under the necessity of applying to the manufactories in London for workmen to conduct the business, this second attempt experienced the same misfortune as the former one, and very nearly totally ruined their designs ; but the proprietors happening to discover these practices of the workmen before it was too late, they took such precau- tions as to render every future attempt of this nature wholly ineffectual, and have now established the factory upon such a permanent foundation as pro- mises great success. They have now enlarged their original plan, and by pur- chasing several adjoining houses and erecting additional buildings have made every necessary alteration requisite for the various purposes of the manufac- POTTERY AND PORCELAIN LOWESTOFT. 613 tory. They employ a considerable number of workmen, and supply with ware many of the principal towns in the adjacent counties, and keep a warehouse in London to execute the orders they receive both from the City and the adjoining towns, and have brought the manufactory to such a degree of per- fection as promises to be a credit to the town, useful to the inhabitants, and beneficial to themselves." It is probable that a manufactory of ordinary pottery existed many years before, or at least the Delft ware was painted at Lowestoft, as shown in the dated pieces hereafter mentioned, and the requisite clay was ready at hand.* Professor Woodhouse Webb has kindly forwarded us the result of his investigations on the sand taken from the beach at Lowestoft He says, years ago, before he knew anything of the china made here, he examined it microscopically for pro- fessional purposes, and was struck with its purity, in com- parison with the sand from other parts of England, being composed almost exclusively of silicious fragments free from colouring oxides and remains of organic matter, which made him, as a stranger, suggest the profitable manufacture of glass ♦ The following curious extract may probably relate to I^westofl, and the fine white earth discovered by Mr. Hewlin Luson subsequently : — In the heat of the second Dutch war, a ship of that country was wrecked in a storm on the coast of Norfolk ; one poor sailor was all who escaj^ed of the crew, and he made shift to reach land on a piece of the wreck." He gets into a field belonging to a gentleman who " had formerly been a merchant and spent much of his time with the Hollanders." He took pity on the stranger, brought him to his house and refreshed him with sleep and a warm suit of cloathes, and found means for his return to his country. *' The merit of his charity was overtaken in the act by a reward as unexpected as the accident. The gentleman had at this time employed a great number of workmen in draining a large track of meadow, and finding in his discourse that his Dutch guest had some skill in business of that nature, he took him out with him one morning and desired his advice in removing some difficulties that his drainers had met with. When the Dutchman came into the field he stopped short with surprise at a bank of white earth which had been cast up by the diggers. The gentleman demanded the cause of his examining that clay with such earnest- ness and was answered that it was sold in his country at extravagant rates to the makers of Delft ware and fine earthen vessels, being brought down the Rhine out of some place in Germany and very much coveted in all parts of Holland. " The gentleman, to make the best of this hint, upon conclusion of the peace, which hap- pened soon after, sent over a sample, and finding the sailor's account to be true, he opened the vein, and dug up such a quantity as brought him in a profit in eighteen months' time of ten thousand pounds. But the stock was exhausted, and he never could find any more in his lands, though he diligently and frequently made it his endecLxonr.^'— Essays /or Dec. ^ 1716, dy a society of Gentlemen for the benefit of the people of England. London, printed for J. Roberfs. near the Oxford Arms, fVanuic^ lane, 17 16. 6 14 POTTERY AND PORCELAIN LOWESTOFT. on the spot. The founders of the porcelain works must have had some local inducement to settle in this out-of-the-way place, and finding pure silica here in unbounded profusion, without cost, was doubtless the reason why Lowestoft was selected as the most eligible spot. Mr. Browne, the leading man, being a good practical chemist, and constantly employed in experimentalizing, this fact could not have escaped him. Mr. Webb also mentions that not far from Lowestoft is a stratum of alkaline clay, that might be used in the process, perhaps the same discovered by Mr. Hewlin Luson, recorded by Gillingwater. The value of this sand was discovered by the proprietors of the Worcester works, and about the time when the Lowestoft works were closed (1802), or a little earlier, they availed themselves of it in making their best porcelain. Mr. R. W. Binns gives a receipt for a soap rock body then in use : Lynn sand . . 300 ) Calcined in C of the fritt . . 300 Flint glass . . 15 ( biscuit oven. (. Soap rock . . 240 A portion* of the old china manufactory is still standing, being converted into a malt kiln ; the two gables at the east end, of red brick, remain intact. The cowl on the top remains in its original state, but the old porcelain kiln beneath, which was probably circular, and made to resist the intense heat requisite for firing the china has been removed, leaving a square area, which is now used for drying malt. The spot in the ravine where they washed and prepared the clay may be seen, and a fine spring of water now runs waste, which was formerly enclosed on three sides by the cliffs, the fourth being earthed up to form a reservoir. It is called the Warren House, on Gunton Dene. The clay for the manufactory was prepared here and first washed in the reservoir. The water which flowed over the top was conveyed by a large pipe into the roof of the warren house, turning a large wheel (said to be the largest of the kind at that time in England) which ground the materials. The house still remains and is now divided into three residences. In one of these the daughter of the man who formerly had charge of the water-wheel resides. This PORCELAIN LOWESTOFT. 615 wheel is said to be still in existence. The value of this beautiful spring of pure water is appreciated at the present day, and the Dutch fishing-boats are frequently supplied from it, the sailors rolling their casks along the dene to be filled. That a very considerable trade was carried on here in the manufacture of porcelain is beyond dispute^ not only in the adjacent counties but in London, where, according to Gilling- water, a warehouse was kept to execute the orders received from the city and the adjoining towns ; and being on the ex- treme easterly point of England, the inhabitants had great intercourse with Holland, where doubtless much of the ware was sold, and it is thought that a considerable amount was exported for the Turkish market. Its greatest prosperity was from 1770 to 1800, towards the end of which time between sixty and seventy persons were engaged in the works, and two travellers constantly employed in obtaining orders ; indepen- dent of which, the commoner sort of blue and white china was taken home by the women to be painted. The following ad- vertisement from a London newspaper, as early as March i 7, I 770, proves that at that time the china was in great demand : " Clark Durnford, Lowestoft China Warehouse, No. 4, Great St. Thomas the Apostle, Queen Street, Cheapside, London. Where Merchants and Shopkeepers may be supphed with any quantity of the said ware at the usual prices. N.B. Allowance of Twenty per cent, for ready money." The Lowestoft porcelain must have arrived at great per fection in 1775, for in that year we find a man named David Rhodes was employed by Josiah Wedgwood to collect speci- mens of English china from the various manufactories. The following account is in the possession of Mr. Joseph Mayer : 1775. s. d. May 10. A flawed Chelsea leaf, a Plymouth Tea pot, and 2 Liverpool Coffee Cups o 6 May 12. A set of Bristol China 6 o A J-pint Worcester basin and broken ware o 6 2 Slop-basins, Derby and Lcastoff i 6 I Quart Bristol Mug and Tea pot stand 2 6 A broken Quart Mug, Bristol* o 6 * The prices at which Wedgwood was enabled to procure specimens of English porcelain will immediately strike the Collector of the present day with astonishment in comparmg 6i6 PORCELAIN LOWESTOFT. The first and earliest china produced here was a soft paste porcelain of fine quality and clear white glaze, painted in colours, sometimes with Chinese patterns ; a favourite border was red and gold trefoil, and the morone or lake scale pattern. Some are also painted with views of Lowestoft and marine views (after designs by an artist named Powles), roses and festoons, &c. This was the principal manufacture for the first twenty years, until the introduction of hard paste; but earthen- ware was also made. It was about the year 1775 that hard paste was introduced at Lowestoft in close imitation of Oriental ; it was of very thick substance, but finely glazed, with every variety of deco- ration. Dinner and tea services, punch bowls, mugs, &c. ; the borders of these are sometimes a rich cobalt blue, with small gold stars. A raised pattern of vine leaves, grapes, squirrels, and flowers, is very characteristic of the Lowestoft hard porcelain on jars and beakers, enclosing Chinese figures, and landscapes which are evidently painted by European artists; the enamel colours are not so brilliant as the Chinese; vases of flowers in red, morone, purple, and gold, with red and gold dragon handles. The mugs have frequently double- twisted handles, and the ground is embossed with rice pattern or basket work ; some are cylindrical, others barrel-shaped. Another striking variety is the fan and feather pattern, in imitation of Capo di Monte, painted in purple, blue, and red, in the form of basins and ewers. Many of these vases are elaborately painted with diaper work in gold and colours, and escutcheons of flowers and small landscapes. Among all the flowers and exquisite floral patterns, the rose predominates, and it is remarkable how easily the peculiar touch of the artist (whose name was Rose) can be detected. Another style of them with the sums he has now to pay for the same articles. Imagine a Chelsea leaf, a Plymouth tea pot, and two Liverpool coffee cups for sixpence ! a quart Bristol mug and tea pot stand for half-a-crown ! and a set of Bristol china for six shillings ! Even while we are recording this fact (March, 1870), a small Bristol tea service, of ordinary decoration, has just been sold by auction by Messrs. Christie, each piece catalogued separately ; the cups and saucers averaged about eight guineas, and other parts in the like proportion — the set realising nearly a hundred pounds ! ! ! A fine Plymouth or Bristol tea pot now brings about ;^50. PORCELAIN LOWESTOFT. 617 decoration peculiar to Lowestoft, is a rococo scroll, or running border of flowers, slightly raised upon the plain surface in opaque white enamel. A very fine eggshell china, delicately painted with coats of arms, crests, and ciphers — subjects in pink camaieu, with highly-finished gold borders, pearled with green or other colours— scrolls, &c. This was mostly used for dessert and tea services. Blue and white china was made extensively for ordinary use. Dessert services, with raised May-flowers and pierced sides similar to the Worcester, were also produced here. Earthenware, or fine fayence, was occasionally made from its commencement to its close. Many authentic pieces are noticed in the list at the end of this article, bearing dates from 1756 to 1790. These are usually painted in blue and white. Transfer printing was used as a decoration for many of the borders of the china, usually of a blue, sometimes en ca7?taiac ; and sometimes it is found with a whole subject upon it. There is a large china jug and cover in the possession of Mr. Robert Browne, of Lowestoft, representing in blue transfer a sports- man with dog and gun ; this plate was presented to the firm by Gamble of Bungay. Jewitt says : — "The works were dosed about 1803 or 1804, and the causes which led to their discontinuance were many. One great loss was caused by the failure of their London agents ; another and more serious one by the destruction of a very large quantity of Lowestoft china in Holland, with which country an extensive trade was carried on, as thus stated : — * When Napoleon crossed the river during a hard frost and captured Holland, amongst the British property destroyed was a quantity of Lowestoft china at Rotterdam, in value several thousand pounds.' The trade with Rotterdam was very large, and the ware was sent weekly in hogsheads by way of Yarmouth. These two losses, coming closely together, crippled the company ; and the cost of manufacture, through having no coal or any other requisite material in the neighbourhood, preventing them from producing ware so cheaply as could be done in Staffordshire and at Derby and Worcester, the works were closed, after the proprietors had realised considerable sums ; and the town thus lost a branch of manufacture which was an honour to it, and which has given it a name in the annals of the Ceramic Art of this country." 6i8 PORCELAIN LOWESTOFT. In a letter from Mr. Robert Browne, of Lowestoft, he states: " I have heard my father say that they discontinued the works principally because they could not produce the ware so cheaply as the Staffordshire potters, and that they were getting old and wished to retire from the business, not from want of capital, as they were all wealthy men for the period. I remember seeing some lists of prices of the different ware manufactured at Lowestoft, headed, ' Robert Browne & Co.,' and I have a book of maps of the Eastern Counties which he carried with him on his journies. I believe every piece of ware they sold was commenced and finished at Lowestoft, notwithstanding Mr. L. Jewitt's assertion to the contrary." The works were closed about 1803, and all the stock and implements sold by auction. The best workmen were trans- ferred to the Worcester works, which will account for many striking similarities between the blue wares. As an impression has, to a certain extent prevailed that the Lowestoft ware was simply Oriental porcelain, painted only at Lowestoft, w^e have taken considerable pains to arrive at a correct conclusion, and not being satisfied with first impres- sions, have made experiments, which incontestably prove such an idea erroneous. A careful examination of the moulded ornaments, such as the hare's-head handles, the fruits which surmount the covered pieces, the spouts, and handles (which are frequently double, crossed, and fastened to the body by raised flowers), shew clearly that they are European ; and the body of the paste, although hard, does not possess the hardness of the Oriental. Mr. Jewitt, in an interesting paper on Lowestoft china, in the Art Jour^tal, of July, 1863, has fallen into the same error. He says : The best of the productions of the Lowestoft works are painted on Oriental body, but there are many good examples in existence where the body is of Lowestoft make, which are of very fine quality. The collector will be able to distinguish immediately between the examples painted at Lowestoft on . Oriental body and those which were potted and painted there." The principal manufacture at Lowestoft, from about the^ year 1775 to 1800 was this identical Orie^ital body, as it is here termed (meaning that it was actually of Chinese origin). But PORCELAIN ■ LOWESTOFT. there is such a peculiarity in the form and quality of the Lowestoft porcelain that we are surprised, any one at all con- versant with, or accustomed to see collections of china, could ever mistake it for Oriental. We are now speaking of the body only, of course the decoration is still more conclusive. The question about hard paste porcelain having been made at Lowestoft is placed beyond dispute upon the best authority. It was introduced about 1775. The soft paste porcelain probably ten or more years earlier. A portion of a hard paste porcelain service, painted by Thomas Curtis in 1775, intended as a wedding present to his son James, is still preserved in the family at Lowestoft. There are three persons now living at Lowestoft who can testify to the fact that nothing passed out of the factory but what was made in it. Mr. Bly, now in his 84th year (1865), whose father was a workman there, and who spent a great portion of his time there when young, perfectly remembers the various departments ; he says, no Oriental porcelain ever came into it to be decorated. His statement is as follows, dated 2nd Nov. 1865 : — I, the undersigned Abel Bly, of Lowestoft, foniierly twine spinner, am now in the 84th year of my age, was born in, and (with the exception of two years) have always Hved at Lowestoft; my father's name was Abel Bly, who was employed in various departments in the china factory at Lowestoft. He died when 1 was eleven years of age ; my two Uncles John Bly and Philip Bly also worked in the factory. The Factory situate in Crown Street, where the Brew Office and Malting premises of Messrs. Morse and Woods now stand, the rear fronting what is now called Factory Lane. Where Messrs. Morse's Counting House stands was the Packing Room ; the Counting House of the Factory being to the East of the Packing Room. At the rear of the Packing Room and Counting Room were two Turning Rooms, and further to the rear adjoining Factory Lane were two kilns. On the ground floor was also the Drying Room. The painters worked in a chamber approached by a staircase to the east- ward of the Counting Room. Over the East Turning Room was a chamber for finishing the turners' work. There was a Chamber approached from the East kiln, in which the ware was tested as to its shape. Over this was an Attic in which women were employed making the blue and white ware. 620 PORCELAIN LOWESTOFT. The Clay was made in the Factory premises now known as Mr. W. T. Ball's Auction Mart, from whence it was taken to Gunton Ravine (where there is to this day a constant flow of the purest water discharging many gallons per minute) and there ground by a large mill. From my Father working at the Factory, I was in the habit of going daily to the premises and can most positively affirm that no manufactured articles were brought there to be painted, but that every article painted in the Factory had been previously made there. I remember that the ware produced in the Factory was deemed far superior to anything to be obtained in the Country. (Signed) Abel Bly. A son of Balls, the painter there, now an old man of ninety, with good memory and intellect, well remembers the factory, and when young was in the habit of going all over it. He says there is not the slightest foundation for the opinion of Oriental porcelain being painted there, and positively asserts that nothing was ever sent out of the manufactory but what was commenced and finished there. Another old gentleman, Mr. Elisha Stannard, lately a merchant at Lowestoft, vouches for the truth of these statements. The traditions as to the origin of the hard paste porcelain at Lowestoft to account for its proximity to the texture of the Oriental are rife in the county. A lady of Hethersett, now upwards of eighty, has some pieces in her possession which she says were still being made there when she was a girl. The story then was, that a foreign ship was wrecked off Lowestoft, laden with materials for making china (clay, &c.), that the cargo was saved, and while it lasted china was made at Lowestoft." Where this " foreign " ship came from, or what was its destination our tradition does not enlighten us, or why it should have been laden with clay and other materials. As there are frequently some scintillations of truth in these oral communications, it may probably have originated from the fact of somebody having an indistinct recollection of seeing a vessel unload some material (perhaps some kaolin from Cornwall for the manufactory) on the beach, which was the only way at that time cargoes could be disembarked, for there was then no harbour. Let us analyze the notion, that Oriental porcelain was sent PORCELAIN LOWESTOFT. 621 over from China, in its white and unfinished state to be deco- rated at Lowestoft. It is well known, in the first place, how strongly the Chinese adhere to conventional forms and deco- rations in the manufacture of their ware, and it is incredible that his Celestial Majesty the Emperor of China should allow his porcelain to be exported in an unfinished state, to serve the proprietors of a rival English factory. It is said that the Dutch brought over large quantities in this state and supplied the Lowestoft works with it to be painted there and resold. How could this be possible ? China, whether finished or unfinished, was liable to a heavy duty, in fact it almost amounted to a prohibition ; to this must also be added the cost of freight from China, and could it be purchased for the purpose of decoration, at a still greater increase of cost, and sold to the British public at a fair remunerative price, so as to compete with the manufacturers of Staffordshire, Worcester, or Derby ? Why, instead of the prosperous and lucrative operations extending over fifty years, such an establishment could not have lasted fifty days. Let us also ask these visionary theorists whether they ever saw or heard of such unfinished Oriental white porcelain. When the Lowestoft works ceased in 1802, what became of it all ? The country would have been inundated with the supply so suddenly rendered useless and waiting to be painted. Who ever saw the white Oriental china bowls, or white dinner services, or tea sets, barrel mugs, or vases ? It is certain that a vast quantity of Lowestoft china still exists, not only in England but on the Continent ; but from its similarity to the Oriental it has been generally confounded with it, for want of discrimination or a knowledge of their respective characteristics. The porcelain of Chelsea, Derby, or Worcester could not be well mistaken, being all of soft paste and frequently bearing their trade marks ; but with Lowestoft the case was very different ; no mark was ever used, as a rule, and rarely even a painter's mark is visible, and being, unlike the others, of hard paste, the difficulty of appropriation was increased. 622 PORCELAIN LOWESTOFT. It is a curious circumstance how the remembrance of the productions of certain manufactories dies away gradually and becomes altogether forgotten, and even the very spot where the manufacturers carried on their extensive operations, by subsequent changes or improvements of the localities, being hid from view, pass out of mind. Seventy years ago Lowes- toft was celebrated for its china works ; but suddenly, from a variety of causes, they altogether cease. The workmen are dispersed — some of the best hands are transferred to other factories. The proprietors themselves having retired upon competencies, either engage themselves in other businesses or retire altogether. The gentry and residents of the town and its vicinity, who had purchased their ornamental or useful ware at the factory, in the course of a few years either remove altogether from it ; or their household goods, including their china, change hands, sometimes dispersed by the auctioneer, and all record of their origin lost. Some few still cling to their native town and retain the evidences of the factory's existence, and their descendants cherish them as heirlooms. In thirty years from the time of the close of the works most of the persons who had seen them, and knew all their history, have passed away, and another generation succeeds, they hear their parents speak of them, but the interest their fathers took does not concern them, it is a thing of the past. Thirty years more brings us to another generation, and a still wider breach exists, and the stories and traditions of the old factory cease almost entirely to attract their attention, the quality of the ware and character of its decoration has sunk into oblivion ; and if such be the result on the very spot where the china manufactory stood, how can we be surprised at all knowledge of the products being obliterated in other parts pf the kingdom ? Yet with all this forgetfulness one fact is vouched for by every old inhabitant, viz., that a large china manufactory did exist at Lowestoft, and they ridicule the idea of Oriental china ever having been brought into it, to be painted for the purpose of sale. On some of the Lowestoft porcelain, especially upon the PORCELAIN — LOWESTOFT. 623 very thick or large shaped pieces, may be observed an irregular or uneven surface, as if the outside of the vessel had been patted or beaten into shape by the hand, or made in a mould, and not turned by the lathe, like the smaller examples. This peculiarity is found on the tureens and larger dishes of a dinner service, which being more solid have this superficial irregularity, while the plates and minor pieces being thinner are perfectly smooth. This unevenness or indentation on the surface of the paste is evidently a defect, and arises from the inability of the potter to give a smooth face to the large or massive vases, which constitutes the perfection and chief beauty of Chinese porcelain, and is consequently never to be seen upon it. It is well known that the Dutch had many pieces of porce- lain decorated in China, and more especially in Japan, after European designs, as numerous plates and cups and saucers testify, some too with armorial bearings and mythological subjects, but they are invariably of a barbarous nature, and totally devoid of the high finish and character of European work. There are some cups in the Japanese Palace of Dresden of this description, on which the Chinese artist has pourtrayed Louis XIV, the Queen by his side, surrounded by four kneeling figures, supposed to be French, but all their counte- nances are quite of the Oriental cast ; these cups are inscribed L'Empire de la vertu est etably jusqu au bout de luners" {sic). In the same Museum is a piece with the arms of the Emperor Charles V. We have seen, too, plates with portraits of Euro- pean and Indian personages, and what has been termed " Nabob China," all of which are monstrously hideous. No mark was used upon the china produced at Lowestoft, the reason probably was, that as so much was sold for Oriental the placing of any sign or monogram to denote its origin would have defeated this object, consequently it has always been ambiguously termed Foreign or Oriental. Within a few years of the expiration of the works, a des- cription of china altogether different from the former was made (about 1795), to suit the prevailing taste for showy 624 PORCELAIN LOWESTOFT. decoration, especially in the quantity of gilding, which was so much made at Worcester and Staffordshire about that time. It was probably owing to this change of fashion that Mr. Allen purchased the receipt for preparing the gold for surface gilding from James Mollershead, of Hanley. Previous to this the gilding was much purer and of a better colour, and more sparingly used ; another style altogether seems to have been produced towards the year 1800. They began to imitate the French china, like that of Angouleme, with a small blue corn- flower, like the tea service presented by Mr. Robert Browne to some members of his family, now in the possession of Mrs. James Gowing, of Lowestoft, which are so much like the Worcester china. The same pattern is found upon the mug belonging to Mr. Emerson Norman, inscribed a present from Lowestoft these have a plain gold band round them at the edges. Another late specimen, showing the decline of the art at Lowestoft, is shown in a cup and saucer purchased at the manufactory just previous to its close, having deep gold borders marked with geometrical intersecting circles, without any painting on the body. There is a much greater variety of Lowestoft porcelain than is generally imagined ; the most frequent is of hard paste, ornamented with pink roses, large in the centre of the piece, with minute highly-finished roses in festoons, and borders intermixed with ruby or claret colour and green leaves ; but we have also seen some of very fine quality in so/<( paste, as both were made simultaneously. The ornamental borders are exceedingly rich on some of the later specimens, diapered with gold and colours, and the morone trellis or scale pattern, like that of Dresden, frequently introduced, and the patterns in very good taste. The more highly finished specimens usually have the initials of the persons for whom they were made in medallions supported by cupids, emblems, &c., or their coats of arms. These intricate patterns are superior, both in design and delicacy of pencilHng and finish, to most other English manufactures. PORCELAIN — LOWESTOFT. 625 Mr. Robert Allen Johnson has a bundle of memoranda in the handwriting of Robert Allen, the painter, and afterwards manager of the works, which principally relate to the mixing of the colours employed in the manufactory. The headings are as follow : — Order for Colours. — i. Heathcote's composition to make purple. 2. To make a rose colour. 3. To make fine rose colour. 4. Sal armoniack and aqua fortiss to dissolve gold. 5. Different shades of purple. 6. To make orange red. 7. Heathcote's orange red. 8. Blue in water. 9. The fine ultramarine blue. 10. To make a blue colour. 11. Blue and ultramarine. T2. Cobalt blue. 13. Yellow in oil. 14. Yellow in water. 15. Heathcote's yellow green. 16. Olive green. 17. Blue green. 18. Yellow green. 19. Flux for green and yellow. 20. Shining black. 21. Another shining black. 22. Black for pencil china. 23. Shining brown. 24. Different tints of brown. 25. Different shades for hair. 26. To make brown gold. 27. The process for preparing the gold. 28. Crucibles, yellow, white, and blue enamel cakes. 29. Mr. Brameld's Flux. 30. Dutch Flux. No. 27. "The process for preparing the gold" was sent in a letter from James Mollershead, of Hanley, dated 5th November, 1 793, addressed to Mr. Robert Allen, at the China Works, Lowestoft, Suffolk. Sir, I received yours dated October 28th on Saturday and answer as soon posible and have Done the Best in My power to Give you Ancount of All my Methods in the preparation as Exact as I can Which if you follow you Cannot Mistake I have your Drauft It has thirty Days before date. From your huble Sarvan and Wellwisher." Mr. Edward R. Aldred, of Yarmouth, whose grandfather (Obed) was an original proprietor, and whose father Samuel Higham Aldred became a partner in 1791, says that the latter superintended the winding up of the concern about the year 1803, and that a quantity of the remaining stock was taken in boxes to his own house, some of these are still in existence, and contain portions of sets of china, tea-pot lids, spouts and handles, small proof cups, &c., but these in succeeding years were used as playthings by the children, and are all fragmentary. A blue dessert service with pierced sides and may flowers in relief, was actually made there, it came direct from the factory, and has never been out of the possession of the family. s s 626 PORCELAIN — LOWESTOFT. This is marked with a blue crescent, and has by many been referred to Worcester ; but the tradition still firmly believed by the descendants of the proprietors, as proved by facts, is that the Company did a large trade with Turkey, and the ware prepared for that market had the crescent painted under each piece. Mr. Aldred possesses a figure, cleverly modelled by his father's hands in the factory. It is a well-dressed, modest, housekeeper-looking woman in the costume of the time in which it was made (1790). Mr. Aldred has naturally on numerous occasions, heard his father speak of the manufactory, and is certain that hard paste services, mugs, of which he has several in constant use, vases, 8lc., were manufactured by his father, at Lowestoft, and ridicules the idea of Chinese porcelain being brought there to be painted. Mr. King, of the Herald's College, writing to a friend, says, " As to there not being Lowestoft china, you and I know, as subjects of the King of the East Angles, that ex cathedra' antiquaries are fools in that respects ; I have known and seen specimens from my earliest days when I was a Yarmouthian." Mr. Studley Martin, or Liverpool, nephew of Sir James Edward Smith, who resided at Lowestoft, Norwich, &c., writes, *T believe no Oriental china ever was painted, even by adding initials or crests at Lowestoft, certainly never with flowers or anything else. As to hard paste, the innumerable specimens known to have been made at Lowestoft, prove it beyond a doubt. Some unbelievers persist that no figures even were made there ; Lady Smith's figures were bought by her brother Mr. Reeve, as specimens, when the works closed ; she fre- quently visited them, and is positive as to the manufacture of figures there." The widow of Mr. Rose (the son of the painter at the manu- factory who is now living), as well as another aged relative, remember perfectly, when they were children, running to and from the works, and picking up the broken or damaged images " that had been thrown out with the rubbish, which PORCELAIN — LOWESTOFT. 627 they took home and kept for playthings. There are two china figures of peasants carrying baskets of flowers and fruit on their heads, well modelled, but simple in colouring, which are reputed to have been purchased at the Lowestoft manufac- tory, very much like those of Lady Smith, but of rather coarser work ; in the possession of Mr. J. H. Tuke, of Hitchin. PROPRIETORS OF THE LOWESTOFT WORKS. Philip Walker. Mr. Walker was of a good family at Lowestoft. In 1768 we find his name mentioned as one of the Feoffees of the Church property. He was still living in 1790, as we find his name " Philip Walker, gentleman " among the subscribers to Gillingwater s History of Lowestoft. He, like many others of the gentry, had a boat, which was occasionally engaged in the mackerel and herring fisheries, from 1770 down to the year 1790. Robert Browne, one of the original proprietors, was a good chemist, and had the management of the works, superintending the mixing of the clays and the colours. He died in 1771, and was succeeded by his son Robert Browne, junior, who was also a clever practical chemist, and was constantly making experiments on the body of the ware. The introduction of hard paste was probably owing to his exertions, and he was successful in bringing the art of making trne porcelain nearer to the Oriental than had been attained by any other individual. He died in 1806.* (9^^^ ^/<^r^^, partner in the Lowestoft china manufactory. " Obed Aldred, bricklayer," was appointed one of the Feoffees of the church property in 1768; he died 22nd July, 1788. Messrs. Stannard and Aldred had boats engaged in the * Cookworthy had produced hard paste, and taken out his patent in 1 768, but he had not produced a ware bearing so close a resemblance to the Oriental, the china of Plymouth and Bristol being more like that of Dresden. It was therefore about 1775 ^^^^ \\:irt 1758. The mark adopted is that for tin, perhaps in consequence of the stanniferous character of that part of the country where the materials were obtained ; usually marked in red or blue on the bottom of the pieces. There are some finely executed Plymouth porcelain busts of George II., modelled from the statue by Rysbrach erected in Queen Square, Bristol. Some of these, from their size and great weight, have fallen on one side in the baking. Lady Charlotte Schreiber has a perfect bust on its pedestal ; there is one also in Dr. Cookworthy's possession (an heir- loom) ; others are in the Liverpool Museum, and in the Collections of Mr. Reynolds and Mr. Edkins, of Bristol. M. Edkins has a statuette of Woodward the actor, com- panion figure to Mrs. Clive, bearing the Plymouth mark in blue, also several statuettes in hard porcelain of a shepherd and shepherdess, &c. Lady Charlotte Schreiber has a Plymouth mug, inscribed " Josiah and Mary Greethead, March 13, 1769." 648 PORCELAIN — PLYMOUTH. 1768 Plymouth. These .marks occur on a porcelain cup, decorated in blue ; in the centre is a shield of four castles, with Plymouth " above, and underneath some letters which are illegible. The initials and date are on the bottom of the cup. The patent was taken out on the 17th March, 1768, and this was probably a trial piece made three days previously. It is in Mr. Reynolds's Collection. Plymouth. The inscription in the 'Oj^^ co^iocr/ margin is in red, underneath a china ^ ^ butter boat, painted with detached ^^actorif J^&jnyiOJjlJi flowers. In the possession of Dr. XII Ashford, of Torquay. Plymouth. The first of these two marks is on a cup of English porcelain, with blue Chinese figures ; the second is on the saucer of the same pattern ; in Mr, Reynolds' Collection. A pair of handsome vases and covers, 16 in. high, bearing this last mark, are jn the posses- sion of Mr. F. Fry, of Cotham, Bristol. Plymouth. On a pair of oviform porcelain vases, painted with birds and insects in the Chelsea style. In the Collection of Mr. Emerson Norman. Plymouth. Another mark, varying in form, from the carelessness of the painter. PORCELAIN — rLYMOUTH. BRISTOL. 649 Plymouth ? Impressed on a hard white porcelain shell bowl, supported by smaller shells and rock-work. Staniforth Coll. Plymouth. Marked in brown on a hard porcelain shell dish, supported on three feet of coral and mussel shells, painted inside with lake and blue flowers, and green leaves. In the Collection of the Rev. T. Staniforth. There are many varieties of this mark, and others, some very small, which are principally painters' marks, found on pieces either of Plymouth or Bristol porcelain, too numerous to describe, and of difficult attribution. BRISTOL. Bristol, Castle Green. Hard Paste. Founded by Richard Champion, a merchant of Bristol, about 1772. Champion is described as a man of great activity of mind, and a constant projector. In 1743 Richard Champion had a zinc manufactory on the banks of the Avon, about two miles from Bristol ; and in 1 767 we read in Corry and Evans's account of Bristol that he published a plan, which had nearly been adopted, for im- proving the port of Bristol. In Barrett's History of Bristol (ed. 1789, p. 701) we find that in 1764 the great new dock was begun by Richard Champion. After his purchase of Cookworthy's patent in 1774 he added the manufacture of hard paste, but both hard and soft were made at the same time. On Sept. 15, 1775, Richard Champion enlarged the term of letters patent of Cookworthy, assigned to him. It is termed " A discovery of certain materials for making of porcelain," and Champion has to specify the raw materials of which both the porcelain and the glaze are com- posed, and the proportions in which they are used. These are given, and it is stated " that without taking away from the ware the distinguishing appearance and properties of Dresden and Oriental porcelains," &c. The ware was brought to high perfection, but the great outlay prevented its being remunera- 650 PORCELAIN — BRISTOL. tive, and he sold his patent to a company of Staffordshire potters in 1777, having first offered it to Wedgwood, who declined the purchase. In a letter from Wedgwood to Bentley, dated Aug. 24, 1778, we hear that Champion had just then failed; he says — " Poor Champion, you may have heard, is quite demolished ; it was never likely to be otherwise, as he had neither profes- sional knowledge, sufficient capital, nor scarcely any real acquaintance with the materials he was working upon. I suppose we might buy some Growan stone and Growan clay now upon easy terms, for they have prepared a large quantity this last year." Horace Walpole mentions in his catalogue a cup and saucer, white, with green festoons of flowers, of Bristol porce- lain." We have seen many similar specimens, bearing the mark of a cross, well painted and richly gilt. The mark adopted at the Bristol manufactory was a cross, usually painted in a sort of slate colour, but occasionally it was blue, as on a Bristol tea service be- longing to the late Lady Byron, now in I'fjC the possession of Mr. John J. Bagshawe, J of Sheffield, painted with flowers, the name of each being placed under it in blue colour. Dr. Diamond has a speci- men, with the cross stamped in the paste. Mr. Edkins, of Bristol, has a cup with r. ^ initials J. H. and date 1774 inside it, ^ made in the first year of Champion's purchase of the patent for Joseph Harford, who was part proprietor, residing at Blaize Castle, near Bristol. Lady Charlotte Schreiber has a similar cup, and also one bearing the date 1776, marked with a blue cross. B Bristol. On a cup and saucer, of hard porcelain, painted with detached -yT flowers, of undoubted Bristol manufac- / ture ; marked in brown. In the Collec- tion of the Rev. T. Staniforth.' 4- POTTERY AND PORCELAIN — BRISTOL. Some of the Bristol china was marked with the crossed swords of Dresden, a dot in centre. A cup and saucer of hard paste, painted with festoons of flowers and richly gilt, has this mark in blue, and a numeral and dot in gold. In the possession of the Rev. T. Staniforth. The tea pot of the same service has the mark of the cross in blue. Sometimes the pieces have numerals in gold, i, 2, 3, and so on with a dot, below or at the side, denoting the pattern. Lustre ware was also produced at this manufactory. Mr. John J. Bagshawe, of Sheffield, has a tea service of Bristol porcelain with the mark of a cross scratched in the clay. Bristol. Redcliffe Backs. Mr. Jewitt, {Art journal, November, 1863), says : " The first record of Bristol pottery appears to have been in the reign of Edward I. Mediaeval earthenware vessels of different periods, probably made in the locality, have been found at Bristol, and under Elizabeth a manufactory was in operation. At the close of the XVI Ith Century delft ware was made. The earliest dated example is a plate marked on the rim S. M. B., 1 703, of good quality, glazed, and the blue of good colour. The next dated specimen is a delft high-heeled shoe, dated on the sole 1722, with the initials M. S., beautifully formed, and a buckle in front. Others bear the dates 1740, 1754, and 1761. These delft works were carried on at Redcliffe Backs, in the last century by a Mr. Frank, and produced plates, dishes, Dutch tiles, &c." There is in the Museum of Practical Geology a slab, composed of twenty-four tiles, with a view of Redcliffe Church, Bristol. These tiles were made by Richard Frank during the Bishopric of Butler (1738- 1750), whose arms are upon one of the tiles. It is stated that these delft-ware potters were preceded by a maker of salt-glazed pottery named Wrede or Read. Bristol. Temple Backs. A manufactory of earthenware was established at this place by Mr. Joseph Ring, son-in-law 652 POTTERY — BRISTOL. BRISLINGTON. of Cookworthy; after the porcelain works had been rehn- quished in 1777: it was called the "Bristol pottery." The following advertisement appears in the Bristol Gazette for January, 1 787 Bristol Pottery, Temple Backs. Joseph Ring informs merchants and others that he has established a manufactory of tlie Queen's and other earthenware, which he will sell on as low terms, wholesale and retail, as any of the best manufacturers in Staffordshire, can render the same to + Bristol." The same mark, a cross in blue, is found on cream ware. The works were continued by his widow for many years after his death. I have an invoice before me for china and glass to the amount of ;^I2. 17s. 6d. The heading is, " Bought of Elizabeth Ring & Co., Earthenware, China, and Glass Rooms, 8, High Street, Bristol," dated 4th January, 1817, and in the account of Bristol, by Corry and Evans, edition 18 16, speaking of the potteries of Bristol, it adds, nor must the pottery of Mrs. Ring be omitted, for of the articles made here, it is little praise to say that they combine elegance with taste, and consequently a visit to the pottery is now generally among the objects which are pointed out to the notice of the stranger. From Chilcott's Gtiide to Bristol, and Mathews' Guide, we learn that the Bristol pottery at Temple Backs was then, in 1825 and 6, occupied by Messrs. Pountney and Allies, employing about 200 men, women, and children, and had been established several years. The articles they produced were similar to those of the superior potteries in Staffordshire, and in addition to the home trade, a con- siderable export business was carried on. Brislington, near Bristol. It has been supposed, there was a pottery here for a copper-glazed ware, but we have no authentic records of it. At the Bristol Institution is a large vase of this kind presented by the late Dr. Smith, and labelled by him Copper lustre ware, Brislington." The size of the vase is 16 in. diameter and 17 in. high, with a hole at the bottom as if made for a flower pot. There are also the remains of some larger dishes. POTTERY AND PORCELAIN — FULHAM. FULHAM. FuLHAM. John Dwight, M.A., of Christ Church College, Oxford, was the inventor of porcelain iii England ; he was secretary to Brian Walton, who died in 1660, and to Henry Ferne and George Hall, successive Bishops of Chester. He established a manufactory for the production of porcelain at Fulham in 167 1. Having made this assertion, we will, as briefly as possible, review the claims put forward by French writers on this subject. The first attempt to make porcelain in France was by Louis Poterat, Sieur de St. Etienne, at Rouen, who obtained letters patent in 1673. It appears never to have succeeded, and a very imperfect description only was produced. In the letters patent accorded to the heirs of Chicanneau, at St. Cloud, in 1 702 (which was really the first successful attempt in France), reference is made to the previous grant to Louis Poterat in these terms : — " We formerly considered the manu- facture of porcelain so advantageous to our kingdom, that we accorded privileges to Sieur St. Etienne, at Rouen ; but the said St. Etienne did nothing more than approach the secret, and never brought it to the perfection these petitioners have acquired." The second attempt in point of date was that of Chicanneau, at St. Cloud, just referred to, said to have been invented about 1695, but patented in 1 702. Dwight's porcelain was therefore made two years before that of Louis Poterat at Rouen, and twenty-four years before it is said to have been invented by Chicanneau, and thirty-one before the date of the letters patent granted to his successors at St. Cloud in i 702. Having disposed of the question of precedence as regards porcelain, we will now speak of other discoveries made by John Dwight. His second invention was of even greater importance to the community at large, and the commercial 654 POTTERY AND PORCELAIN FULHAM. interests of this country : viz. his successful imitation of the grhs de Cologne, Several attempts had been made in previous years, to compete with the potters of Cologne, but these endeavours had hitherto been unavailing, the durability, com- pactness of material, imperviousness of glaze, and consequent cleanliness of the vessels, could not be imitated. All England, therefore, continued to be supplied with German pots. Finding they could not manufacture them, the English potters tried to destroy the monopoly of the Cologne merchants who imported them, but the duty received by the English Government on the ware, formed too important an item to be abandoned without sufficient cause. See the Petition of W. Simpson to Queen Elizabeth, (page 49). Dr. Plot states that Dwight's great difficulty was in the glazing of his porcelain, which was the only obstacle that had prevented him setting up a manufactory before^ but he had eventually overcome it. That his inventions were well known to, and appreciated by, the scientific men of the time, is evi- denced from the following interesting notice by Dr. Plot, in his History of Oxfordshire, published in 1677, which from its important bearing upon these valuable discoveries, we quote at length. " § 84. Amongst arts that concern formation of earths, I shall not mention the making of pots at Marsh Balden and Nuneham Courtney, nor of tobacco- pipes of the white earth of Shotover, since those places are now deserted. Nor indeed was there, as I ever heard of, anything extraordinary performed during the working these earths, nor is there now of a Very good tobacco-pipe clay found in the parish of Horspath, since the first printing of the third chapter of this history . . . j . Let it suffice for things of this nature that the ingenious John Dwight, formerly M.A. of Christ Church College, Oxon, hath discovered the mystery of the stone or Cologne wares (such as d'Alva bottles, jugs, noggins), heretofore made only in Germany, and by the Dutch brought over into England in great quantities j and hath set up a mannfacture of the same, which (by methods and contrivances of his own, altogether unlike those used by the Germans), in three or four years time, he hath brought it to greater perfection than it has attained where it hath been used for many ages, insomuch that the Company of Glass-sellers of London, who are the dealers for that commodity, have contracted with the inventor to buy only of his English manufacture, and refuse the foreign. POTTERY AND PORCELAIN — FULHAM. 655 85. He hath discovered also the mystery of the Hessian wares ^ and vessels for reteining the penetrating salts and spirits of the chymists, more serviceable than were ever made in England, or imported from Germany itself. " § 86. And hath found ways to make an earth white and transparejti as porcellane, and not distinguishable from it by the eye, or by experiments that have been purposely made to try wherein they disagree. To this earth he hath added the colours that are usual in the coloured china ware, and divers others not seen before. The skill that hath been wanting to set up a manu- facture of this transparent earthenware in England, like that of China, is the glazing of the white earth, which hath much puzzled the projector, but now that difficulty also, is in great measure overcome. "§ 87. He hath also caused to be modelled statues or figures of the said transparent earth (a thing not done elsewhere, for China affords us only im- perfect mouldings), which he hath diversified with great variety of colours, making them of the colour of iron, copper, brass, and party-colour'd as some Achat-stones. The considerations that induced him to this attempt were the duration of this hard-burnt earth, much above brass or marble, against all air and weather, and the softness of the matter to be modelled, which makes it capable of more curious work than stones that are wrought with chisels, or metals that are cast. In short, he has so advanced the Art Plastick that 'tis dubious whether any man since Prometheus have excelled him, not excepting the famous Damophilus and Gorgasus of Pliny. {Nat. Hist., lib. 35, c. 12.) " § 88. And these arts he employs about materials of English growth, and not much applyed to other uses ; for instance, he makes the stone bottles of a clay in appearance like to tobacco-pipe clay, which will not make tobacco- pipes, although the tobacco-pipe clay will make bottles ; so that that which hath lain buried and useless to the owners may become beneficial to them by reason of this manufacture, and many working hands get good livelihoods, not to speak of the very considerable sums of English coyn annually kept at home by it." — Dr. Flofs Natural History of Oxfordshire. Oxford, 1677. In Aubrey's Nattiral History of Wiltshire, written about 1 6 70- 1 680, whose MSS. were edited by John Britton in 1847, we read : " In Vernknoll, adjoining the land of Easton Pierse, neer the brooke and in it, I bored clay as blew as ultra marine, and incomparably fine, without anything of sand, &c., which perhaps might be proper for Mr. Divight for his making of porci/aifie. It is also in other places hereabout, but 'tis rare." The editor, in a note upon this passage, remarks : It is not very clear that 'blew clay,' however fine, could be proper for the ' making of porcilaine,' the chief characteristic of which is its transparent 656 POTTERY AND PORCELAIN —FULHAM. whiteness ; apart from this, however, Aubrey's remark is curious, as it inti- mates that the manufacture of porcelain was attempted in this country at an earlier period than is generally believed. The famous porcelain works at Chelsea were not established till long afterwards, and, according to Dr. Plot, whose Natural History of Staffordshire was published in 1686, the only kinds of pottery then made in that country were the coarse yellow, red, black, and mottled wares, and of these the chief sale was to ' poor crate men, who carried them on their backs all over the country.' " Mr. Britton adds : — " I have not found any account of the Mr. D wight mentioned by Aubrey, or of his attempts to improve the art of pottery." It is remarkable that Britton, who has here quoted Dr. Plot's own words in his History of Staffordshire, should never have looked into the same author s History of Oxfordshire^ published nearly ten years earlier ; had he done so, he would have found Dwight's name honourably mentioned. Mr. Brit- ton's doubt about the blew clay " being fit for porcelain, is easily explained. The blue clay is considered the best for making porcelain, and fetches the highest price ; it not only burns very white, but forms a ware of great solidity, and will bear a larger proportion of flint than any other. From the foregoing accounts it is perfectly clear that an attempt was successively made to produce porcelain by John D wight, of Oxford, as early as the year 1671. Dr. Plot says it was of transparent earth coloured with metallic colours, like that of China. We may therefore assume that, having perfected his discoveries, and finding the sale of his newly- invented wares was likely to be of considerable magnitude, he removed his manufactory nearer the metropolis, and pro- ceeded to secure his inventions by patent. His first patent is dated April 23, 1671, and runs thus : " John Dwight, gentleman, hath represented unto us, that by his own in- dustry, and at his own proper costs and charges, he hath invented and sett up at Fulham, in our county of Middlesex, several new manufactories," &c. " The mistery of transparent earthenware, commonly knowne by the name of porcelaine or china, and Persian ware, as alsoe the misterie of the stone ware, vulgarly called Cologne ware ; and that he designed to introduce a manufac- ture of the said wares into our kingdom of England, where they have not hitherto bene wrought or made;" "Granted for the tearme of fourteene^ POTTERY AND PORCELAIN— FULHAM. years, paying yearly and every yeare during the said terme twentie shillinges of lawful! money of England." That he continued these new manufactures successfully is proved by his obtaining at the expiration of this term of four- teen years a renewal of his patent. It is dated June 12, 1684. " Severall new manufactures or earthenwares, called by the names of white gorges (pitchers), marbled porcellane vessels, statues, and figures, and fine stone gorges and vessells, never before made in England or elsewhere ; and alsoe discovered the mystery of transparent porcellaiie, and opacous redd and darke coloured porcellane or china, and Persian wares, and the mystery of the Cologne or stone wares;" granted "for the term of fourteene years." Unfortunately, there is not a fragment of porcelain in the Fulham trouvaille, which we shall presently have occasion to notice. But we must not too hastily conclude that, because no specimen is yet known, there is none in existence.* A few years since, if any collector had enquired where any pieces of Moustiers fayence could be procured, he would have been told that even the name had never been heard of as a pottery ; yet now we know that this place was celebrated over Europe in the beginning of the last century, as one of the largest empo- riums of the fictile art, and numerous products can now be produced, which had before been attributed to Rouen, St. Cloud, and other places. The same dark cloud hung over the productions of porcelain at Florence, made as early as 1575 ; the Henri Deux ware of Oirons, near Thouars, of the beginning of the XVIth Century; and other places which modern research has brought to light. Such was also the obscurity of the imitation Cologne ware, so much lauded * John Houghton, F.R.S., in his * Collection of papers on Husbandry and Trade,' a close observer, and one who scrupulously mentions facts relating to these matters, thus speaks of the property of clays, with special reference to that found at or near Poole in Dorsetshire, 1 2th January, 1693, " and there dug in square pieces of the bigness of about half a hundred weight each ; thence 'tis brought to London and sold in peaceable times at about eighteen shillings a ton ; but now in this time of war is worth about three and twenty shillings." He continues, " This sort of clay, is used to clay sugar, and the best sort of mugs are made with it, and the ingenious Mr. Dwight, of Fulham, tells me that 'tis the same earth china ware is made of, and 'tis made, not by lying long in the earth, but in the fire ; and if it were worth while we may make as good china here as any is in the world ; " and it is fair to presume that the only porcelain made in England was that produced by Dwight, who, he says, *' has made it and can make it again." U U 658 POTTERY AND PORCELAIN — FULHAM. by Dr. Plot ; but now we know that it was extensively made at Fulham, and although it has hitherto been confounded with the German gres itself, yet we can now easily distinguish and refer it to its original source. The Company of Glass-sellers of London, who were the dealers in that commodity, having contracted to buy only his stoneware, to the entire exclusion of the foreign," its sale must have been very extensive. The Fulham stoneware, in imitation of that of Cologne, is frequently seen at the present day in collections. It is of exceedingly hard and close texture, very compact and sonorous, and usually of a grey colour, ornamented with a brilliant blue enamel, in bands, leaves, and flowers. The stalks have frequently four or more lines running parallel, as though drawn with a flat notched stick on the moist clay ; the flowers, as well as the outlines, are raised, and painted a purple or morone colour, sometimes with small ornaments of flowers and cherubs' heads, and medallions of Kings and Queens of England in front, with Latin names and titles, and initials of Charles II, William III, William and Mary, Anne, and 'George I. The forms are mugs, jugs, butter-pots, cylin- drical or barrel-shaped, &c. ; the jugs are spherical, with straight narrow necks, frequently ornamented in pewter, and raised medallions in front, with the letters CR. WR. AR. GR., &c., in the German style of ornamentation. These were in very common use, and superseded the Bellarmines and longbeards of Cologne manufacture. We must now direct especial attention to a most interesting collection of the early productions of the Fulham manufac- tory, formerly in the possession of Mr. Baylis, of Priors Bank, who obtained it from the Fulham manufactory about 1862, in which year he communicated the discovery to the Art yournal for October. It is now in the collection of Mr. Reynolds. It consists of about twenty-five specimens, which have been preserved by successive members of the Dwight family, where they had remained as heirlooms since the period of their manufacture, and were purchased from the last representative of the family. The statuettes and busts are of gres, or stone- POTTERY AND PORCELAIN — FULHAM. ware, beautifully modelled: A large bust of Charles II, life-size, wearing the order of the George and collar ; smaller busts of Charles II, and Katherine of Braganza, and James II, and Mary d'Este, the large wigs, lace ties, &c., being minutely modelled; full length figures of Flora, Minerva, Meleager; a sportsman in the costume of Charles II's reign ; a girl holding flowers, two lambs by her side ; a girl with her hands clasped, drapery over her head arid round her body, at her feet a skull and plucked flowers — the two last are probably members of Dwight's family ; five stoneware statuettes in imitation of bronze, of Jupiter, Neptune, Mars, Meleager, and Saturn. These figures are from 7 to 13 inches high. But the most interesting relic of the manufactory, executed in the hard stone- ware, is a beautiful half-length figure of a lifeless female child, lying upon a pillow, with eyes closed, her hands on her breast clasping a bouquet of flowers, and a broad lace band over her forehead evidently modelled from the child after death. This most touching memento of one of the earliest of England's potters, recalls the words of Dr. Plot, that he had so far advanced the art plastic, that 'tis dubious whether any man since Prometheus ever excelled him," for the child seems almost to breathe again. Fortunately we are not left to conjecture its history; it tells its own tale — for on the back is inscribed in the clay, while yet moist before baking : " Lydia Dwight, died March 3, 1672." It was therefore executed the year after he had taken out his first patent. There is a large fayence plateau, 23 inches in diameter, in exact imitation of the early Nevers ware, covered with a rich bleu de Perse enamel, for which that manufacture was celebrated, decorated with white flowers and scrolls, the centre being filled with the Royal arms and monogram of Charles II, boldly sketched, said with more than mere probability to have been one of a dinner service made expressly for this King. Among the minor productions are a slate-coloured bottle, with marbled bands, and white figures in relief, of a church, birds. Merry Andrew, and in the centre the busts of William and Mary ; another with white figures as the last, and the u u 2 660 POTTERY AND PORCELAIN — FULHAM. letter C. ; two marbled bottles ; a cylindrical mug, with stamped ornaments, and in front Hogarth's Midnight Con- versation a butter boat, the outside formed of leaves, and stalk handle, like the early Chelsea pieces ; and two open dishes in the form of leaves. In looking over this collection, we are astonished, at the variety of Dwight's productions and the great perfection to which he had brought the potter s art, both in the manipula- tion and the enamel colours employed in decoration. The figures, busts, and groups are exquisitely modelled, and will bear comparison with any contemporary manufactures in Europe ; and a careful inspection will convince any unpre- judiced mind, of the erroneous impression which exists, that, until the time of Wedgwood, the potter's art in England was at a very low ebb, and none but the rudest description of pottery was made, without any attempt to display artistic excellence. Here, however, we have examples of English pottery, a century before Josiah Wedgwood's time, which would not disgrace the atelier of that distinguished potter himself. The discovery of the two patents granted to John D wight in 167 1, and to Ariens Van Hamme in 1676 (page 666), now published for the first time in treating on the matter, opens a new field for research in another direction.* The present proprietor of the Fulham Pottery, Mr. C. J. C. Bailey, possesses two of the old books of receipts and memo- randa, bearing dates ranging from 1689 to 1695, among which the following headings may be especially noticed, clearly proving that Dwight actually made transparent porcelain at that early period, and corroborating the facts we before * There are probably many specimens of Dwight's transparent porcelain still in existence. D n Diamond who contributes so repeatedly in these pages to the illustration of marks and monograms on English pottery and porcelain, writes as follows: *' I have a small mustard pot of very hard paste which is transparent at bottom and sides ; it does not look like porcelain nor does it look like earthenware; it has the exact G.R. and Crown of George I, which we see so frequently on Fulham stoneware. Did they make porcelain so early as that at Fulham ? (George I, 1714 to 1727)." The patents and receipts here alluded to will be a sufficient answer to this question in the affirmative. POTTERY AND PORCELAIN — FULHAM. adduced, viz., his two patents of 1671 and 1684, the privilege extending for 28 years from 167 1 to the year 1699. These MSS. having only been recently discovered among some old account books, the owner does not at present wish the receipts made public, until he has himself made some experi- ments upon the materials, thus unexpectedly brought to light. Mr. Bailey has kindly placed these two most important books in our hands, to inspect and make some extracts for publi- cation, under certain restrictions. But we are permitted to state that, from a careful perusal of the receipts relating to the making of porcelain, we have no hesitation in affirming that a translucent porcelain can be made from them — the materials stated, being identical with those which constituted the paste of subsequent English manufacturers, with this exception, that the latter used white clay, fine white sand, and ground glass, while Dwight used the glass-making materials uncombined, to mix with the calcareous white clay. Small Book, bowid in vellum. — " All that is in this book was entred since 9ber 15th, 1695." The fine stone cley. The fine white cley for gorges and cans. The fine white cley for dishes or tea pots to endure boiling water. To make trafis- parent porcelane or china cley. To make another transparent porcelatieox china cley. To make red porcelane cley. To make a bright red cley w'' Stafford- shire red cley. Light grey cley to endure boiling water. Mouse coloured cley to endure boiling water. 1698, April 6, p. 19. — To make Number Sixteen. 1698, April 6, p. 21. — The best white cley to make gorges, cans, or dishes to endure boiling water. To make y" white earth. To make the dark earth. To make fine white. Note. — This is the material or frit which, mixed with the clay, gives it trans- lucency. We are not at liberty to give the receipt, but we may state -that fine white sand is one of the ingredients; and a note is appended, showing that calcined flints were sometimes used instead. "Calcined, beaten, and sifted flints will doe instead of the white sand and rather whiter, but the charge and trouble is more." To make fine dark. To make calcined sand. To make white Cyprus (per Cyprus sieve). Things necessary to be alwaies in readynes. — White sand in some good quantity, in several boxes. Best white cley, dry'd and sifted. Iron scales, 662 POTTERY AND PORCELAIN — FULHAM. clean, dry, and sifted through a midling hair sieve. Coarse white. Fine white. White f Cyprus. Coarse dark. Fine dark. Saltpeter, dryd, beaten, and sifted. Small parchment covered Book, with silver clasp. The first six pages are unfortunately torn out, but some, no doubt, referred to making china, from the following remark : — " Note y* in burning china you must set pots near the widenes of y^ arches and set them 6 inches distant from one another and from the wall. The Httle furnace where the last red tea pots were burnt, I take to be a convenient one for this use." Qber, 1695. An essay towards a china glasse (glaze). 1 69 1, March 14. To make a grey porcellane by salt. Note.— This is a strong hardy cley, fit for garden pots, tea potSj dishes, &c. 1 69 1, March 14. To make a blew porcellane cley to be turn'd into vessels, or to spot and inlay pots of any other porcellane. 1692, July 16. To make y^ black earth. 1693, July 5. To make a fine bright and strong brown. 1692, July 16. To make the brightest brown colour. 9ber 29/95. ^ grey cley for marbhng stone pots. 1692, July 16. To make a fine white porcellane cley to be burnt w'' salt, fit only for things of ornament. A grey cley for y® like use. 1692, Feb. 8. A mouse colour'd porcellane w^ white specks. 1692, July 27. A bright mouse colour'd cley to endure boiling water. 1692, Aug. 15. A fine porcellane cley fit for deep dishes, w^out handles, to be burnt w^®""* glaze in the strongest fire that may serve to perfect y^ china ware. Reversing the book, we have — 1692, 7ber 12. The best dark earth. The best brown glasse (glaze) for stone pots. Note that stone pots having much cley in themselves doe retain the brown colour though it have less in it, and the less cley there is in the colour the more lustre it hath ; the reasons I shall give elsewhere. 1692, 7ber 12. The best brown glasse (glaze) for white brown pots. 1693, 9ber 14. To make the dark earth. 1693, 9ber 14. To make transparent porcelane or china cley : — Take fine white earth thirty pounds ; cley, sifted, twenty pounds — mingle and tread. To make another transparent porcellane or china cley. 1693, 9ber 14. A dark colour'd cley for marbled dishes and teapots to endure boiling water. 1693, 9ber 14. To make a deep red porcellane or china clay. 1693, 9ber 14. To make a grey porcellane cley, hardy and fit for garden potts and tea pots, &c. 1693, 9ber 14. To make a deep red cley of the Staffordshire red cley. POTTERY AND PORCELAIN FULHAM. 663 1693, 9ber 14. To make a cley to burn brown, strong and hardy, fit for tea pots, to be sprig'd white. 1^95? July 2. To make y^ best fine stone cley. In one of the leaves of this book is written, in a child's hand, " Lydia Dwight, her Book, 8 12 Fulham." 4 and on another page her name, unfinished, and her young friends, Miss Betty Osgood and Miss Molly Osgood. Among the memoranda in this book are some very curious entries of hiding places for money, about the year 1693. As the monies were withdrawn, the entry was erased. We make a selection from these, as follows : — " In the garret, in a hole under y*" fireplace, 240 G, in a wooden box." In y** old labouratory at the old house, in two holes under the fireplace, on both sides y* furnace, in 2 half-pint gorges, cover'd, 460. In the second presse in y* s labora : under some papers at y* bottom, in a bag, some mill'd money. Behind y* doore of the little parlor, old house, in a canne, some mill'd money. In two holes of that great furnace running in almost to the oven, 2 boxes full of mill'd money may be drawn out w** a long crooked iron standing behind y' kitchen door. Between a little furnace and great one that joynes to the oven, behind shovels and forks, a pott of Gui :. 1698. In several holes of y* ffurnace in y' middle of the kitchen opening at the top where the sande lyes is a purse of 100 Guis. and severall cans cover'd. At y** further end of y** bottom hole of my ff"urnace in y" little parlour, a box of 200 G." There is a tradition in the family that the production of the classic figures here referred to, together with the dinner ware, were made expressly for King Charles's own table, and the finely-modelled figures of grey clay, in substance something like the fine Cologne ware of the same period, were confined, or mostly so, to the life of the elder Dwight, for it is a fact well recorded in the family, that he buried all his models, tools, and moulds connected with this branch of the manu- factory, in some secret place on the premises at Fulham, observing that the production of such matters was expensive 664 POTTERY AND PORCELAIN FULHAM. and unremunerative, and, that his successors should not be tempted to perpetuate this part of the business, he put it out of their power, by concealing the means. Search has often been made for these hidden treasures, but hitherto without success, though no doubt exists as to their being still in their hiding-place. This tradition has been in some degree verified, but the statues and pieces of transparent porcelain, hidden under ground, still remain for fu^ture explorers. About two years since in pulling down a range of old and dilapidated buildings to make the required improvements, the excavators came upon a vaulted chamber which had been walled up ; it contained a number of stoneware Bellarmines of exactly the same form and material as those of Cologne, with masks under the spouts and medallions in relief, and a quantity of fragments of stone- ware, some inlaid with blue and the morone red colour. Many of these had been dispersed before the author had • an oppor- tunity of inspecting them, but there were still left some with the characteristics just spoken of, viz., the crest of a stag's head, the interlaced C's and C.R. crowned, a fleur-de-lis crowned, rosettes inlaid with morone and blue colours, &c. These were the fine stone Gorges never before made in England," alluded to in the patent of 1684. The term Gorge is still used in the factory to denote a pitcher, which is so called in the invoices at the present day. In the obituary of the Gentleman s Magazine for 1737, we find the following notice : " At Fulham, Dr. Dwight, author of several curious treatises on physic ; he was the first that found out the secret to colour earthenware like china." Whether this notice refers to John Dwight or to his brother, Dr. Dwight, who, according to Lysons, was Vicar of Fulham, we cannot satisfactorily decide, but the former must have died about this time, leaving the business to be carried on by his daughter, Margaret Dwight, in partnership with a Mr. War- land ; but they were not successful, for in 1 746 the Gazette informs us that Margaret Dwight and Thomas Warland, of Fulham, potters, were bankrupts. This daughter was subse- POTTERY AND PORCELAIN — FULHAM. 665 quently married to Mr. White, who re-estabhshed the pottery. Lysons, writing in 1795, says : " The works are still carried on at Fulham by Mr. White, a descendant in the female line of the first proprietor. Mr. White's father, who married one of the D wight family (a niece of Dr. D wight. Vicar of Ful- ham), obtained a premium in 1761 from the Society for the Encouragement of Arts, &c., ' for the making of crucibles of British materials.' '* In 1762, 25th January, William White, of Fulham, potter, took out a patent for his invention of " A new manufacture of crucibles for the melting metals and salts, &c., called by the name of white crucibles or melting pottes, made of British materials, and never before made in England or elsewhere, and which I have lately sett up at Fulham. Take Stour- bridge clay and Dorsetshire clay, calcined ; mix them with Woolwich sand and water ; to be trodden with the feet and then burned." In 18 1 3 the manufactory was in the hands of Mr. White, a son of the above, and the articles then made were chiefly stone ware jars, pots, jugs, &c. The Fulham Works remained in the family until 1862, when the last Mr. White died, and he was succeeded by Messrs. Macintosh and Clements, but in consequence of the death of the leading partner, the works were disposed of to Mr. C. J. C. Bailey, the present proprietor, in 1864. This gentleman has made considerable alterations, and fitted up a quantity of machinery with a view of facilitating the manufacture and extending the business. A circular pocket flask, of brown glazed stoneware, with flattened sides, made about 18 10 by Mr. White, has in front a representation of a chronometer dial ; on the back is inscribed : ** y Dri7ikwater Coach & horses Nottijig Mill' and underneath is stamped Ficlham Pottery!' In the possession of Mr. J. Hawkins, of Grantham. " A relic of Alexander Selkirk, a flip can of stoneware, may be here noticed, as having been made for him at the Fulham factory. Howell, who wrote the introduction to the Life and Adventures of Alexander Selkirk, printed at Edinburgh in 666 POTTERY AND PORCELAIN — FULHAM. LAMBETH. 1829, discovered his grand-nephew in the person of John Selcrag, a teacher at Canon Mills near Edinburgh, he was in possession of two relics which had formerly belonged to Selkirk, a walking stick and his flip-can, which was of brown stoneware, holding a pint, it was inscribed : Alexander Selkirke, this is my one (own) When you take me on bord of ship Pray fill me full with punch or flipp. — Fulham. This stoneware jug was obtained from the Fulham pottery about the middle of 1 703, while waiting for the equipment and sailing of the Cinque Ports galley, to which he had been appointed sailing master, and doubtless accompanied him on his voyage to Juan Fernandez, and was highly venerated in the family ; it was kept locked up for fifty years by one of his nieces." From a correspondent to Willis s Current Notes. Fulham. There was a factory of stoneware, galley pots, mugs, pans, dishes, &c., carried on by James Ruel at Sandford House, Sand End, King's Road, Fulham. This factory and all the effects, together with the lease of twelve years unexpired, plant, and fixtures, were advertised for sale by auction, by order of the Sheriff of Middlesex, in May, 1798, but they w^ere sold by private contract previously. LAMBETH. Lambeth. In the History of Lambeth it is related that about 1650 some Dutch potters established themselves here, and by degrees the manufacture of earthenware became im- portant, for the village possessed no less than twenty manu- factories, in which were made the glazed pottery and tiles used in London and various parts of England. The ware made here was a sort of Delft, with landscapes and figures painted in blue. The Dutchmen referred to were probably John Ariens Van Hamme(and his potters), who obtained a patent in England on the 27th Oct., 1676; the preamble to which grant states, Whereas John Ariens Van Hamme hath humbly represented to us that he is, in pursuance of the POTTERY LAMBETH. 667 encouragement he hath received from our ambassador at the Hague, come over to settle in this, our Kingdom, with his own family, to exercise his art of making tiles and porcelane, and other earthenwares after the way practised in Holland ; which hath not been practised in this, our Kingdom." — Granted for and during the term of fourteen years. The trade continued flourishing for more than a century, until about the year 1 780 or 1 790, at which time the Staffordshire potters, by the great improvements they had made in the quality of their ware, and its cheapness, completely beat them out of the field. The white bottles or jugs for wine, upon which are written the names of liquids, were probably made at Lambeth, having much of the Delft character ; they bear dates from 1642 to 1659. Walpole had one at Strawberry Hill, which he bought of Mrs. Kennon, the virtuoso midwife, inscribed Sack, 1647 ; in the Norwich Museum there are four of them, inscribed Claret, 1648; Sack, 1650; Whit, 1648; and another, of larger size, with the Grocers' Arms, W at top, and E. M. E. on each side, dated 1649. These were found at Norwich; the last described belonged to Edward and Mary Woodyard, whose names appear on a token in the same museum — ob. a sugar-loaf and two doves, "Edward Woodyard of" — rev. Norwich Grocer 1656" — and the initials E. M. W. These delft bottles, with narrow necks and handles, with a very white glaze, were used to contain wines, which were then sold by apothecaries. The dates, usually in blue, upon those which we have noted, are as follow: 1646, sack or claret; 1647, sack or whit ; 1648, claret, whit, or sack; 1649, whit; 1650, sack; 1656, sack; 1659, sack. Mr. Emerson Norman has a Lambeth delft plate, with a portrait of Queen Katharine of Braganza, wife of Charles H, inscribed K 2 R 1682, painted in blue and yellow; and another, with portraits of William and Mary. There was at Strawberry Hill a very curious old English dish, with portraits of Charles H. and his Queen," probably of Lambeth delft ware. A mug of this ware is in the S. 668 POTTERY — LAMBETH. Kensington Museum, "Anne Chapman 1649." Another, in Mr. Franks' Collection, with the arms of the Bakers' Com- pany, dated 1657. And another, with the arms of the Leathersellers' Company, has the motto " Bee merry and wise 1660," in the Rev. T. Staniforth's possession. We also find octagonal plates, with short sentences or ciphers enclosed by grotesques, the dates upon them are from 1660 to 1690. The English potters about the end of the XVIIth Century appear also to have copied the forms of the Palissy ware. A favourite pattern, of which we have seen several reproductions, rudely moulded from the French, probably at Lambeth, is a large oval dish, having in the centre, in relief, a nude female reclining on a couch, holding an infant on her breast, and four other naked children gambolling in the background, emble- matical of Fecundity or Charity ; the border is ornamented with eight round and oval cavities, separated by masks and baskets of fruit alternately. One of these in the Geological Museum has the initials H. T. T., 1697. One in the British Museum. Another, painted in blue, in Mr. C. W. Reynolds' Collection, has W. W. S., 1703. They also made, at Lambeth, apothecaries' slabs, which were used for mixing conserves, pills, &c., and hung up in the shops ; they were in form of a heart, or an escutcheon, gene- rally painted with the arms of the Apothecaries' Company, and the motto Opifer que per orbem dicor." Dr. Diamond has one painted in blue camaieu. He remembers hearing an assistant lament that he had been the cause of a great dis- comfiture to his master, for he had broken his heart; in allusion to a similar tablet, which he had accidentally let fall. There are two other of these apothecaries' tablets, with the arms of the Company, in the Geological Museum, one is shield-shaped, the other octagonal. There was a manufactory of china ware carried on by Mr. Crispe, of which we know little, except from the circum- stance of the celebrated sculptor, John Bacon, having modelled groups of figures for him. John Bacon, subsequently R.A., was born in South wark, Nov. 20, 1740, and was apprenticed POTTERY — LAMBETH. 669 in 1755 to Mr. Crispe, of Bow Church Yard, who had a manufactory of china at Lambeth. He was a self-taught artist, and among other things, he was employed in painting on por- celain and in modelling shepherds, shepherdesses, and such small ornaments ; and when two years had elapsed he made all the models required for Crispe's manufactory. Other modellers sent their pieces to this pottery to be fired in the kiln ; and Bacon, from emulation, acquired the strong inclination for his future profession. In 1762 his apprentice- ship expired, and it is believed he worked for the Bow manu- factory, or rather executed models for those Works, for some time after. It is said he went also for a short time to Coade's manufactory, at Lambeth, and designed some important models to be reproduced in artificial stone. In 1763 he commenced cutting in stone, and gained several premiums at the Society of Arts. In 1768 he obtained the first gold medal that was given for sculpture, from the Royal Academy. Lambeth. Coade's Artificial Stone Works were established about 1760, at King's Arms Stairs, Narrow Wall, Lambeth. The preparation was cast in moulds and burnt, and was intended to answer every purpose of carved stone. It ex- tended to every species of architectural ornament, and was much below the price of stone. John Bacon, the sculptor, designed models for monuments and tablets as early as i 762. Nichols {Parish of Lambctii) says it was carried on in 1769 by Mrs. Coade. " Here are many statues which are allowed to be masterpieces of art, from the models of that celebrated artist John Bacon." Nichols engraves one of the Trade Cards, on which are allegorical figures, and in the centre is written, ''Coade's Lithodipyra or Artificial Stone Manufactory." In 181 1 the manufactory of artificial stone belonged to Messrs. Coade and Sealey. Richard Waters, of Fore Street, Lambeth, took out a patent in June, 181 1, for a new method of manufacturing pottery. First, in the fabrication of various articles of considerable magnitude, instead of throwing or moulding them on a re- 670 POTTERY LAMBETH. volving table. The clay Is made into sheets and then applied upon moulds and finished by beating or pressure, or by turn- ing while in a revolving state. Second, forming delft ware pots and other articles by compression of the clay between suitable moulds. Third, marking or clouding the Welsh ware," by using a number of pipes instead of one in distributing the colour. Fotirth, fifth, and sixth, provides for making large figures, statues, cisterns, &c., by the same process. Lambeth. The Imperial Pottery," Prince's Street, carried on by Mr. Stephen Green & Co., is an old-established concern, and doing an extensive business in the manufacture of glazed stoneware pipes and utensils for chemical purposes, and vessels of large and small size, from ink bottles to jars made to contain upwards of 400 gallons. Lambeth. The Lambeth Pottery," in High Street, is a very old-established manufactory of stoneware, and one of the most extensive in England. The firm of Messrs. Doulton and Watts is known all over the world. Mr. James Watts died in 1858, having for upwards of 41 years been connected with the firm. The first Mr. Doulton served his time with White of Fulham. Lambeth High Street. The London Pottery, belonging to James Stiff, is an old-established business. The manu- facture of stoneware drain-pipes, &c., is now carried on. It was for many years conducted by Mr. Waters, and was originally, we believe, a delft-ware pottery, established about 1 75 1. It stands on the site of Hereford House. Another pottery was established by Mr. Northen, who was an apprentice at Mr. White's, at the Fulham Pottery. It is devoted principally to drain-pipes, &c. The Southern Embankment from Westminster Bridge to Vauxhall has driven away many potters, who, for the con- venience of transit, had established manufactories by the river side. POTTERY SOUTHWARK. VAUXHALL. 671 SouTHWARK. Gravel Lane. Nathaniel Oade was a potter here in 1 7 1 8. This is made known to us by a paragraph in the Post Boy of March i, 1718, whence it appears he had four sons ; and because the father would not turn over his house and trade to them, and be contented with what property- he had, they swore they would have it in spite of him. They consequently arrested him in a sham action in the Marshalsea Court for ^500, when the four sons and the attorney turned the mother and servants out of the house and barricaded the doors, having conveyed into it arms and provisions. In their rage they shot a woman who was passing by, also their own mother and a servant, who would not give up possession of the books of account. The constables and the military arriving, they at length capitulated. They were subsequently tried. The youngest son, and a carpenter, were found guilty of murder, and hanged, the others of manslaughter only. A communication was made to the Royal Society, June 21, 1750, by William Jackson, a potter, that the roof of a pot house at Lambeth, belonging to Mr. Oade, in Gravel Lane, was thrown down by the earthquake, March, 1 749-50. VAUXHALL. In Houghton s Collections, March 13th, 1695-6, we read : Of tea pots in 1694 there came but ten, and those from Holland. To our credit be it spoken, we have, about Faux Hall, as I have been informed, made a great many, and I can- not gainsay but they are as good as any came from abroad." Thoresby, in his Diary, on May 24th, 17 14, with his friend Boulter, " went by water to Fox-hall and the Spring-garden. After dinner there we viewed the pottery and various apart- ments there. Was most pleased with that, where they were painting divers colours, which yet appear more beautiful and of different colours when baked." The Vauxhall Pottery abutted on the Thames, close to Vauxhall Bridge, and in the High Street, Vauxhall ; and the 672 POTTERY SOUTHWARK. Delft Manufactory, in Prince s Street, Lambeth, was included in it. It is probably the same spoken of in the preceding paragraph, but we do not know the names of the previous proprietors. Mr. Wagstaffe had the Vauxhall Pottery towards the end of the last century; he died about 1803 oi" 1804. The business and premises were left by Mr. Wagstaffe to his nephew, Mr.. Wisker, who carried it on until his death in 1835. In 1833 John Wisker patented certain improvements in machinery or apparatus for grinding covers or stoppers for jars, bottles, and other vessels made of china, stone, or other earthenware." Mr. Alfred Singer, who has kindly responded to our en- quiries relating to the Vauxhall Pottery, says : I have always understood that it was in existence in the time of Charles II, but when it was first established I have no idea." He con- - tinues : The Vauxhall Pottery was purchased for me in 1835, of the executors of Mr. Wisker. The business was carried on by me for thirty years from 1835 to 1865. The premises are now pulled down and built over." In April, 1839, Alfred Singer, in conjunction with Henry Pether, patented " certain improvements in the preparation and combination of earthenware or porcelain, for the purpose of mosaic or tesselated work." These are, first, " the mode of producing the pieces for the formation of mosaic work by cutting clay or other plastic material into rectilinear figures, by means of intersecting wires stretched in a frame." Second, the forming of ornamental slabs of mosaic work by cementing together small pieces of porcelain or earthenware of various figures and colours, on slabs of slate, stone, or other suitable material." This important revival of geometrical mosaic by Mr. Singer, aided by his ingenious assistant, Mr. Pether (although tesse- lated pavements of similar character had been in general use from the time of the ancients), literally paved the way for a beautiful and durable material for the floors of public and private buildings, and Mr. Herbert Minton was not slow in availing himself of Mr. Singer s patent, from whom he took POTTERY — SOUTH WARK. MORTLAKE. 673 out a licence for laying small tiles and tesserae of coloured clay, which he brought to great perfection.* Mr. Wisker says : For many many years, the only ware made at the Vauxhall Pottery was delft ware. At what date the salt glazed stoneware was introduced, I do not know, and have often tried to ascertain, but I know the delft ware busi- ness was removed to Mortlake long before Mr. Wisker's time, and stoneware only, has been produced at the Vauxhall Pottery for nearly a hundred years." In 1820 the Delft business was removed from Mordake to Prince's Street, Lambeth, opposite the Pottery, and carried on there by Mr. Wisker, and Mr. Singer after him, until 1846, when the premises were sold to the South Western Railway Company, and the manufacture, which had latterly diminished, was finally abandoned. This was the last and only delft ware pottery in England. The goods latterly produced were con- fined to pomatum pots, Dutch tiles, wine and butter coolers, &c., but formerly a great variety of domestic ware was made there. MORTLAKE. The first mention we have found of this pottery is, that ''on Friday, June 8, 1764, Mr. Jackson, potter, at Mortlake, was found hanging in a hay-loft belonging to Mr. Langton. No reason can be assigned for his committing this rash action, as he was in very good circumstances." * This patent, it must be remembered, is quite distinct from another (also a revival), taken out in Jan., 1830, by Mr. Samuel Wright, of Shclton, for making encaustic tiles or ornamental tiles, bricks and quarries for floors, pavements, and other purposes, and deco- rating them in various colours and patterns by impressing the patterns on the clay and filling up the cavities with clay or slip, coloured with metallic oxides. It was subsequently pur- chased by Mr. Minton. A third patent was taken out in June, 1840, by Mr. Richard Prosser, for solidifying china clay in a dry powder by subjecting it to great pressure in iron moulds, thus avoiding the shrinkage in the kiln by evaporation of the moisture and producing a substance of extraordi- nary density and evenness of texture throughout its body. These three important patents of Mr. Singer, Mr. Wright, and Mr. Prosser were the groundwork of Mr. Minton's future excellence and perfection in the manufacture of coloured tesscrK and encaustic tiles, which were laid out in exquisite patterns from designs of Mr. Owen Jones, Mr. (now Sir) M. Digby Wyatt, and other celebrated artists. X X 674 POTTERY AND PORCELAIN MORTLAKE. ISLEWORTH. We do not know the date of the estabHshment of the delft pottery at Mortlake, but it was in existence early in the XVIIIth Century. The works were taken by Mr. Wagstaffe towards the end of the last century, but who was his prede- cessor we have no information. At his death they were left by will to his nephew, Mr. Wisker, together with the Vauxhall Pottery. Boft delft and stoneware (but principally the former) were made at Mortlake. The business and all the materials, as well as all the hands employed, were removed to London by Mr. Wisker about 1820 or 182 1, and continued on his premises in Prince's Street, Lambeth, until 1846. Lysons (edit. 181 1) says: "The manufactory of delft is now carried on by Wagstaff and Co. There is a small manu- factory of white stoneware belonging to Mr. Joseph Kishire.'' A very large delft punch bowl, of Mortlake enamelled earthen- ware, made about the middle of the XVIIIth Century, white ground, painted in blue with scrolls, medallions, masks, flowers, and birds, 2 1 in. diameter ; and a framed panel of twelve tiles of Mortlake delft, of the same date, artistically painted in dark blue, with a rocky landscape, ruins, and figures, on white ground, 20 in. by 15 in., were removed from Mortlake in 1820, and were subsequently presented to the S. Kensington Museum by Mr. Alfred Singer. These are both painted by hand in a masterly manner. IsLEWORTH. Established 1 760. Porcelain discontinued about 1800. " Welsh ware" in 1825. Established by Joseph Shore, from Worcester. The factory was situated WXjOIXLDING^^ Railshead Creek, close to the ferry tfj at Isleworth. It was on a small scale, June iiO.JWO. employing from fifteen to twenty hands, c^j^ and two kilns, one used for " biscuit," the other for "glazing." The principal painter was Richard Goulding, who married Joseph Shore's daughter, assisted by his son William, one or both of whom had probably been decorators at Worcester, and the factory came, by will, to the Gouldings, who carried it on after Shore's POTTERY AND PORCELAIN ISLEWORTH. death. The superintendent of the works was Benjamin Ouarman, who died in 1787; the manufacture of porcelain was, however, continued. Lysons, in his Environs of London (vol. iii, p. 122), published in 1795, says : There is a china manufactory at Isleworth, belonging to Messrs. Shore and Co." The stock of china remained in the factory unsold for more than thirty years, and was dispersed by auction at Isleworth about the year 1830, and it is probable much of the ware is still preserved in the china closets of the residents in the neighbourhood. The late Mr. Thompson, great grandson of Joseph Shore, possessed several specimens, among which was a basin, painted with blue flowers, in Oriental style, marked underneath the foot as in the margin, of exactly the same fabric, and similar in decoration to the porcelain of Worcester, bearing the early mark of a crescent ; others are painted in colours, white china figures, &c. They also decorated Oriental porcelain. The manufacture of pottery was carried on simultaneously, and continued to be made until about 1825. It was called Welsh ware, a strong and close earthenware, streaked with yellow and brown glaze in a zig-zag pattern, as jugs, dishes, shallow pans, &c. The manufactory was removed to Hounslow, but the distance from the metropolis, and other causes, rendered it unprofitable, and it was given up in about two years after. A porcelain cup and saucer, in Mr. Tulk's possession, is painted with blue flowers and embossed leaves. A butter boat belonging to the author, is of good glaze, embossed with daisies and leaves, and painted in blue, like Worcester, pre- sented to him by Mr. Tulk, to whom he is indebted for calling his attention to the Isleworth Porcelain Manufactory. X X 2 676 PORCELAIN — BOW. THE BOW CHINA FACTORY, CALLED NEW CANTON. Recent discoveries have brought to Hght many important particulars relative to the Bow porcelain manufactory, both as to its history and the description of ware made there. It was situated in the parish of Stratford-le-Bow, commonly called Bow, in the County of Middlesex, and is supposed to have been established about 1 730. Our first notice of it, however, does not commence until the year 1 744. At that time a man brought over from America samples of earth suitable for making china like the Oriental. William Cookworthy, of Plymouth, writing to a friend in 1745 thus mentions the circumstance, he says : " I had lately with me the person who has discovered the China earth. He had with him several samples of the china ware, which I think were equal to the Asiatic. It was found on the back of Virginia, where he was in quest of mines ; and having read Du Halde, he discovered both the Petunze and kaolin. It is this latter earth which he says is essential to the success of the manufacture. He is gone for a cargo of it, having bought from the Indians the whole country where it rises. They can import it for £^12, per ton,; and by that means afford their china as cheap as common stoneware ; but they intejid only to go about 30 per ce?tt. under the Company.'^ The Company here mentioned, which the American intended to undersell, was evidently the Bow Porcelain Compa^iy, the only one at that time known to be in existence in England. Although Cookworthy was evidently much interested in the discovery, he did not at that time pursue the subject further, at least in a practical manner. It seems very probable that this American having applied to the proprietors of the Bow china factory through Mr. Thomas Frye, he made terms with them to purchase a supply of this new earth, and Frye was solicited to take the management* This would also account for many of the early specimens of Bow china being of hard * Thomas Frye was born in or near Dublin, in the year 1710. He was of obscure parents, and came to London in 1 738, when he painted a portrait of Frederick Prince of Wales for vSadlers' Hall. After he had continued his profession for some years, a scheme was set on foot PORCELAIN BOW. 677 paste, a fact which has frequently been observed by collectors. The patent for making porcelain from this new material was taken out in December, 1 744, and runs thus : " Edward Heylin, in the parish of Bow, in the county of Middlesex, Merchant, and Thomas Frye, of the parish of West Ham, in the county of Essex, painter, took out a patent on the 6th of December, 1744, for " a new method of manu- facturing a certain mineral, whereby a ware might be made of the same nature or kind, and equal to, if not exceeding in goodness and beauty, china, or porcelain ware imported from abroad. The material is an earthy the produce of the Cherokee ftation in Ai?ierica, called by the natives unaker." A glass is formed in the usual way with one part of either " pott-ash, fern ash, pearl ash, kelp, or any other vegetable lixiviall salt," and " one part of sand, flints, pebbles, or any other stones of the vitrifying kind," and reduced to an impalpable powder and mixed in different proportions, according to the nature of the ware to be made, with unaker, from which sand and mica have been removed by washing. They are then kneaded together, thrown or moulded, and put into a " kiln burned with wood," called biscuiting," then painted and glazed with unaker^ and the glass above described, " they are not to be taken out of the kiln till it is thorough cold." The second patent was taken out by Frye alone. On Nov. 17, 1749, "Thomas Frye, of the parish of West Ham in the Co. of Essex, painter, for a new method of making a certain ware, which is not-inferior in beauty and fineness, and is rather superior in strength, than the earthenware that is brought from the East Indies, and is commonly known by the name of China, Japan, or porcelain ware." Animals, vegetables, and fossils, by calcining, grinding and washing, are said to produce an insoluble matter, named virgin earthy but some in greater quantities than others, as all animal substances, all fossils of the calcareous kind, as chalk, limestone, &:c., take therefore any of these classes, calcine it, grind and wash it in many waters ; these ashes are mixed in certain proportions with flint, " white pebble or clear sand, and with water, made into balls, highly burned and ground fine, and mixed with a proportion of pipe clay ; it is then thrown on the wheel, and, when finished, dried, burned, and painted with " smalt or saff'er," when it is ready to be glazed with a glaze, made first by making a glass with salt petre, red lead, and " sand, flint, or other white stones," grinding it up well, and mixing it with a certain proportion of white lead, adding a little smalt to clear the colour. After to introduce a new method of making china at Bow of which he was solicited to take the management. This he did with alacrity, and to bring it to perfection spent fifteen years of his life among furnaces, which had so ill an effect upon his health that he nearly destroyed his constitution. In 1759 he left Bow, and went into Wales for change of air, and having recniited his health, he returned to London in April, 1760, and took a house in Hatton Garden, where he resumed his profession as an artist, and executed some important mezzotint engravings. He died of consumption, April 2nd, 1762, in his 52nd year. He had two daughters who assisted him in painting the china at Bow. 678 PORCELAIN — BOW. dipping and drying, the articles are put in cases and " burned with wood till the surface is clear and shining." In 1750 the concern was evidently of considerable impor- tance, and had doubtless been gradually increasing its business for some years previously ; until the works were taken by Messrs. Weatherby and Crowther, at the period referred to in the following documents. From 1753 to 1763, we find in Kent's Directory their names occurring every year as potters, at St. Katherine's, near the Tower. This was the warehouse for china intended for the London market, but a retail shop was subsequently opened in Cornhill. In Aris's Birmingha7n Gazette for Nov. 1753, appears the following advertisement : — " This is to give notice to all painters in the blue and white potting way and enamellers on china-ware, that by applying at the counting-house at the china- house near Bow, they may meet with employment and proper encouragement according to their merit ; likewise painters brought up in the snuff-box way, japanning, fan-painting, &c., may have an opportunity of trial wherein if they succeed, they shall have due encouragement. N.B. — At the same house a person is wanted who can model small figures in clay neatly." We quote the following passage from a work entitled Handmaid to the Arts, (2nd edit, 1764, vol. ii., p. 354), written, it is supposed, by Robert Dossie, to show that other methods were adopted, viz., a sort of compost of ground Oriental china mixed with a vitreous flux. The writer, although unwilling to mention the names of the manufactories, evidently means Bow and Chelsea ; he says : " There have been several similar compositions used for the imitation of China-ware in the works set on foot in different parts of Europe, and among the rest I have seen at one of those carried on near London eleven mills at work grinding pieces of the Eastern china, in order, by the addition of some fluxing or vitreous substance which might restore the tenacity, to work it over again in the place of new matter. The ware commonly produced at this manufactory had the characters correspondent to such a mixture, for it was grey, full of flaws and bubbles, and from want of due tenacity in the paste wrought in a very heavy clumsy manner, especially with regard to those parts that are to support the pieces in drying. A very opposite kind is produced in another manufactory in the neighbourhood of London, for it has great whiteness, and a texture that admits of its being modelled or cast in a most delicate manner : but it is formed of a composition so vitrescent as to have almost the PORCELAIN BOW. 679 texture of glass, and consequently to break or crack if boiling water be suddenly poured upon it, which quality renders it unfit for any uses but the making ornamental pieces. A later manufactory at Worcester has produced, even at very cheap prices, pieces that not only work very light, but which have great tenacity, and bear hot water without more hazard than the true china ware." Nollekens the sculptor in effecting a purchase of the model of a boy by Fiammingo from Betew, a dealer in articles of vertu, then residing in Old Compton Street, though the price was only fifteen shillings, was desirous of making an exchange, when the following conversation ensued {Nollekens and his Times) : " Nollekens. Do you still buy broken silver ? I have some old sleeve but- tons, and Mrs. Nollekins wants to get rid of a chased watch case by old Moser, one that he made when he used to model for the Bow manufactory. " Betetv. Ay. I know there were many very clever things produced there ; what curious heads for canes they made at that manufactory ; I think Crowther was the proprietor's name. He has a very beautiful daughter, who is married to Sir James Lake.* Nat Hone painted a portrait of her, in the character of Diana, and it was one of his best pictures. There were some clever men who modelled for the Bow concern, and they produced several spirited figures — Quin in Falstaff ; Garrick in Richard ; Frederick Duke of Cumberland, striding triumphantly over the Pretender, who is begging quarter of him ; John Wilkes, and so forth. " Nollekens. Mr. Moser, who was keeper of our Academy, modelled several things for them ; he was a chaser originally." This must have been about 1770, for the Royal Academy was not instituted until 1 768, and it is said that Bacon, then a lad of 14, a pupil of Crisp, a modeller of porcelain, executed several groups and painted subjects for the Bow manufactory. Bacon was born in 1740, and apprenticed to a painter of porcelain at Lambeth, but observing the models of different sculptors sent to a neighbouring potter's to be burnt, he con- ceived a strong inclination to pursue the art of sculpture, and his progress was very rapid. There is a very curious document accompanying a Bow china punch-bowl in the British Museum, which we give, as having been hitherto, almost solely, the only authentic account of the Bow Works ; it serves to corroborate many allusions and ♦ Sir James Lake, of the Firs, Edmonton, married Joyce, the daughter of John Crow ther, Esq., on the 14th June, 1 764. He died in April, 1807. She died at Boulogne in 1834, in her eighty-eighth year. 68o PORCELAIN BOW. Statements that occur in the documents to which we shall presently refer : This bowl was made at the Bow China Manufactory at Stratford-le-Bow, Essex, about the year 1760, and painted there by me, Thomas Craft— my cipher is in the bottom ; it is painted in what we used to call the old Japan taste, a taste at that time much esteemed by the then Duke of Argyle ; there is nearly two pennyweight of gold, about 1 5 shilHngs ; I had it in hand, at different times, about three months; about two weeks' time was bestowed upon it ; it could not have been manufactured, &c., for less than ^^4. There is not its similitude. I took it in a box to Kentish Town, and had it burned there in Mr. Gyles's kiln, cost me y. ; it was cracked the first time of using it. Miss Nancy Sha (sic), a daughter of the late Sir Patrick Blake, was christened with it. I never used it but in particular respect to my company, and I desire my legatee (as mentioned in my will) may do the same. Perhaps it may be thought I have said too much about this trifling toy ; a reflection steals in upon my mind, that this said bowl may meet with the same fate that the manufactory where it was made has done, and like the famous cities of Troy, Carthage, &c., and similar to Shakspear's Cloud Cap't Towers, &c. " The above manufactory was carried on many years under the firm of Messrs. Crowther and Weatherby, whose names were known almost over the world ; they employed 300 persons ; about 90 painters (of whom I was one), and about 200 turners, throwers, &c., were employed under one roof. The model of the building was taken from that at Canton in China ; the whole was heated by two stoves on the outside of the building, and conveyed through flews or pipes and warmed the whole, sometimes to an intense heat, unbarable in winter. It now wears a miserable aspect, being a manufactory for turpentine and small tenements, and like Shakespeare's baseless fabric, &c. Mr. Weatherby has been dead many years, Mr. Crowther is in Modern College, Blackheath, and I am the only person of all those employed there who annually visit him. "T. Craft, 1790." The bowl measures 8| in. diameter. Lady Charlotte Schreiber, whose enthusiastic and unceasing attention has been for some years devoted to the task of elucidating our English ceramic history, especially the porce- lain manufactories of Bow, Chelsea, Plymouth, and Bristol, and whose interesting collection of specimens, or rather a selection from it, is now to be seen, at the S. Kensington Museum, has recently acquired several books formerly in use at the Bow works, including books of designs, memorandum- books, diaries, and some account-books relative to the business ; these she has kindly placed at our disposal, for the purpose of PORCELAIN — BOW. 68l eliciting informationas to the early history of this manufactory. These documents are from the library of Mr. Bowcocke, of Chester, whose brother, John, was one of the managers of the works at Bow, and to whom all these books originally belonged. The first contains the accounts from Jan. 1750 — i. O.S., in which year the partnership of Messrs. Crowther and Weatherby commenced up to Dec. 175 5. From these it appears that a branch establishment was opened in London in 1753, which, no doubt, was that of St. Catherine's, near the Tower, although the place is not mentioned. An account is given in separate columns of the value of the bisket and glazed-ware taken into the warehouse at Bow, and sold out of the warehouses at London and Bow, in each year. A statement for the year 1 754 is here given to show the extent of the business transacted. A Weekly Account of Trade, &c., at London and Bow. 1754- Jan. 5. Goods Credited with Discount. Credit without Discount. Retail Cash, London. Cosh, per Journal. Cash Reed, at Bow, Goods Returned. 5 5 I I 0 20 4 3 1 1 6 28 17 9 15 0 IZ 174 6 I ^5 5 6 29 4 8 138 9 3 16 14 4 13 0 19 192 13 6 24 16 10 50 16 0 153 18 9 28 '5 15 5 0 26 14 4 I 0 0 59 6 2 94 13 0 20 8 9 16 16 3 February 2 50 16 1 1 15 »9 3 26 2 6 86 15 0 30 9 I 6 6 9 69 8 7 9 7 42 3 9 40 5 4 21 6 62 » 5 16 51 16 8 3 7 6 3i 17 5 71 18 5 24 H \\ 7 16 6 23 48 9 II 71 I 8 38 12 8 58 17 7 22 10 2 19 3 March 2 67 3 »3 9 6 56 4 3 83 2 5 26 3 10 »7 14 6 9 89 12 7i 8 9 4 44 1 1 9 145 H 2 35 5 »i 16 136 17 oi 9 5 6 27 II 5 70 12 6 33 16 4 2 0 6 23 41 7 5 13 6 ■ 0 36 8 10 55 9 6 7 0 I 9 0 104 1 1 0 H 10 6 41 18 3 90 16 2 21 9 9 1^77 TO 9 21 1 7 2 506 I II I ipi 13 7 325 0 0 141 16 II Annual Account or the Porcelain Company's Trade for the Year 1754. Sold with Discount. Sold without Discount. Cash received, London. Cash received, Bow. Debts come in. 1st Quarter ... 2nd Quarter ... 3rd Quarter ... 4th Quarter ... Total... Disct. io°/o_ 1277 10 9 2222 11 8 2647 18 I 1982 3 8 211 72 200 0 ■ 3 385 2 2 189 0 0 506 I 1 1 569 3 11 381 18 11 353 5 8 325 0 0 299 10 4 1 50 4 0 77 8 11 1101 13 7 1434 10 I 2184 6 II 2429 10 9 8130 4 2 813 00 7317 4 2 985 9 7 j 181O 10 5 85^ 3 3 7150 1 4 852 3 3 1810 10 5 985 9 7 7317 4 2 18,115 8 9 Cash received Bow ,, London... Sold without Discount... Sold with Discount Total 682 PORCELAIN — BOW. The following extract will show the actual cash receipts at Bow and London, 1751 to 1755, exclusive of the book debts received during the year, which, as will be seen in the preceding account for 1 754, amounted to upwards of ^7000. This statement gives us an idea of the steady increase of the business, which had nearly doubled itself in five years. O.S. 1750— I ••^£■6,573 o 8 N.S. 1752 7,747 4 8 „ 1753 10,114 II 6 1754 10,965 6 3 1755 11,229 15 2 The next entry gives us the weekly account of biscuit china made at Bow in 1 754, and is interesting, as it distinctly informs us that the name of the Bow factory was JVew Canton; " the model of the building being taken from that at Canton in China as distinctly stated by Thomas Craft ; it also enables us to appropriate with certainty the china inkstand now preserved in the Worcester Porcelain Company's Museum, painted with the favourite and well-known Bow pat- tern of the daisy ; it is inscribed on the upper surface, Made at New Canton, 1 7 50," correspond- ing with the first year of Messrs. Weatherby and Crowther s partnership. New Canton or Bow Inkstand. A Weekly Account of Bisket Ware made at New Canton. 1754- Jan. 5 No Kilns 12 Do 19 Do 29 Feb. 2 Do 9 Do 16 ^3 2 Kilns Mar. 2 2 Do 9 2 16 2 as 2 Do 30 2 £ s. d. 126 134 147 129 132 8 II 9 10 ig 6 o 6 [4 10 799 7 9 1754- April 6 13 20 27 May 4 1 1 18 25 June I 8 15 22 29 Kilns Do.... Do.... Do.... Do.... Do.... Do.... Do.... Do.... Do.... Do.... Do.... Do.... £ . 109 . 140 . 128 . 115 . 121 • "5 . 128 . 184 . 177 . 177 . 181 . 177 . 169 1927 799 Amount one week with another for 19 weeks los. od. each week .;^2726 10 4 PORCELAIN BOW. 683 There is a cash-account book for 1757 and 1758, of receipts and payments of a London branch of the Bow factory, either at St. Catherine's or in Cornhill ; it is balanced weekly. The monies received are principally from customers, whose names are given, and ready money taken daily, cash received from St. James Street, &c., averaging about ^120 per week. The bulk of the money was paid to Mr. Crowther every week, occasionally to Mr. Weatherby. Mr. Frye frequently received sums varying from ^15 to ;^30, possibly for expenses at Bow ; Mr. Heylin's name occurs once or twice only for small sums. Other payments are for powder gold and for grain gold for Bow ; freight of clay ; weekly wages — to Mr. Brown, iSs. ; Mr. Sandys, 12s. ; Hugh Williams, 12s.; Stephenson, 12s.; Burnett, loi". — which average about 60s. per week. The book we now refer to, contains memoranda made by John Bowcocke, in 1756: he was one of the managers, or perhaps traveller, for the Bow Works. In it we find orders from customers, and many interesting notes relating to the business. We shall have occasion to quote largely from this manuscript, as the items throw considerable light upon the various descriptions of ware made there, among which, many will be identified by the curious reader. 1756. Insure ;j^45o. on board the Antilope : John CowHng. Mr. Crowther paid Thos. Osborne for an anchor for the ship Autilope £12. \s. 2 doz. crimson buttons for Mr. Frye. " Jan. 29. Mr. Fogg :* a sprig'd sallad vessel, 12^.; i pair sprig'd boats, 6^-. ; 16 cooks, 2s. each, abated; a swan ; two harlequins (returned), js. March. Mr. Fahy : 9 gentlemen and ladies, at 9^., ^4. is. Mr. White : I small fluter, white ; 3 pair boys and girls ; 1 pair small fidler and companion ; I pair tamberines ; i cook. Mr. Fogg : 2 doz. odd cups and 2 doz. imag'd small ; 2 pair image ewers ; 6 swans ; 6 white boars ; 6 sprig'd handled cups and 6 cans ; i pair sauce boats, Mr. Vere's pattern, ^s. ; i pair large ribbed boats, 4J-. ; i large dragon milk pot ; 1 2 dragon breakfast cups and saucers with good deep colour ; i sprig'd upright tea-pot, 3^-. ; i sprig'd cream ewer ; 24 octagon nappy plates, partridge pattern ; i vine-leaf milk-pot. ♦ Mr. Fogg was a dealer in china, living in Swallow Street, nearer to Oxford .Street than Vigo Lane. His son, after Regent Street was built, had a shop in it. Robert Fogg, in Bond Street, china man, died at Reading in Febioiary, 1806, in his 90th year. 684 PORCELAIN — BOW. March 27. Mrs. Ann Howard, the Lamb, in Broad Mead, Bristol. 10 round dishes ; 2 of each size from the smallest to the largest, both included ; i largest octagon dish; i next less size dish; 36 table plates ; 12 soup plates; 2 pair rib'd boats ; 3 pair flatt salts, without feet ; they must all be the bordered image, blue and pale, as you please. She has it greatly in her power to serve the factory. I hope they will be very neat and charged reasonable ; I have not told her any price. Add i soup dish, 13, or not above 14, inches over ; 1 2 table plates. Imaged pale blue. " Quy. What's to be done with white bud sprigs ; what quy. of Cupids and B is wanted white ; what floras, &c. " March 30. Lent Mr. Frye, cash ^8. "April 22. Colol. Griffin, Brook Street: 4 small upright pint mugs to be painted to the very fine landskip pattern, as soon as possible. " April 22. 4 doz. blue plates, Newark pattern ; 8 doz. mosaic do. "April 28. Lord Southwell : Mr. Heylin has promised him to make an oval tureen, the image pattern, and to be done in 6 weeks without fail. Think of the Chinese head for Mr. Weatherby. " May 4. Mr. Vanderkist : an enamelled partridge coffee-pot, 9s. Mr. White : i imag'd cup and 7 sprig'd chocolates. What is meant by 36 white men with salt-boxes ? Mr. Hunter desires to have some mustard ladles as the cream ladles, only small boles and long handles ; 6 enamelled roses ; 2 pr. green leaf candlesticks ; 4 white leaf candlesticks. Mr. Kentish : mandrill coflee-pot. Mrs. Fogg : 2 swans, wings open. Mr. Whitfield to have i pr. white branch candlesticks Mr. Williams i pr. sporters ; i enamelled pero, 6s. ; I shepherd, imperial, 7s. ; i shepherdess, 9s. " May 7. Quy. Whether any Windsor bricks were received at the glass house, which is charged to the porcelain compy. Paid Mr. Heylin, Minshull's draft, ;£io. ICS. J. B. Paid Sir Joseph Hankey for Messrs. Weatherby and Crowther, ;^348. i8s, Mr. Fahy : i pr. of the new shepherd and compn. ; I pr. Dutch dancers, 9s. ; i gentleman and lady, i8s. ; i cook, 7s. ; i boy and girl, i2s. ; I Paris cries, 6s. ; i woman with chicken, 7s. Whether any Ifucks is wanted ? There was 5 pair sent down, and only one pair came back. Send down what does there is in town, and send down the Bow books. " May 28. Patterns received from Lady Cavendish : a Japan octagon cup and saucer, lady pattern ; a rib'd and scollop'd cup and saucer, image pattern ; a basket bordered dysart plate ; a Japan bread and butter plate. Mr. Wil- liams : 12 setts blue teas, at 2s. lod.; a sett compleat of the second printed teas. " May 15. Reed, a pair of birds on pedestals, to be painted for Mr. Legg, corner of Birchin Lane. Lady Stairs : a compleat sett Dresden sprig,, the canister top ; parteridge octogon plates. Mrs. Whitfield to have i p. white biscuit candlesticks "May 20. Duchess of Leeds: 2 square enamd. and sprig'd desst. 15s ; I blue dolphin pickle stand, 5s. ; i white basin and cover, 3s. ; the Duke of PORCELAIN BOW. 685 Argyle's acct, ;^20. 5s. The Duchess of Portland's acct. to be made out, and wait on the steward, Mr. Guidon, in Privy Gardens, Whitehall, and will be paid when her ladyship returns. "June 18. Mr. Fogg: i pint printed mug, 5s.; i half-pint do., 3s. 6d. ; I fine plate, 4s. ; i partridge handd. cup and saucer, 3s. 6d. Allowed Mr. Fogg. In a Pero's broken hat, is. (Pierrot); in 2 Turks, 3s.; octogon dysart par- tridge plate, 3s. 6d. Mr. Fogg to know the price of the best cock plates ; 4 pair rib'd boats, at 4s. good; 2 pr. small imaged boats and plates ; 6 squirrels ; butter tubs ; 2 small dragon milk-pots ; 2 do., a little larger ; 1 dragon sugar dish. Mr. Morgan lent me a leaf for the roses ; 4 vauses ; i pair Minervas of each size. 2 double dozn. of lase and 2 double doz. dysart rose pattern knife handles ; to be mounted and sent in Baxter's parcel. " July 24. Mr. Fogg to have i pair of coloured squirrels. The knife- handles : how many sold of Dresden flowers? and to have a double dozn. mounted. Has Mrs. Bernardeau had what she ordered of the wheatsheaf? To buy a partridge either alive or dead. To bring down the Chelsea cabbage leaves and bason. Reed, and gave Mr. Beswick receipt for ;£^io7. 12s. in full to Sept. 1755, for Weatherby and Crowther. J. B. Mr. Coleman : har- liquin, columbine, and Pero (Pierrot), i small sprig'd round tea-pot. Goats, swans, and every other sorts of toys to be sent in Baxter's order, flatt drawers to be made on purpose, and each kept separate. A plate of the Princess Wales' pattern, good. " Aug. 30. Paid Mr. Heylin's draft on Mr. Crowther for ;£^i3., and charged Mr. Crowther's cash acct. with it : quy. how is Mr. Heylin made Dr. and J. C. Creditor? " Nov. 29. J. Bowcocke borrowed of Mr. Crowther for Bow £,^^0. Mr. Fogg : caudle-cups, white sprig'd and saucers ; 3 pr. image cream ewers full blue ; 4 white leaf candlesticks, 2s. 3d. ; i set large sprig'd teas handled ; 2. pr. rib'd boats, at 4s. 6d.; i sprig'd tea pot, 4s., good. Patterns received from Lady Cavendish ; a Japan octogon cup and saucer, lady pattern ; a rib'd and scollop'd cup and saucer ; a basket bordered dysart plate ; a Japan bread and butter plate. To be returned in a month. May 28th, 1756." On analyzing these memoranda, although they are but imperfect and necessarily curt, being written only for the writer's guidance, we are made acquainted with many facts not before disclosed ; for example, it has never been suggested that printed china was produced at Bow, yet it is evident that china was decorated with transfer engravings as early as the year 1 756, as appears from the following entries : — " One pint printed mug ; " One half-pint ditto ; " A sett compleat of the second printed teas." 686 PORCELAIN — BOW. The patent which Messrs. Sadler and Green of Liverpool proposed taking out as inventors of the process is dated 1756, but they had brought the art to perfection several years before, and had kept it a profound secret. Transfer printing on enamel was in vogue at Battersea before 1755, and the pro- cess would be the same on china as enamel. Horace Walpole, writing to Richard Bentley in Sept. 1755, says, I send you a trifling snuff-box, only as a sample of the new manufacture at Battersea which is done with copper-plates." Mr. Binns, of Worcester, has a Battersea enamel watch-case with the tea party from the same plate as the impressions on china. The Liverpool Gtdde of 1796 says, ''copper-plate printing upon china and earthenware originated herein 1752, and remained some time a secret with the inventors, Messrs. Sadler and Green. The manner in which this continues to be done here remains still unrivalled in perfection." The proprietors of the Bow works availed themselves of assistance by occasionally sending their china to Liverpool to be printed. All the pieces decorated with transfer engravings have, without discrimination, been erroneously assigned to Worcester, owing to the want of a thorough investigation of the quality of the body. Lady Charlotte Schreiber has a tea- pot with a transfer portrait of the '' Prussian Hero," the handle and spout ornamented in relief with the enamelled flowers peculiar to Bow ; a bowl with prints of the well-known tea party, and garden scenes ; and two plates, part of " a set of the second printed teas," before alluded to, with poultry and leaves. All these are undoubtedly of Bow body, probably decorated with transfers at Liverpool. Large quantities of blue-painted ware issued from the Bow works, and there are frequent allusions to them in the order book for cheap services. On examining the blue pieces, which can be safely assigned to Bow from the nature of the body, there is a peculiarity in the glaze which arises in this way ; blue being at that time the only colour that would bear the intense heat of the kiln {ate grand feu), it is always painted PORCELAIN— ^BOW. 687 on the biscuit before being dipped in the glaze ; consequently, portions, however slight, are apt, while the glaze is in a fluid state, to spread over the surface, giving it a blue tinge, espe- cially on large surfaces ; the other colours, as well as the gold, are painted over the glaze ^ and set in a kiln of lower tempera- ture, called the reverberatory or muffle kiln. Hence the blue, being tinder the glaze, is imperishable, but the other colours, from frequent use, get rubbed off The following extract from Frye's patent of 1 744 shows the exact method adopted at Bow : — " The articles are ' put in a kiln and burned with wood,' called hiscuitiug ; if they are very white, they are ready to blue with lapis lazuli, lapis armenis, or Zapher, highly calcined, and ground very fine ; they are then dipped in the glaze, and burnt with wood until the surface is clear and shining, and, when the glaze runs true, let out the fire. They are not to be taken out of the kiln till it is thorough cold." We find in the order book the blue Newark pattern ; blue dolphin pickle stand ; "setts of blue teas." A dinner service was ordered to be " blue and pale as you please," &c. Among the patterns noticed in the same book are white bud sprigs, sprigged tea sets, and Dresden sprigs ; partridge services, imaged services, and dragon services were in great demand ; Chelsea cabbage leaf, the lady pattern, and the Princess of Wales's pattern, white men with salt boxes, mugs painted to the fine landscape pattern, &c. Of the figures and groups only a few are mentioned, such as, Minerva of two sizes. Flora, imperial shepherd and shepherdess, the new shepherd and its companion, Cupid, gentleman and lady, boy and girl, fluter, fiddler, harlequin, columbine, and pierrot or clown, tambourine player, sports- man, cook, Dutch dancer, woman with chicken, Turk and companion female figure, birds on pedestals, swans, boars, squirrels, buck and doe, goat, and toys of all sorts. These short notices of Bow figures, although far from being important examples, will remind many of our readers of simi- lar pieces which have been classed as Chelsea. Dr. Diamond has a statuette of Bow porcelain representing 688 PORCELAIN — BOW. Fire (one of a set of the Elements), a semi-draped female, holding an urn, from which flames are issuing, and by her side a phoenix rising from the flames. This figure bears the marks of the sword and anchor in red. Mr. Jos. Durham, the eminent sculptor, and who, having studied the works of his predecessors, is intimately acquainted with their style, at once pronounced this to have been modelled by John Bacon, R.A., who, it is recorded, designed for the Bow manufactory ; he pointed out the peculiarities of his style in the limbs of the figure, and especially the phoenix, which has been repeated in some of his larger groups in marble. An earthenware mug, with raised decorations and coloured group of a man and woman, and sprigs of hawthorn, &c., similar to Bow, has the name of " C. Bacon, 1746." In the possession of Mr. Pritchard, Brislington. We may also refer to the pair of white china figures of Woodward the actor, in the character of the Fine Gentleman^ and Kitty Clive as the Lady in Lethe," in the costumes as given in Bell's Collection of Plays. A pair of these in the white Bow china, exquisitely modelled and finished, bear the date 1758 stamped in the clay; they are in the possession of a lady whose family has retained them ever since they came from the factory. MemorandMm Book of jfohn Bowcocke for 1758. — There is very little to interest us in this book. Bowcocke was at Dub- lin for the first eight months, receiving consignments of glass and china from the works, which were sold principally by auction. The money taken was remitted weekly to the company. " Feb. 9, 1758. Dublin. I went to see Sheridan, in Hamlet. "April 19. Lady Freik shew'd me two tureens she brought from France, moulded from a full-grown cabbage (a sketch is given). "Aug. 22. At Nottingham. Called on Mr. Rigley; he says he was used ill about some figure Thorpe sent, not to order, and has done. " Sept. 24. At Bow. Went to hear Mr. John Crowther preach his first sermon. PORCELAIN BOW. 689 "Oct. 16. Bought a china figure for Mrs. McNally, 4s. Painting do., IS. 3d. Treating Mrs. McNally, wine, is. Went to see her home from the play, IS. ; purl, 2d. This lady was a good customer of the firm ; on referring to the cash-book, we find she paid, on Oct. i6th, ;^i8. 13s. 9d. "Nov. 27, At Bow. Observed in the burning of the bisquit ware that dishes and plates should be burnt in new cases, and only one in each case, as when two are burnt in one another, it is certain that one is always bad. All handled chocolates and coffees and handled teas to be burnt with covers. " Dec. 26. Dined with Mr. H. Frye and family at Stratford." In the front of this book is a note in pencil, written in 1866, stating that — " One hundred years since, John Bowcocke died, Tuesday, Feb. 26th, 1765, at 6 o'clock in the evening, of lockjaw. He was brother to William Bow- cocke, of Chester, painter, my mother's father. — Thos. Bailey." In the same collection are two books of pencil sketches by a French artist named De la Cour, of plants, trees, festoons of flowers, rococo scrolls, cane handles, frames, chimney-pieces, landscapes (among which is a view of London), and figures, single figures for statuettes, &c. Another book contains colored engravings by Martin Engelbrecht, of Nuremberg, of a great variety of subjects suitable for painting on china : costumes of various nations, ladies and gentlemen splendidly attired, shepherds and shepherdesses, garden scenes and summer- houses, palaces, birds, animals and insects, hunting scenes, musicians, Chinese figures and scenery, interlaced ornaments, &c. A fourth book, published by Edwards and Darley, 1 754, consists of engraved subjects — Chinese interiors, vases, figures, pagodas, bridges, animals, exotic birds, insects, &c. The Chinese designs are mixed up with rococo scrolls and other ornamental work. Having now carried our readers through the books refer- ring to the Bow Works, we will take up the thread of the history, which we have brought down to the time when it was evidently in a most flourishing state, in the year 1758. We have no positive information how long it remained so, but it could have been only a few years before symptoms of decay became apparent. However, we find in Ke7it' s Dijxctory \\\73X Y V 690 PORCELAIN BOW. the firm of Weatherby and Crowther, potters, St. Cathe- rine's," was continued down to the year 1762, when the catas- trophe we are about to relate took place. We read in the London Chronicle of Oct., 1762, Mr. Weatherby, one of the proprietors of the Bow china warehouse in Cornhill, died at his house on Tower Hill, on the 15th Oct., 1762." Mr. Thomas Frye — under whose management and by whose talents as an artist, and by his practical knowledge, the china had been brought to that perfection for which the manufactory had become so celebrated, and who had for more than fifteen years devoted his exertions to this end — died in April, 1762 ; and although from ill-health he was compelled to leave Bow in 1759, yet his advice and assistance was doubtless attainable when required. These events combined must have proved a great blow to the concern, and may have been the causes which hastened its dissolution ; for in the next year, viz., in 1763, the concern was broken up, and we find, gazetted as a bankrupt, John Crowther, of Cornhill, chinaman." We have three advertisements of the sale of the stock of Bow China Porcelain," by order of the assignees of John Crowther, bankrupt; on the 12th March, 1764, and following days, at the Bow Warehouse in Cornhill ; on May the 19th, 1764, and on the 30th of the same month. The last took place at the great Exhibition Room in Spring Gardens, " con- sisting of a large quantity of the finest porcelain, chose out of the stock, in curious figures, girandoles, and branches for chimney pieces, finely decorated with figures and flowers, &c. Dishes, compotiers, &c. Beautiful deserts of the fine old partridge and wheatsheaf patterns. A quantity of knife and fork handles, some neatly mounted ; and a variety of other porcelain." In 1764, among the list of bankrupts occurs, "Benjamin Weatherby, of St. Catherine's, merchant," perhaps a son of the partner in the Bow Works. Mr. Crowther, however, still retained the works at Bow, PORCELAIN — BOW. 691 and his name alone appears in the concern. We know nothing of its prosperity under the new directory ; but it is probable, with Mr. Crowthers knowledge (who seems to have been essentially the working partner), that it still maintained its position. In the Directory, 1 770-1 775, it is stated that John Crowther, of the Bow China Works, had a warehouse at 28, St. Paul's Church Yard. It was about 1775 or 1776 that the works were disposed of to Mr. Duesbury, and all the moulds and implements transferred to Derby. Mr. Crowther was, accord- ing to Thomas Craft's account, an inmate of Morden College, Blackheath, in 1790. He was elected on the 20th March, 1 777, the year after the disposal of the works to Mr. Duesbury. There are several marks, well known to collectors, that have not hitherto been assigned to any particular fabiHqiie ; but from the nature of the paste on which they occur, and their peculiar make, as well as from comparison with fragments recently discovered on the site of the Bow Works, we may, with some degree of certainty, attribute them to that manu- factory. Bow. The crescent in blue and the sword and anchor in red, are on a china figure of a sportsman with jack-boots and gun, &c. ; in the possession of Dr. Diamond. The introduction of the dagger on Bow china may have arisen from the circumstance of both the pro- prietors being freemen of the City of London. Bow. The Countess of Hopetoun Q has part of a leaf-pattern dessert service. One of the butter boats has this mark impressed in the clay. Mr. E. Norman has a porcelain vase covered all over with leaves in relief, edged with green and purple stalks, white veins and white ground, with this mark impressed. 692 PORCELAIN — BOW. Bow. This mark in blue, under the glaze, is found underneath a white china tea pot with dark blue border, in the Countess of Hopetoun's possession. Bow. The B is in blue under the glaze, the anchor and dagger are painted in red over it, and burnt in, in the muffle kiln. It occurs on a china figure in the Geological Museum. Messrs. Toms and Luscombe have two Bow china figures of women, marked B and anchor and dagger, also a figure of a man marked !, anchor and dagger. Bow. This mark is on a butter-boat, embossed with leaves and painted in colours with a rose, butterflies, and insects, which we take to be Bow. It J O — bears this mark in brown. Respecting it, Mr. Marryat writes as follows : — I must contend that my vase and butter-boat are of Bow manufacture, whatever the mark may be." Bow. The mark in the margin, painted red, is on a saucer, with green border, embossed centre, in the Collection of the Rev. T. Staniforth. Bow. These are on a group of figures in the possession of Lady Mary Long; the anchor and upright dagger in red, the horizontal dagger in blue. Bow. At the Marquis of Hastings sale (15th Jan., 1869) there were two small white porcelain cups, each formed of four leaves standing on eight feet, escalloped edges, marked with the triangle im- pressed, and over the triangle on one of them was the mark in blue as shown in the margin. These cups (with some trifling objects) fetched above ^9. PORCELAIN — BOW. 1 o > Fig, I. 2. 3. 4- Lady Charlotte Schreiber possesses three soft paste statu- ettes of Bow china, representing an actor in the costume of a Turk or Russian, with turban and fur collar, all of the same model. One of these has this mark graved in the clay before glazing (fig. i) : it consists of a crescent at top, then a ring and stem in form of a cross, like a caduceus ; the second figure, which is painted, has underneath an upright dagger and anchor pencilled in red, and a sword in blue placed hori- zontally (fig. 3) ; the third figure is of white china, unmarked, but the man holds a scimitar in his right hand, the point resting on the ground. The companion figure to this is an actress with high head dress; both these are well known to collectors. The first mark (fig. i) has never before been attributed to Bow ; but we are, for many reasons, justified in doing so. Lady Charlotte Schreiber has a pair of white china pug dogs with a similar mark, but the crescent at top is unconnected. The next mark (fig. 2) is also seen on Bow china ; it is a variation of fig. i, having no cresent at top, but a dot on each side : it is given by Marryat as belonging to Bow. The triple mark (fig. 3), sometimes with the dagger and sword only, is frequently seen on china figures, but it has never yet been satisfactorily assigned ; some call it Early Chelsea, others Worcester, although they differ essentially from the known examples of these fabriqties; we may therefore, with greater propriety, place it as a Bow mark. Another mark frequently seen on blue-painted and embossed china of Bow, especially on the sauce-boats, is an arrow with a ring in the centre of the stem (fig 4). A similar mark, but with crossed arrow and an annulet, is 694 PORCELAIN BOW. on a Bow china saucer, in the possession of Mr. Temple Frere (fig. 5) ; also on a pencilled saucer of a witch seated on a cow. The next mark is a bow and arrow (fig. 6) ; it is pencilled in red on the back of an octagon plate, painted with daisies and two quails — a favourite Bow pattern — being part of a service in the possession of the Duke of Northumberland, at Stanwick. The old Bow Works were situated just over the bridge, on the Essex side of the River Lea. The buildings, after the disposal of the goodwill and the removal of the implements to Derby, about 1 776, were turned to an entirely different purpose. The site of the china factory was purchased by the late E. L. Macmurdo, then of Old Ford, calico printer, and was by him converted into chemical works, which afterwards became Marshall's Emery Mills. About twenty years since the site opposite, on the other side of the road, was purchased by Messrs. Bell and Black as a manufactory of vesta wax lights or matches. The houses close by are still called China Row. Towards the end of the year 1867, nearly a century after the extinction of the china factory, and when even the nature of the ware made there was problematical and scarcely known or remembered, a mere accident brought to light some of its long-hidden relics. Useless as these would appear to some people, and the merest fragments, fit only for the dust heap, or to be immediately immured again, yet a gentleman (Mr. Schreiber) thought the discovery of sufficient importance to mention it from his seat in the House of Commons. However, in trenching a drain from the manufactory into the sewer, the workmen, at about 8 or 10 feet from the surface, carne upon the debris of a portion of the old Bow China Works. Mr. Higgins, Jun., who is attached to the match manu- factory, received his first intimation of the trouvaille from perceiving fragments of delicate biscuit china in the hands of some children, who had picked them up as playthings. This PORCELAIN— BOW. led him to keep strict watch over the excavation, and by per- mission of the proprietors, the ground remained open for a few months, and, as leisure permitted, he examined the earth for some distance immediately round the spot. Limited as the space was, he found a great quantity of specimens, which he and his sister. Miss Higgins, have taken the pains to arrange carefully in trays, and through their kindness we are enabled to describe some of the more interesting examples. Although frag- mentary, they are particularly interesting, as showing us the various descriptions of ware made at Bow, verifying its products, and enabling us to identify not only the paste and glaze, but the methods of ornamentation. The spot where the excavations were made is supposed to have been where one of the kilns formerly stood; this is borne out to a certain extent by the presence of a quantity of bricks cemented together, the inner surface having become vitrified by the heat of the kiln; and also by a vast number of broken seggars, or cases of baked earthenware, used to contain the china, and protect it from the flame and ashes in the kiln. One of these seggars of cylindrical form, measures 10 inches in diameter by inches in height; it has three rows of holes pierced through the sides, at equal distances from top to bottom, into which clay pegs (like large clout nails) were inserted, to support the circular platforms within, 8. 696 PORCELAIN — BOW. Fig. 9. at convenient distances, on which the china articles rested while baking. The cockspur, or point, used to separate the china is a simple cone of baked clay, not the usual form, which is like the caltrop, having always three points below and one only uppermost. Large pieces of china clay were found, some in a soft soapy state, others hardened ; bones of animals, which entered into the composition of the paste, as well as calcined flints and pieces of quartz, used in making the frit or glaze; a number of circular medallions of baked clay from 2 to 6 inches in diameter — one was marked on each side with H and M cut into the clay. All the fragments of vessels discovered are of porcelain biscuit : not a piece of delft or common earthenware was found among them ; some few are glazed, but these form the exceptions. The first we shall notice, and probably the earliest manufacture, are the pieces decorated with blue painting: the designs are painted, in mineral colour, on the biscuit, and have not been glazed or burnt in. These designs are principally of Chinese landscapes, flowers, figures, and birds. A few examples are here given to show their general character : figs. 7, 8, 9, 10, II.* A very frequent pattern of simple character in the blue ware is three hanging branches of willow leaves. Among the rest is a mottled ground plate with white angular medal- lions of light blue scenery. The only variations in colour are a cup with green leaves and lake flowers, and a fragment Fig. 10. * These cuts are reproduced from an article by the author on Botu China in the Art Journal of August 1869. PORCELAIN — BOW. 697 painted in lake camaieu^ with a castellated mansion, of high finish : these two are glazed. Not a single specimen of \i\\x^-printcd china was discovered : all are painted with a brush. This is not at all surprising, for it must be remembered they are all unfinished pieces, which have never been out of the factory ; and when this decoration was required they were sent to Liverpool to be printed. The next division consists of biscuit china, fragments of services ornamented in relief, the favourite pattern being the May flower. The hawthorn is represented quite after nature, with its thorny branches and blos- som. About a dozen of the moulds for stamping these flowers were also found quite perfect; they are of biscuit, 3 inches by 2 J diameter. Fig. 12 is interesting, being the original mould of a biscuit cup which has its exact counterpart glazed. These pieces form a history in themselves. Another mould is of two roses and leaves on a stalk, fig. 13. The raised figures on the biscuit are remark- ably sharp, but the applica- tion of the glaze fills up the spaces. The other decorations in . relief are the basket pattern, overlapping leaves, vertical bands overlaid with scrolls, ribbed cups and basins, a biscuit candlestick in form of a vine leaf. Fie. 12. 698 PORCELAIN BOW. Fig. 14. another of different pattern painted blue. In this ex- tensive collection we find milk-pots, cups, cans, and saucers, open-work baskets, octagon plates, cup-handles, lion's-paw feet, small pots for colour or rouge ; but not a single piece has any mark which can be assigned to the fabrique. One of the cups has the name of Norman " written on it in pencil, perhaps the name of one of the painters. Among other relics are pieces which have been injured in the kiln by- falling into ugly and dis- torted shapes, plates and saucers that have inadvertently gone in contact with each other and could not be separated. There is a great variety of china biscuit knife-handles, some plain, others with rococo scrolls in relief heightened with blue ; two specimens are here given, figs. 14 and 15. Some few pieces of an ornamental among the Fig. 16. character are dibris. The foot of a salt-cellar beau- tifully modelled in biscuit, formed of three shells with smaller shells and sea-weed between ; the upper shell, to hold the salt is wanting. A sketch of it is here given, fig. 16. To these may be added the foot of a large centre ornament of the same character as the last, to hold sweetmeats, also modelled by hand, in shells of all sorts, rock- work, coral, sea-weed, &:c., with three escallop shells : this has had one or more tiers above, but is broken off at the stem. Some natural shells were found which served as copies. There porcp:lain — kentish town, chelsea. 699 are two pug-dogs nearly perfect, with collars, on which are roses. Two handles in forms of female heads in high relief, for tureens and other large bowls, fig. 1 7 ; and a man's head with a high cap and feather, nicely modelled, fig. 18 ; also the body of a female figure in biscuit, with laced bodice. Fig. 18. The Bow paste is exceedingly hard and the fracture very close and compact, consequently the pieces, as a rule, are very heavy for their size, but many of the cups and saucers are almost of egg-shell thickness. The colour is a milky white. It is desirable that this collection should be preserved intact in one of our public Museums, to show by observation the quality of the porcelain produced at Bow, as well as the deco- ration, which cannot be conveyed by mere description alone. Kentish Town. John Giles had a kiln here for burning in the colours on porcelain, he was only a decorator, and procured the ware from other manufactories ; Mr. Binns men- tions some advertisements of his, both prior and subsequent to 1760, to " procure and paint for any persons Worcester porcelain to any, or in any pattern." In Craft's account of the bowl made by him in 1790, at the Bow manufactory, he states, he took it in a box to Kentish Town, and had it burned there in Mr. Gyles' kiln, which cost him 3 shillings, (see p. 680.) CHELSEA. It was probably in or about the year 1747 that the Chelsea Works were established, and workmen were obtained from Burslem and other places to assist in making the ware. We have it upon record that " Carlos Simpson was born at Chelsea; to which place his father, Aaron Simpson, went in 1747, along with Thomas Lawton, slip maker; Samuel Parr, turner; Richard Meir, fireman ; and John Astbury, painter — all of Hot Lane ; 7oo PORCELAIN — CHELSEA. Carlos Wedgwood, of the Stocks, a good thrower ; Thomas Ward, and several others of Burslem, to work at the Chelsea China Manufactory. They soon ascertained that they were the principal workmen, on whose exertions all the excellence of the porcelain must depend ; they then resolved to commence business on their own account at Chelsea, and were in some degree successful ; but at length, owing to disagreement among themselves, they abandoned it and returned to Burslem."* - In 1745 a company, which at that time desired the exclusive privilege of establishing a porcelain manufactory at Vincennes (subsequently that of Sevres), urged the benefit that France would gain by having works that would produce the fine porcelain, and thereby exclude that of Germany and England.f Faulkner (in 1829) says: "The Chelsea Porcelain Works were situate at the corner of Justice Walk, and occupied the houses to the upper end of the street. Several of the large old houses were used as show rooms. Their ovens were in Lawrence Street. The whole of the premises have been pulled down and new houses erected on the site." In Campbell's London Tradesman, 1747, we find the fol- lowing : Of late we have made some attempts to make porcelain or china ware after the manner it is done in China and Dresden. There is a house at Greenwich, and another at Chelsea, where the undertakers have been for some time trying to imitate that beautiful manufacture." In the London Magazine of May, 1753, we are told that at Chelsea and Stratford undertakings were carried on in the * Shaw's History of the Staffordshire Potteries. t We have no record that the Chelsea Porcelain Works were established so early as 1 745 ; while we have positive evidence that at Bow they were making china on an extensive scale. The allusion, therefore, in this paragraph, would refer to Bow rather than Chelsea. We give the extract in the original words : — ** II ose encore representer qu'il est d'autant plus avantageux pour I'etat qu'il ait reussi, qu'un nouvel etablissement qui vient de se former en Angleterre d'une manufacture de porce- laine qui paroit plus belle que celle de Saxe, par la nature de sa composition, occasionnerait la sortie de fonds considerables de la France, s'il n'^toit parvenu a pouvoir procurer a ce Royaume ce qu'on auroit ete chercher a grands frais chez I'etranger." Arrit du Conseil d''Etat du Roy^ qui accorde a Charles Adam le privilege pour I'etablissement de la manufacture de porcelain, fa9on de Saxe, au Chateau de Vincennes du 24 Juillet, I745- PORCELAIN — CHELSEA. 701 greatest perfection, so as to emulate the elegancies of Dresden or Chinese porcelain. Rouquet (Present State of the Arts, ed. 1755) says: In the neighbourhood of London there are three or four manu- factories of porcelain, among which that of Chelsea is the most considerable. It is carried on at the expense of a private person, and a French artist of great abilities furnishes or directs the models." The following interesting account is from a statement made by Mr. Mason, who worked at the Chelsea Manufactory, and whose son (also a china painter) worked many years at the Worcester Manufactory, when conducted by Flight, Barr, and Barr : — "I think the Chelsea China Manufactory began about the year 1748 or 1749. I went to work about the year 1751. It was first carried on by the Duke of Cumberland* and Sir Everard Fawkener,t and the sole management was entrusted to a foreigner of the name of Sprimont, report says, at a salary of a guinea per day, with certain allowance for apprentices and other emolu- ments. I think Sir Everard died about 1755, much reduced in circumstances, when Mr. Sprimont became sole proprietor ; and having amassed a fortune, he travelled about England, and the manufactory was shut up about two years, for he neither would let it or carry it on himself. I then went to work at Bow for a short time, which was carried on by a firm, but I don't recollect their names. I went to work again at Chelsea for Mr. Sprimont, after being absent between two and three years, where I stopped till I engaged with Mr. Duesbury to go to Derby, which was about the year 1763. I think there was very little business done there after that time. What time Mr, Duesbury made a purchase of it I don't recollect, but some of the materials were taken to Derby." It will be seen by the following advertisement that Mr. Sprimont was for a time seriously ill and unable to attend to business. 1757. " The Piiblick is hereby acquainted that the Chelsea Porcelain Manufactory has been very much retarded by the sickness of Mr. Sprimont ; nevertheless several curious things have been finished, and are now exposed to sale at the Warehouse in Piccadilly with the lowest price, for ready money, fix'd on each particular. All warranted true enamel." * William, Duke of Cumberland, was born April I5lh, 1721, and died October 31st, 1765. t Sir Edward Fawkener, Knt., Post Master General, died at Bath, Nov. 16th, 1758, and his brother Kenclm in the month following. 702 PORCELAIN — CHELSEA. - The period of its greatest excellence was from 1 750 to 1 765. It has been supposed that Venetians were the first workmen employed here, and this is borne out by the great similarity of the Venetian porcelain to that of Chelsea, both in gilding and painting, independent of which, the mark on both is an anchor. Three spots, or blemishes, at equal distances, on plates and other pieces, where the glaze has been removed, characterizes the Chelsea china, caused by contact of the three points on which it rested in the furnace, showing the rude method adopted in the first period of its manufacture. The same blemishes are also found in the early Italian pottery. Faulkner, in his description of Chelsea, says : — The manufactory of Chelsea porcelain was set on foot by Mons. Spremont, a foreigner. The original proprietor, having acquired a large fortune, retired from the concern, and his successors, wanting his enterprise and spirit, did not so well succeed, but in a few years abandoned it." In Nollekens and his Times, we find a conversation between him and Betew concerning the Chelsea manufactory : — " Betew. Chelsea was another place for china ; the factory stood upon the site of Lord Dartery's house, just beyond the bridge. " Nollekens. My father worked for them at one time. Betew. Yes, and Sir James Thornhill designed for them. Mr. Walpole, at Strawberry Hill, has twelve plates by Sir James, which he purchased at Mrs. Hogarth's sale in Leicester Square. Paul Ferg painted for them. Ay, that was a curious failure ; the cunning rogues produced very white and deli- cate ware, but then they had their clay from China .; which, when the Chinese found out, they would not let the Captains have any more clay for ballast, and the consequence was the concern failed." Sir James Thornhill could not have designed for them, for he died in 1732, fifteen years before the establishment of the Chelsea Works, and moreover the plates spoken of by Betew, were not of china at all. Walpole himself describes them as Twelve earthen plates in blue and white delft, painted with the twelve signs of the zodiac, by Sir James Thornhill, in August, 1711 ; bought at Mrs. Hogarth's sale." They cost him seven guineas. All earthenware was at that PORCELAIN CHELSEA. time called delft, and these plates were probably made at Lambeth, then making on a very extensive scale " all sorts of earthenwares after the way practised in Holland." Among the Lansdowne MSS. is a memorial from the Undertaker of the Chelsea manufacture of porcelain," who was " a silversmith by profession," and from a casual acquaint- ance with a chemist, who had some knowledge this way, was tempted to a trial, and upon the progress he made he was encouraged to pursue it with great labour and expense. Neither the name of the undertaker nor the date of the memorial are given, but it is mentioned that the Duke of Orleans (who died in 1752) had tried the pastes in his kilns. It states that one hundred persons were employed, and a nursery of thirty lads from the parishes and charity schools were bred to designing and painting." The memorialist complains of the smuggling sales of Dresden porcelain allowed to be imported for private use, but otherwise pro- hibited that a certain foreign minister's house had been for a course of years a warehouse for this commerce, and the large parcel advertised for public sale on the 7th of the next month was to come from thence." Dresden porcelain for private use only paid eighteen pence per pound, so that the competition was very injurious to the Chelsea china. He adds, he had sold during the previous winter of the value of more than ^3,500, which was a great deal, considering the thing was new, and was of so great extent that it was beyond the reach of his industry to produce such complete assort- ments as were required.* It is therefore probable the docu- ment was written after 1752, and before i759.f ♦ Latisdcnune MSS.y No. 829, fol. 21, printed at length in MarryaCs History of Pottery and Porcelain, p. 349. t This memorial was perhaps written by Francis Thomas, who was for many years managing director of the Chelsea Manufactory. It will be seen by Wedgwood's letter, as well as the advertisement of the sale, that enquiries were to be made of Mr. Thomas, at the manufactory, in 1769. He did not long survive its demolition, for we learn, by his monu- ment on the floor of the south aisle of the Parish Church, that he died in 1770. His con- nection with the Chelsea Works is there referred to. 704 PORCELAIN— CHELSEA. The undertaker had good cause of complaint; for Jonas Hanway, writing in 1 750-1 751, in descanting on the manu- facture of Dresden porcelain, observes : — It is with great satisfaction that I observe the manufactories of Bow, Chelsea, and Stepney have made such a considerable progress ; on the other hand, it is equally a subject of horror, to see so many shops in the streets of London supplied with the porcelain of Dresden, though it is importable only under oath of being for private use, and not for sale." Mr. Marryat quotes part of a letter from Horace Walpole to Sir Horace Mann, of the 4th March, 1763,* in which he mentions having seen a set of Chelsea porcelain about to be presented by the King and Queen to the Duke of Mecklen- burg, which was to cost ^1,200. This is perhaps the same service mentioned in the following advertisement of the 21st March, 1 764 : Exhibition Room, Spring Gardens, Charing Cross. In this day's sale will be sold that magnificent and extensive table or desart service of the rare and curious Mazarine blue and gold, the same as the Royal pattern which was sold for 150. Also some desart plates of the inimitable crimson and gold." Mons. Groslet who visited London in April, 1765, speaks of the Chelsea manufactory having just then fallen, and that the Comte de Lauragais had endeavoured to treat with the proprietors. He had heard that the County of Cornwall furnished the clay proper for making the porcelain. Mr. Sprimont made an attempt to dispose of the Chelsea manufactory in 1 764, as appears by the following advertise- ment : — " To be sold by Auction, by Mr. Burnsall, on the premises, some time in March next (1764), at the Chelsea porcelane manufactory. Every thing in general belonging to it, and all the remaining unfinished pieces, glazed and unglazed ; some imperfect enamelled ditto, of the useful and ornamental ; all the materials ; the valuable and extensive variety of fine models in wax, in brass, and in lead ; all the plaster molds, and others ; the mills, kilns, and iron presses ; together with all the fixtures of the different warehouses ; * Marryat'' s History of Pottery and Porcelain^ p. 174. PORCELAIN — CHELSEA. likewise all the out-buildings, &c., &c. And as Mr. Sprimont, the sole possessor of this rare porcelane secret, is advised to go to the German spaw, all his genuine household furniture, &c. will be sold at the same time. N.B. Soon after, when every thing is sold belonging to the manufactory, &c., and the large warehouse cleared, there will be some most beautiful pieces of the truly inimitable Marazine blue, crimson, and gold, that Mr. Sprimont. has thought deserving finishing; that will be sold at Chelsea, as the whole remaining, and the last produce of that once most magnificent porcelane manufactory." But he was evidently unsuccessful in finding a purchaser, for we find it advertised again in April, 1769, in the leading newspapers, addressed, To all Proprietors of Porcelain Manufactories and others : There is to be sold at the Chelsea Manufactory by order of the proprietor (having recently left off making the same), everything in general belonging to it ; as all the plaster moulds, models in wax, lead, and brass ; kilns, mills, iron presses, and a large quantity of biscuit work, &c., &c. Likewise all the buildings and many other articles. For further particulars, Enquire of Mr. Thomas at the said Manufactory." In May 17th, 1769, Mr. Burnsall again offers to sell by auction, by order of Mr. Sprimont, he having entirely left off making the same ; all the matchless pieces of that valuable manufactory consisting of beautiful vases, urns, table, dessert, and tea services, &c., particularly two groups of the Roman Chanty, all most highly finished in mazarine blue, crimson, pea green, and gold, &c., likewise all the fine models, kilns, mills, presses, buildings, &c. In April, 1769, Josiah Wedgwood writing to Bentley, who was then at Liverpool, tells him, The Chelsea moulds, models, &c., are to be sold, but I enclose you the advertize- ment ; There's an immense amount of fine things." Of these it is evident he intended to become a purchaser of at least a portion, had the classes or articles been sold separately, for he writes to Cox, July 24th, 1769, " Pray enquire of Mr. Thomas whether they are determined not to sell less than the whole of the models, &c. together, if so, I do not think it would suit me to purchase. I should be glad if you could send me any further particulars of the things at Chelsea." But they were z z 7o6 PORCELAIN CHELSEA. sold in the lot, with the manufactory and all its appurtenances. Meteyard's Life of Wedgwood, vol. ii, p. 120. Again in March, 1771, Mr. Christie of Pall Mall, advertises the sale of the pictures of Mr. Nicholas Sprimont, the late proprietor of the Chelsea porcelain manufactory, who is retired into the country, brought from his late houses at Richmond and Chelsea. It may be noticed that he is here called the late proprietor, and it is probable the buildings were privately sold to Mr. Duesbury in 1 769, who took the unexpired term of the lease, and retained the premises until 1779, which it will be seen by the next advertisement expired at that date. The remainder of the stock of china from Chelsea, was sold by Messrs. Christie and Ansell on the 5th May, 1 779, and following days, and was the property of Mr. Duesbury, for the advertisement states, the lease of the premises being expired, they will be sold without reserve." The earliest productions are probably those similar in appearance to Oriental porcelain, frequently decorated with Chinese patterns, and marked with an embossed anchor. The fine vases in the French style in imitation of Sevres, with gros bleu, crimson, turquoise and apple green, were made from about 1760 to 1765. " Chelsea porcelain, which, like that of Bow, was the result of private enterprise, ranks highest for beauty of decoration and careful finish, and is esteemed in proportion to its merit as a work of art. Some productions of the Chelsea works, bid fair to rival those of the far-famed Imperial manufactory of Sevres, at any rate in the estimation of English connoisseurs, and the prices at which some have been recently sold have even exceeded the sums paid for the finest specimens of Sevres. " The two most important examples of Chelsea china, both from their size and quality, are undoubtedly the ' Chester- field ' vase and the ' Foundling ' vase. These veritable chefs- d'oeuvre are 2 feet high, oviform, with bold rococo scroll PORCELAIN CHELSEA. handles, surmounted by dome-shaped covers ; they are both exquisitely painted with classical or pastoral subjects on white medallions, probably by Donaldson (who also decorated some of the choicest Worcester vases) ; and they are equal, if not superior, to any other contemporaneous work, at home or abroad. The reverse sides are painted with exotic birds of rich plumage, and the body or ground is of a rich gros bleit colour. The former of these was exhibited at the loan Exhi- bition, South Kensington, in 1862, and again at Paris in 1867; it also formed a prominent object of attraction at the Leeds Exhibition of Works of Art in 1868; but it was destined, however, not to return to its noble contributor ; for at the urgent request of a nobleman whose taste for works of high art is well known, Mr. Chaffers, Superintendent of the Museum, made overtures for its purchase, and he was enabled to transfer the ownership, for the princely consideration of upwards of ^2,000, to the Earl of Dudley. " The history of the companion vase now remains to be told. An extract from the minutes of the Hospital informs us that, ' At a meeting of the Committee, Wednesday, 20th April, i 763, the Treasurer acquainted them that he had received from Dr. George Garnier a fine vase of porcelain made at Chelsea. Resolved, — That the Treasurer be desired to direct that a glass case be made for the safe keeping of the said vase, to be placed in the Committee-room of this Hospital.' It does not even appear that a vote of thanks was accorded to the donor, so little was the gift appreciated at that time. It was allowed to remain as a chim.ney ornament, and strange to say, for nearly a century did it survive the risks and chances of accident which china is heir to, with the exception of a fracture of the cover. About ten or twelve years since, an amateur made what at that time was considered a liberal offer for the vase, but it was declined; this circumstance drew the attention of the committee to its value, and precautions were immediately taken, by placing it again under glass, to prevent further injury. A few months since Mr. Chaffers, who so successfully made overtures for the z z 2 7o8 PORCELAIN — CHELSEA. Chesterfield vase, applied to the trustees of the Foundling Hospital to purchase the companion, accompanied by an offer of a very large sum ; after mature consideration they came to the conclusion that they were not justified in retaining a fragile object of such value when they could with the proceeds increase the funds of the charity, and enlarge the benefits for which this noble Institution was founded. This vase is now placed by the side of its companion at Dudley House." {Ar^ Journal for Aug. 1869.) A pair of similar vases, 20 inches high, were given to the British Museum on the 15th of April, 1763 ; the gift is thus recorded in the Donation-book : Two very fine porcelain jars of the Chelsea manufactory, made in the year 1762, under the direction of Mr. Sprimont, from a person unknown, through Mr. Empson." There is every reason to infer, from the date of presenta- tion of these two vases to the British Museum, and the other to the Foundling, on the 15th of April, 1763, (probably on the same day, for the Committee did not meet till a few days after), that Dr. Garnier was the " person unknown," and that he purchased the set of three at the Chelsea works, the Foundling vase forming the centre. There is another style, which, although it bears the anchor mark, differs entirely from the Chelsea manufacture previously spoken of. The vessels are of simple, elegant forms, with the frequent recurrence of gold stripes ; these the connoisseur would immediately refer to Derby, but it is probable they were made at Chelsea, and are its latest productions, between 1770 and 1784, whilst under the direction of Mr. W. Dues- bury of Derby. The same forms and style of decoration were adopted simultaneously at Derby. There is this peculiarity about the Chelsea porcelain, that it will not, like the pdte tendre of Sevres, bear any fresh exposure to the heat of the furnace without splitting and cracking, so that it cannot be repainted and " doctored " like its French rival. PORCELAIN — CHELSEA. Chelsea. The earliest mark known is an embossed oval, on which is an anchor in relief with or without colour. Lady Charlotte Schreiber has a piece of white glazed china, being an exact copy of the well-known statuette La Nourrice," of Bernard Palissy, bearing the mark of the raised anchor. Dr. Diamond has a pheasant, coloured, with the raised anchor painted red. Chelsea. The plain anchor, painted in gold for the best quality, in red for the second quality, which is consequently more frequently met with ; occasionally in purple. Chelsea. Another variety. There is an octagonal cup and saucer in the British Museum, presented by the late Sir C. Price, painted with the leopard and the fox, from ^^sop's Fables, which has on the bottom the anchor in white. Chelsea. A later mark, in gold, the anchor being more perfectly formed, found on pieces of the best quality. Chelsea. The form of the anchor varies according to the fancy of the painter ; sometimes we find annulets, at others nothing at all, on the ends of the transverse bars. Chelsea. Another mark of an anchor, with cable attached. It is found im- pressed in a Chelsea porcelain dessert service. Chelsea. This mark, of two anchors in gold, side by side, one being inverted, occurs only on the best pieces. A dessert 7IO PORCELAIN CHELSEA. dish, beautifully painted, with Cupid in . the centre, in lake camaieu, and gilt I / p scrolls and compartments of roses, equal *^ to Sevres, is in Dr. Diamond's Coll. ; also on a vase in the Geological Museum. % Chelsea. Marked in gold, on a can- dlestick, painted with exotic birds, of early make. In the possession of Mr. H. E. Kidson, of Liverpool. Chelsea. This mark, of a triangle, which is frequently found upon English porcelain, especially upon the little milk jugs in form of a goat, with raised flowers and a bee perched upon one of them, has A always been attributed to the Bow manu- factory ; but there is good ground for believing that the mark belongs to Chel- sea, as will be seen presently. A pair of fine turquoise-ground vases and covers, fluted at top, with leaves turning over as handles, bearing this mark, are in the possession of Lady Dorothy Nevill ; and a pair of vases from the same mould, green ground painted with flowers, bearing the mark of the gold anchor, are in the Collection of Mrs. Haliburton. Chelsea. On a milk jug, of two goats, and in front a bee in relief, belonging to W. Russell, Esq., which came from Dr. Wellesley's Collection. We give a ^\ cut of this interesting mark, being the L /y/ i> ^^^^i^s^ dated example of Chelsea porce- bA^e^mx//^^^ lain known. Mr. A. W. Franks, in his Notes on the Manufacture of Porcelain, at Chelsea, says, " As an additional confirmation that china of this kind (bearing the triangle) was made at Chelsea, I may mention that Walpole, in his Description of Strawberry Hill, speaks of * two white salt cellars with crawfish in relief of Chelsea china,' a very uncommon design, which I have found only once, viz. — at the Earl of Ilchester's, at Melbury, where PORCELAIN — CHELSEA. 711 are four such salt cellars, all marked with a triangle." Similar sets, modelled by hand and not stamped in a mould, are in the Collections of Mr. Reynolds and of Dr. Diamond, all marked with a blue triangle. Mr. Jewitt, in his Chelsea China {Art J ournal, April, 1863), gives copies of two letters from Robert Boyer to Mr. Dues- bury ; he was one of the old Chelsea workmen, who remained there to superintend the removal of the kilns, moulds, &c., to Derby. In the first he says : — " Lawrance Street, Chelsea, Feb. 18, 1784. " Sir — I Wright to inform you how we are pretty forward in the pulling down of the buildings at Chelsea. I think a little better than a fortnight they will be all down to the ground and cleared of the primeses, which I shall be glad to my hart, for I am tired of it. " Mr. Lygo* says yow would wish to have the ion kiln cum to Derby. Its hardley worth sending, for the comers are a good deail burnt at the bottom, and the sides are opend or drawd so much as 4 or 5 inches on each side. I wish yow will lett me no if yow will have the mold of the large figur of Britan- nia sent to the warehous or broake." This was one of the largest and finest figures produced at the Chelsea works, and they are now of great rarity. Mr. John J. Bagshawe, of Sheffield, has one of these Chelsea figures ; it represents Britannia seated on a lion, with trophies, &c. ; she holds in her left hand a medallion of George II, and underneath the base is a triangle incised in the clay. Another corroboration of its use as a Chelsea mark, not Bow, as generally supposed. Lysons, writing in 1795, informs us that "some years ago, a manufacture of porcelain, which acquired great celebrity, was established at an old mansion by the water-side. Upon the same premises is now a manufacture of stained paper, stamped after a peculiar manner, the invention of Messrs. Eckhardt, who in 1 786 first established it in partnership with Mr. Woodman. It is now the property of Messrs. Bowers and Co., who employ about a hundred hands. Mr. Lygo was London agent and salesman to Mr. Duesbury. 712 PORCELAIN — CHELSEA. Chelsea. Lysons says, the manufacture of blue melting pots and crucibles for melting gold and silver, &c., was esta- blished by Ruhl, about the year 1774, and afterwards carried on by his son-in law, C. F. Hernpel. Faulkner tells us that in 1793 the crucible manufactory was in Upper Cheyne Row, and worked by Messrs. Hempel and Ruelle, and was said to produce the best articles of the kind in England. After the death of Mr. Hempel, the lease being expired, his widow took some premises in the King's Road, adjoining the old burying ground, and there carried on the manufacture of crucibles and also table services, under the patronage of Queen Caroline, but it did not eventually succeed. In Oct. 1790, Johanna Hempel took out a patent for making artificial filtering stones for purifying foul water. Lysons, in his Environs^ i795j vol. ii., p. 149, says, Near the Kings Road is Triquet's manufacture of artificial stone, and that of fire-proof earthen stoves, kitchen ware, &c., carried on by Johanna Hempel, widow." In 1797 Johanna Hempel became a bankrupt, and all the stock in trade, mills, and other effects, including table services, vases, stoves, crucibles, &c., and a carved sign of the Queen's arms, were sold by auction by Mr. Harwood, by order of the assignees. Lysons (Suppt 181 1) says that in 181 1 the manufactory was in the ha:nds of Messrs. Ludwig and Warner. Wales SWANSEA. MANUFACTURE of earthenware was established, in the Strand, at Swansea, about 1750, but probably on a small scale. Between 1780 and 1790 the works were taken by Mr. George Haynes, who styled it the Cambrian Pottery. Donovan [Exctirsio7is in Sontli Wales and Monmonth- shire), who visited the works about the year 1800, describes at some length the Cambrian Pottery. It was conducted, he says, by Messrs. Haynes and Co. ; the plan upon which the works were carried on, w^as similar to that of Wedgwood, comprising an extensive suite of rooms, furnaces and baking kilns, in which the various kinds of earthenware and porcelain were manufactured from the raw materials, the whole being moulded, formed, glazed, baked, printed, painted, and other- wise completely finished in the several apartments within the circuit of the works. The nature of the materials of which the different sorts of ware are formed, is kept as secret as possible ; the art of manufacturing the superior kinds of porce- lain in particular, depends upon a correct and perfect knowledge of the properties of the various sorts of clay employed, and the other ingredients mixed with them. After describing the properties and component parts of porcelain, he says the steatite or soap stone of Cornwall was discovered at Gcw Grcz or Corez Cove, in the parish of Mullion, between that place and the Lizard ; its valuable properties were not known till after the middle of the XVIIIth Century, and quotes a passage 714 POTTERY AND PORCELAIN — WALES. from the work of Da Costa's History of Fossils, published in 1757, which he thinks gave the first hint for the employment of the soap rock of Cornwall.* ''It is evident," says Da Costa, "that no species of clay whatever can be finer or fitter for the making of porcelain than these hardened talcy soap clays, wherein nature has blended the necessary fossils, talc and clay, ready for our use. I am therefore convinced that those steatites pounded, then moistened and worked up like a paste, with some proportion (if thought necessary) of fine soft clay, with due management would make an elegant porcelain. I recommend the experiment for trials to the manufactories lately established in this Kingdom." Donovan minutely describes the methods of mixing and working the clays at Swansea, and forming the vessels of ordinary pottery. He says : We now come to the last process in which the porcelain of the most superior kinds are decorated with emblematical designs, landscapes, fruit, flowers, heraldic figures, or any other species of ornamental devices. The whole of this is executed by the pencil of the painter, the various objects are slightly sketched in black lead upon the ware after it is glazed, and is only submitted to a certain degree of heat in the kiln when nearly finished, to fix the metallic colours in their proper tints." The preparation of the colours is next spoken of, and the gilding ; he tells us that gold also enters into the composition of their purples. " A solution of tin is prepared with nitro-muriatic acid, and being saturated with a small proportion of gold held also in solution, deposits a crimson precipitate, which after a few days becomes a fine purple ; copper calcined by acids, and precipitated by an alkali, forms a beautiful green ; an oxide of iron produces brown or black ; and various earths that are slightly ferruginous afford browns and yellows of various hues"; cobalt, the rich blue, manganese, &c. " Biscuit porcelain, or that without any glaze or painting, is also executed here in great perfection." He then gives an interesting account of the process of printing the surface of the ware, and he concludes thus : " We are to consider the manufacture of the superior kinds of porcelain in our country as an improvement in our national arts. The elegance of this * Mr. Richard Chaffers, of Liverpool, leased a mine of soap rock for the manufacture of porcelain, at Mullion, in Cornwall, in j 755, which is previous to the date of Da Costa's book. POTTERY AND PORCELAIN — WALES. 7l5 ware is not to be denied ; in one respect at least it has an advantage over the porcelain of India, its embellishments are certainly more chaste, more tasteful and appropriate. " Capricious fashion may for a time assign a preference to the manufacture of our Continental neighbours, but it will admit of doubt whether some of the better kinds of our home-made porcelain, under the management of such ingenious individuals as the conductors of those works, may not bid fair one day to vie with the boasted produce of the Seive pottery. " We have no other rival on the continent of Europe to dispute the palm with us." It would appear that porcelain was made at Swansea towards the end of the last century by Messrs. Haines & Co., but it was probably like that of Derby or Worcester, and very different from the porcelain subsequently produced by Mr. Dillwyn in 1 8 14, under the superintendence of Billingsley. In 1802 Mr. Haines retired, leaving Mr. L. W. Dillwyn sole proprietor ; there appears, however, to have been some difficulty connected with the dissolution of partnership, for in a letter from Mr. Dillwyn, in our possession, he says, TJie Courier contains a tolerably correct account of the late trial at Cardiff ; the infamous conduct of my opponents during the trial is there mentioned, and I rather think it was inserted by the short- hand writer whom they employed; we had about 107 witnesses and I saddled Haines with above £\2oo costs I' &c. About 1 8 10 an improved kind of earthenware was intro- duced, called opaque porcelaifi, and with the assistance of Mr. W. W. Young, the draughtsman employed in delineating natural history, birds, butterflies, insects and flowers, the ware became remarkable for its beautiful and truthful paintings. Mr. Dillwyn retired from the concern in 1813, leaving it to his son, Mr. L. L. Dillwyn. It was in the year 18 14 that the manufacture of porcelain was revived at Swansea. At that time Billingsley, or Beely (a contraction of his real name and by which he was probably best known), had commenced making his beautiful porcelain, which was much admired, at Nantgarw ; it naturally attracted Mr. Dillwyn's attention, and conceiving that the kilns used by Billingsley and Walker might be considerably improved, made 7i6 POTTERY AND PORCELAIN — WALES. arrangements with them to carry out their process at Swansea ; with this view two new kilns were erected at the Cambrian pottery, and the manufacture conducted by them for some considerable time. This was the origin of the Swansea por- celain, which obtained great repute, and it was continued for six or seven years, an excellent body having been obtained. Baxter, a clever painter of figure subjects, left Worcester and entered Mr. Dillwyn's service in 1816, and continued therefor about three years, returning to Worcester in 18 19. About the year 1820 the manufactory was discontinued, and all the moulds and appliances purchased by Mr. John Rose, who removed them to Coalport about the same time as those of Nantgarw. There is a very beautiful thin clay with a fine glaze of extreme lightness, which was manufactured at the Cambrian pottery, into tea services, jugs, &c., painted in vivid enamel colours, in landscapes, costume figures, flowers, and animals; the subjects are painted in a rough and careless manner, although very effective. The forms of the pieces are good, and carefully modelled with neat pearled borders, double twisted handles, &c. Some few of these are marked Cambrian Pottery," but the majority are unsigned, and like other doubt- ful pieces are, as a dernier ressort, attributed to Staffordshire. Dr. Diamond has a marked specimen which exemplifies the qualities above alluded to. It was made about 1780- 1790. currttrrtctTr Mark unknown, but probably Swansea (Cambrian Pottery), it is on a very thin light clay jug or coffee pot, painted with roses and pinks. In the possession of Mr. E. Bourchier Savile. Circa 1780. This mark is on the very light thin ware spoken of above, painted with flowers, cottages, &c. In the possession of Dr. Diamond. POTTERY AND PORCELAIN WALES. 717 Swansea. This mark is found on a large oviform vase of Cambrian pottery, about 1 790, finely glazed and well painted, with a large medallion of a passion flower, roses, &c., and a butterfly ; the body of the vase is gros bleu, with large and small gilt globules over it. In Mr. S. C. f/)(H5^i>4A^ ^^^^'^ Collection. The name Young, pinxit," occurs on a pair of semi-circular jardinieres of " Cambrian pottery," beautifully painted with birds, butterflies, caterpillars, vine leaves and grapes, on dark brown ground; in the Collection of Mr. A. W. Franks. Young also decorated the " opaque china," and was occasionally en- gaged at Nantgarw ; it has been stated that he left the Cam- brian works and joined Billingsley and Walker at Nantgarw. Swansea. Previous to 1802, the firm was styled as here shown, but we do not haynes, DiLLWYN, & Co. j^^ow whcn Mr. Louis Weston Dillwyn CAMBRIAN POTTERY, joined it. A trade card of this period in our possession, has a view of the works engraved in the centre, as they appeared about 1800. Swansea. This ware was introduced about 18 10, and was remarkable for the beautiful delineation of birds, butterflies, and shells, with which it was decorated. The word Swansea is frequently found impressed on the ware, or stencilled in red. The porcelain of this time (18 15) is distinguished by its fine quality, and the pattern is usually pink roses with designs and borders in gold. These two marks are separately im- pressed on two porcelain plates of the same service, painted with bouquets and DILLWYN <^C^| groups of flowers in the centre. In the possession of Mr. A. W. Franks. SWANSEA. OPAQUE CHINA. SWANSEA. Swansea. l>gWAN>SEAl 7i8 POTTERY AND PORCELAIN —WALES. Swansea. The mark of a trident was adopted on some supposed improvement in the ware. The word Swansea and a trident are impressed on three feet of a sugar basin, of white porcelain, in the possession of Mr. G. Cavallo. These marks, impressed without colour, are on a porcelain basin and dish, painted with detached pink roses and green leaves on gold moss. Wales ? This appears to be a mark of the principality, but whether the firm of C. Heathcote & Co. was actually established here or in Staffordshire we have no information. The feathers and Cambria may refer to the pattern or to the clay, as the words " Cambrian Argil " were used by Mason of Lane Delph (see p. 534). A specimen, with the name only is in the Liverpool Museum. Nantgarw (Glamorganshire). This porcelain manufactory was established in 18 13, by Billingsley, a celebrated flower painter of Derby ; he served his time to Mr. Duesbury for five years, from 1774 to 1779, and probably left there about 1785. In some of the early Derby pattern books, mentioned by Mr. Binns, now at Worcester, is frequently written to be painted with Billingsley's flowers," so that he was a desir- able workman at that time. He was not only a first-class painter, but he thoroughly understood the manufacture of por- celain in all its branches. In 1795 he established a porcelain manufactory at Pinxton, in partnership with a Mr. John Coke, here he remained about five years, dissolving partnership in 1800, but the works were continued until 18 12. In 1800 we find him superintending a small decorating establishment at PORCELAIN WALES. 719 Mansfield, where he remained for four years. In 1804 he was at Torksey, in Lincolnshire, engaged in a manufactory there. Mr. Marryat says he married a daughter of Mr. Landers, the banker, and for some time carried on the business of a painter on glass at Bristol ; if so, it must have been between this and 181 1, for in that year he was engaged by Messrs. Flight and Barr, of Worcester, in the mixing room, until 18 13, when he left, probably in consequence of Mr. Barr's death. His son- in-law Walker, was also at the Worcester works, and made some great improvements ; he introduced that most important invention, the Reverberating enamel kiln, already in use at London and Derby ; the method of building this kiln was kept secret, Walker always working at night to complete it. In 18 13, Billingsley and Walker left Worcester to establish a porcelain manufactory at Nantgarw. Here they produced some very fine porcelain, of the same peculiar character as that of Pinxton, with a sort of vitreous appearance and a granulated fracture like lump sugar, which being very soft paste would not in all cases stand the heat of the kiln ; some of the early pieces are consequently frequently found cracked on the glaze, or slightly warped and bent. The Nantgarw porcelain was of remarkably fine body and texture, but its production was expensive ; specimens are scarce and command high prices. There was a great demand for it in London ; it is said that Mr. Mortlock contracted to take the whole of his china in its white state to decorate it in London.* Mr. Rose having previously supplied the same gentleman, became annoyed, and purchased both the Nant- garw works and Billingsley's services at the same time. It was about the year 1820 that the porcelain manufacture at Nantgarw was discontinued, Billingsley and Walker having disposed of their interest in the concern to Mr. J. Rose, the * Mr. Bemrose, Jun.. of Derby, writes that Webster, a Derby painter, painted quantities of Nantgarw china in London, for Mortlock, of Oxford Street, who purchased all that Billingsley made at this time in the white glazed state ; it was fired after being painted by Robins and Randall, enamellers, of Spa Fields. Both Robins and Randall worked at one time at Derby, and also at Pinxton. The former was a Pinxton man, the latter was from the Caughley works. 720 PORCELAIN WALES. moulds and everything connected with the works were removed to Coalport, and they superintended them until Billingsley's death, which happened in 1828, when Walker went to Ame- rica and established a pottery there. The mark is sometimes painted, but more frequently impressed. Sometimes NANTGARW. ^.^^ q are found stamped under, which may perhaps mean china works. Nantgarw. This mark, in red, is on a porcelain jug of this manufactory. It has a fine glaze, and is of a glassy appearance, crazed and shaky from the |. heat of the kiln ; ornamented with raised I and painted flowers ; in Mr. E. Greaves' %A^o 6 Collection. Dr. Diamond has part of a tea service painted in landscapes with this mark. f relanli — ♦ — DUBLIN. E have no history of the manufactories of pottery in Ireland, although there must necessarily have been many in existence from the earliest times, but they have fallen into oblivion, and even during the XVII Ith Century we have been unable to find scarcely any record of them. It is to be hoped some antiquary of Erin will turn his attention to the subject, and endeavour to identify the specimens, of which there must be many extant. The following letters from Mr. Henry Delamain, of the India Warehouse, Abbey Street, Dublin, to Mr. William Stringfellow, at the Delft Manufactory, in the Strand, Dublin, are of sufficient interest, we think, to give them entire. They are dated Dec. 1753, and Jan. 1754, and relate to the use of coals in heating potters' kilns instead of wood or turf, which Delamain states he had successfully adopted to his own manu- factory. His aim appears to have been to obtain a reward from Parliament for his discovery, but it seems doubtful whether he was successful. Stringfellow, we may infer, was actually in his service, at least under great obligations to him. Coal was used at Lille in 1784, and at Arras in 1785, but we do not think it was used, even in England, where coals are more plentiful, before the date of Delaniain's letters. The first letter is from Delamain to Stringfellow, dated 19th Dec, 1753 •— " Dear Sir— I was obliged to go for England at an hour's warnnig, there- fore had not time to bid you farewell, or settle any of my affairs. In my way 722 POTTERY DUBITN. to London I called at Liverpoole, where I was advised to petition the Parlia- ment, of England for a reward, for having burnt and glazed delft ware with coals^ and at the same time to get the magistrates and Corporation of Liver- poole to back my petition and to get the potters here to joyne them, all which I have effected, but some of the potters doubt the success of our large kiln, which I have assured them has answered as well as the small one did, and that it was twice burnt before I left Dublin, as they are in correspondence with you, they say you gave them no such information, therefore they will write to you by this post, to know whether it was twice burnt before I left Dublin and how it succeeds ; therefore I beg you will answer them by return of the post, that it was burnt before I left Dublin, with perfect ware, which turn'd out as well as ever it was done with tiirf and wood^ and that you have burnt it since I left Ireland, and that it answers to all our wishes, and that not a bitt of ware was smoaked, but all white and better glazed than ever you saw it done with zvood or turf. " Suppose it has happened quite the i-everse, do you write what I desire you for your own advantage as well as my credit, for I have set them all on fire to burn their ware with coals, and have come into this agreement with them, that you are to come over to build their kilns, for which they all promise to pay you handsomely ; some offered me money, but I told them if they gave me ;£^5oo. I would not touch a penny of it, but that it should be all for you ; all that I desired of them was to back my petition to Parliament with the Mayor and Corporation, which they have promised to do, provided the great kiln turns out well, which they doubt, therefore by all means answer to them by return of the post all you can say in its favour, and more if necessary, for I know we shall make it do, as well as the little one. It's the opinion of most people here the Parliament of England wont do anything for me, it being unusual, and this branch of trade -thought nothing of by them; let that be as it will, I have push'd on your affaires here much better than ever you could do it yourself, and hope you will receive a large sum from them. " I shall make what haste I can to Dublin, and be assured I will settle all your affaires to your satisfaction, and beg you will push on my business in the interim. They don't want you here these two months, before which time I hope to be in Dublin. Don't let any one know in Liverpoole I wrote to you on this subject. I beg to hear from you, directed to me, to George Fitz- gerald, Esq., London. Let me know how everything goes on since I parted. My respects to Mr. Hornby, Mr. Shee, &c. Pray let me hear from you by return of the post, and let me know what's wanting for the manufactory, and whether the front of the house is finish'd. " I am, &c. Henry Delamain. " To Mr. Wm. Stringfellow, the Delft Manufactory, in the Strand, Dublin." POTTERY DUBLIN. The next letter to which I shall refer is written by Mr. Delamain to his wife, dated i8th Dec, 1753, giving her directions to see Stringfellow immediately, and " beg him to write to Liverpoole this night and say, right or wrong, that the large kiln was burnt twice before I left Ireland and once since, and that it succeeds so well that not a bit of ware was smoaked, and that it glazes the ware better than turf and wood, and makes it harder and less subject to peel, and that about 2 tons or tons of coals will burn it." He concludes, " I shall go to London this day, and shall call in my way at Wor'ster to see the fine new manufactory," &c. This letter is addressed to Mrs. Mary Delamain, at the India Warehouse, Abbey Street, Dublin. The next letter is dated the 9th Jan. 1753, o.s., which corresponds with Jan. 1754 : — " Sir — I am glad you're safe arrived in England, and am surpriz'd you did not receive my 2nd letter before you parted. The gentlemen of Liverpoole will assure you, if they do me justice, that I beg'd nothing from them but to gratifye you for the trouble you may be at to build kilns and to sign a petition for me to Parliament, which can by no means prejudice you or them. I am informed this post they refuse to sign the petition, which I think ungratefull, for this secret would never have been found out only for me, who, contrary to your opinion and all others, I persued the scheme to bum with coal, which several of the workmen of my manufacturie made oath of, before I left Ireland, and which is confirmed by the votes of the House of Commons of Ireland. As it has been always my intention to serve you and settle you master of the manufactorie, and that I have freed you from all your troubles, it will be the highest ingratitude of you to do anything to my disadvantage, therefore beg you will not enter in any agreement with the manufacturers at Liverpoole till my affair is decided in the House of Commons of England, which will be done in a few days, for if you do it without my approbation, the consequence may be your ruin, and perhaps won't hurt me, and there's no money they can give you, can recompense the loss it may be to me, and I am both able and willing to pay you any sum they will give you, and even more. I now make it my request to you, that you will not inform them any part of the secret, and declare to them you never will, unless they sign my petition ; and if the Par- liament grants me a sum for this, whatever they have agreed to give you I will immediately pay you down in cash that sum, which I promise by these presents, and also you will be recompensed by one man in London more to build him a kiln than all the people of Liverpoole together will give you. A A A 2 724 POTTERY DUBLIN. I have great friends here, and a strong interest is making for me, therefore entreat you will not do anything to hurt me, as soon as my affair is decided in Liverpoole you must come up to London, where we will settle all our affairs, and as soon as the kilns are built and properly burnt, we must go to France together, on some extraordinary affairs to both our advantage; in the interim I will continue y'r guinea a week to y'r wife 'till our return to Dublin. Inclosed I send you a draught for five pounds, and beg you will get my petition signed with an absolute promise that as soon as my affair is settled in Parliament, that you will build their kilns, and do them all the service in your power, but 'till then you cant do anything. As soon as the Pet'n is signed, which must be done immediately, come up to me to London the next day, as fast as you can, you will perhaps get a horse at Liverpoole for London, if not, hire one to Warrington, and come up in the Stage Coach to London ; you must leave Liverppole on Sunday next to go to Warrington in the Monday's Stage, or you will be too late ; if you can hire a good horse, you will be in London sooner than in the Stage; if you can't, don't miss the Monday's Warrington Stage Coach, for I want you much here on several accounts, and as soon as my affair in Parliament is over, we can set people to work both here and at Liverpoole not to lose time, for we must go to Paris as soon as possible. Write to me Saturday's post what is done, and don't let any one in Liverpoole know y're coming to London. As soon as you arrive get a Porter or a Coach to shew you the way to Mr. Chiltons, a periwig maker, in Porter Street, near Newport Ally, just by St. Martin's Lane or Newport Market ; if I am not at home there's a Tavern next door to me where you may sup, and I have had a bed for you this fortnight past at my own lodgings ; don't let your wife know anything of your going to Paris for fear she should inform mine, which I don't chuse should know it ; be assured while we are absent she shan't want for any thing. By all means get the petition signed, and send it me by Saturday's post. Apply to Mr. John Hardman, who is my friend, about it. '* I do assure you the manufacturers of Liverpoole, as I am well informed, have no other intention to serve you, but to get the secret out of you, and then to take you as a journeyman painter, therefore take care what you do, or this affair may be your perdition, but agreeing to what I would have you do, you can't fail of making your advantage of it, let things turn as they will. Since I wrote the above, I have consulted with one of the Members of Parliament of Liverpoole, who thinks it better you should not leave Liverpoole in so great a hurry after the petition is signed, for they are jealous people, and may raise numbers of false conjectures to my prejudice, therefore, don't come up to London 'till you hear further from me, unless you think your leaving the town will not hurt me, for I want you much, and wish you was here this moment, but would not chuse either of us should do any thing to disoblige the manu- facturers at Liverpoole, therefore, let us act with prudence, which will turn to both our advantage. I have wrote this post that your wife may receive a guinea every Saturday night till we return, and that all care may be taken of POTTERY DUBLIN. her and the children if wanted. As soon as you receive this, go with the inclosed bill to Mr. Sandford, Mr. Gibson will shew you where he lives, and he will pay you five pounds English on sight. I will in a few days send you down a letter of credit, in case you want more money, that you may take it up without writing to me or drawing for it. *' Pray observe what I have wrote, and don't do anything with the people of Liverpoole without my consent ; I shall write to you constantly how my affairs go on in Parliament ; push the manufacturers to sign my petition without delay, write to me every post what occurs ; I believe I shall receive my money in Holland, as soon as we get over. " I am, dear Sir, your assured friend, &c., " Henry Delamain. " To Mr. Stringfellow." It seems from the following letter, that his kindness to Stringfellow, in settling his affairs, was but ill repaid, for he handed the preceding letters, written by Delamain, to the Committee appointed by Parliament to investigate his claim for the reward, which circumstance doubtless proved fatal to his cause, so far, at least, as the Parliamentary grant was concerned. "Liverpool, February 12, 1754. " My Lord, — I have only to enclose your lordship the two letters of Uela- main's own writing, and I have had Mr. Stringfellow with me, and said a good deal to him about keeping them from the Committee ; he says the reason was that Delamain made him promise not to produce them, if possible to avoid it, or he would not sign his release, and when Delamain sent that order down here he knew Stringfellow had them ; I shall also enclose you another of his letters to him. ** I hope this may prevent Stringfellow's coming up again, and that the original letters may do, no doubt Delamain will own them his own. Stringfellow says he would not have come but he waited on your Lordship first, and you advised him not to come without release, which he obtained from Delamain, and he gave him Two Guineas to bear his charges, and he had no money to support himself longer than that. I fancy you had as good close the Committee, and excuse his appearing ; however, I show'd him Sir Ch. Mordaunt's order for his appearance there. " I am my Lord, " Your Lordship's m't obd't Serv't, " John Hardman. "To Lord Strange, M.P., London." In Skater's Public Gazdeer, March 11, 1760, the following notice may be found: "Tuesday last died Mrs. Mary Delamain, 726 POTTERY — DUBLIN. widow of the late Captain Henry Delamain, who was the first that brought the earthenware manufacture to perfection in this kingdom; and since his decease, his said widow (endowed with all the virtues of a good Christian, tender parent, and sincere friend), continued it with such advantage to the purchasers as to prevent the further importation of foreign wares, &c." Dublin. The mark in the margin is on an earthenware bowl, like Leeds pot- tery, painted in blue with a landscape on the inside and deep border of pierced intersecting annulets. In the possession of Mr. Stopford, of Drayton House, Northamptonshire, who has also a plate with the same mark. Dublin. Mr. Donovan, of Poolbeg Street, on the Quay, does not appear to have been a manufacturer, but agent for several Staffordshire houses ; among others he was agent for Mason, of Stoke, whose iron-stone china he stamped with his own name. About 1 790 he had a glass manufactory at Rings- end, near Dublin, and he employed a painter to decorate pot- tery, and placed all sorts of fancy and imitation marks on china and earthenware. The mark in the Donovan^ margin is on a porcelain plate, with deep Dublin, rose-coloured border, edged with gold, painted in the centre with a landscape ; in the possession of Mr. C. Villiers Bayly, who has kindly supplied this information. His name occurs on china, bearing the mark of two italic S's interlaced, with the letter M between, an early mark of Minton of Stoke. The name (in Roman capitals as in the margin) is on a black Egyptian ware tea service, with fables of animal^ in relief, the Fox and the grapes, &c., made about DONOVAN. 1800. The tea pot has on the cover a seated female figure, which forms the POTTERY BELFAST. 727 , handle. In imitation of Wedgwood ; the name impressed. In the possession of the Author. Belfast. The following account of the Belfast Potteries has been kindly furnished by Mr. W. Pilkington, F.S.A. :— " A William Sacheverell, that had been Governor of the Isle of Man, made a voyage to lona at that time. An account of it, entitled 'A voyage to I-Columb-Kill, in the year 1688,' was published at London in 1702. Mr. Sacheverell visited Belfast on his way to I-Columb-Kill, and he tells us that ' The new pottery is a pretty curiosity set up by Mr. Smith, the present sove- reign, and his predecessor, Capt. Leather, a man of great ingenuity.' " This Belfast Pottery is also mentioned by Doctor, afterwards Sir Thomas Molyneux, Bart., in a manuscript description of a journey he made from Dublin to the Giant's Causeway, in 1708. This manuscript is in Trinity Col- lege, Dublin ; but, by the kind permission of Dr. Todd, I am now preparing it, with some others of a similar kind, for the press. Speaking of Belfast, Molyneux says : ' Here we saw a very good manufacture of earthenware, which comes nearest to delft of any made in Ireland, and really is not much short of it. It is very clear and pretty, and universally used in the North ; and I think not so much owing to any peculiar happiness in the clay, but rather to the manner of beating and mixing it up.' " The next pottery that I have any notice of was one set up by the late Victor Coates, and Lagan ville, long before he established the well-known foundry at the same place. I have seen a coarse kind of delft, said to have been made at those works, though I have been traditionally assured that there was only red pot ware made thereat. Mr. Coates' son is still alive, and may give us some information on that subject, which is not an uninteresting one. On Williamson's map of Belfast, surveyed in 1791, and republished a few years ago by the Messrs. Ward, of Donegall Place, we may find * Coates' Pottery ' marked down on the site of the present foundry, and, next to it, we may see the words ' China Manufactory.' The partners in this Belfast China Manu- factory were — Thomas Gregg, Samuel Stephenson, and John Ashmore. That they carried on the manufacture of china there for some years is certain ; for, on Jan. 29, 1793, the Earl of Hillsborough presented a petition from them to the Irish House of Commons. The original petition may be seen in the journals of the House. In it, the petitioners state that, recognizing the great advantages arising from a manufacture of Queen's ware, and other fine kinds of ware, such as are made in Staffordshire, they united themselves into a company for producing such wares in Ireland, and by their exertions had carried this manufacture to a greater perfection in the County of Down, near Belfast, than was ever known in this kingdom ; that they had been at great expense in erecting buildings, and important machinery, and in bringing work- men from foreign places ; that the difference in the prices of coal between Belfast and Staffordshire had greatly exceeded their expectations ; and they 728 POTTERY AND PORCELAIN BELLEEK. now prayed for pecuniary aid. A committee, consisting of the Earl of Hills- borough, Mr. Johnson, and others, was immediately appointed by the House to report on the petition ; and on the 2nd of February they reported that the petitioners had fully proved their allegations. The report was then ordered to be laid on the table ; but it does not appear that anything was done further on the matter. " Thus we see that the price of coals in Ireland was the principal obstacle to the success of the Belfast China Manufactory, as it has been to our Irish glass manufacturers ; and even at Plymouth, Cookworthy, the first maker of hard paste porcelain in England, was obliged to give up his works there for the very same reason — the price of coals absorbed the profits of the manu- facture. A lady in Belfast has several specimens of this manufacture : one, a teapot of Queen's ware, is decorated with the figures of two armed volunteers, dressed in the imposing uniform of the First Belfast Company; one volunteer is in the position of ' shoulder arms,' the other at ' charge bayonets ' ; underneath them are the words, ' For my Country.' On another teapot, of similar manufacture, are the words, ' Martha M'Clelland,' it being formerly a usual mode at the potteries of thus burning in, as it was technically called, the names of persons to whom articles of ceramic ware were presented. These two tea pots have a history — a regular pedigree it may be termed — and they are, undoubtedly, of Belfast manufacture. A third teapot, in the possession of the same lady, is of pure porcelain, painted in blue en camaieu." Belleek. Lough Erne, County Fermanagh. About fifteen years since, some clays, suitable for making both fine pottery or stone ware, as well as porcelain, were discovered on the estate of John Caldwell Bloomfield, Esq. of which Belleek forms a portion. Mr. R. W. Armstrong, of London, after a series of experiments, in a few years succeeded in bringing the materials into working order ; and in conjunction with Mr. D. McBirney, a merchant of Dublin, embarked, in the year 1857, in the manufacture of ceramic wares — known as the firm of D. McBirney and Co., under the immediate super- intendence of Mr. Armstrong. The principal manufactures were of a useful character, such as dinner, breakfast, and toilet services ; it is only within the last few years that the more artistic productions in porcelain have been developed. We were first made acquainted with these at the Dublin Exhibition in 1865, since which time great advances have been made, both in the modelling and finishing of the decorative pieces. POTTERY AND PORCELAIN — BELLEEK. YOUGHAL. 729 The leading characteristics of design are marine subjects such as dolphins, sea-horses, tritons, nereids, aquatic plants, shells. The Sea Urchin, coral and rockwork ; these are pro- duced in Parian or biscuit, and a creamy porcelain like ivory ; also covered with a glittering irridescent glaze like mother-of- pearl, similar to that of Brianchon of Paris, who took out a patent in this country in 1857, and the term of which has now expired. The mark is printed or stencilled upon the ware in red, brown, or green, and represents one of the Irish round towers, the harp and a greyhound, as well as the three-leaved shamrock. For a more detailed account of these works, the reader is referred to the Art Journal for May, 1869. YouGHAL, near Cork. A manufactory of brown w^are was established here many years ago, and is still carried on. ^cotlanli. orto-Bello, near Edinburgh. This name is found on earthenware dinner and dessert services, usually with yellow designs, leaves, &c., on a chocolate ground; of the end of the XVIIIth Century. There are some specimens in the Collection of SCOTT Lord Mansfield, and in that of the BROTHERS. Rev. Robert Pulleine, of Kirkby Wiske, Yorkshire. In the London Chronicle of 1755 we read: ''Yesterday, four persons, well skilled in the making British china, were engaged for Scotland, where a new porcelain manufacture is going to be established in the manner of that now carried on at Chelsea, Stratford, and Bow." Whether this porcelain manufactory was successfully estab- lished, and in what part of Scotland it was situated, we have no information. America HE scheme of establishing potteries in North America appears to have caused considerable anxiety to Wedgwood, although, as proved by subsequent experience, his fears were entirely groundless. He writes to his patron, Sir W. Meredith, about the year 1765, as follows : " Permit me, Sir, to mention a circumstance of a more public nature, -which greatly alarms us in this neighbourhood. The bulk of our particular manufactories are, you know, exported to foreign markets, for our home consumption is very trifling in comparison to what is sent abroad ; and the principal of these markets are the Continent and Islands of North America. To the Continent we send an amazing quantity of white stone ware and some of the finer kinds, but for the Islands we can- not make anything too rich and costly. This trade to our Colonies we are apprehensive of losing in a few years, as they have set on foot some pot-works there already, and have at this time an agent amongst us hiring a number of our hands for establishing new pot-works in South Carolina, having got one of our insolvent master potters there to conduct them. They have every material there, equal if not superior to our own, for carrying on that manufacture ; and as the necessaries of life, and consequently the price of labour amongst us are daily advancing, it is highly probable that more will follow them, and join their brother artists and manufacturers of every class, who are from all quarters taking a rapid flight indeed the same way ! Whether this can be remedied is out of our 732 POTTERY AND PORCELAIN AMERICA. Sphere to know, but we cannot help apprehending such conse- quences from these emigrations as make us very uneasy for our trade and our posterity." — Meteyard's Life of Wedgwood, vol. i, p. 367- In a newspaper of June 20, 1766, we read: ''On Friday last the Society for the Encouragement of Arts, Manufactures, and Commerce gave a gold medal, engraved by Mr. Pingo, the following inscription being engraved thereon : — To Mr. Samuel Bowen, 1 766, for his useful observations in China and industrious application of them in Georgia!' In Jan. 1 771, a paragraph states: "The Philadelphians have established a china manufactory. In time they will serve North America, and prevent the exportation of our English china ware." And in the Edinburgh Weekly Maga- zine of Jan., 1 771 : By a letter from Philadelphia we are informed that a large china manufactory is established there, and that better china cups and saucers are made there than at Bow or Stratford. A.D. 1800, Jan. 20. Isaac Sandford, of Hartford, Con- necticut, North America, took out a patent for "a new method of manufacturing and making bricks, tiles and pottery ware in general, and of discharging the moulds used therein.'' ENGLISH ENAMEL. ♦ BATTERSEA. HE manufacture of Enamel was established at York House, Battersea, about 1 750, by Stephen Theodore Janssen, Esq. He was the son of Sir Theodore Janssen, an eminent merchant of London, who left France several years before the persecution of the Protestants, and improved a fortune of 20,000. given him by his father to upwards of ^300,000., but in the year 1720 he lost above ^50,000. by the bursting of the South Sea bubble, and being a director of the Company was compelled to pay, by an ex post facto law, above ^220,000., near one-half real estate, for the relief of the proprietors. It was therefore by this Act that in 1 72 1 the particulars and inventory of all the personal estate of Sir Theodore Janssen was published. He appears, however, to have retained his estate at Battersea, called York Place, as Sir Theodore Janssen's estate is notified in a large plan of London and Westminister by Rocque, made between i 741 and 1 756, being next but one to the Duchess of Marlborough's. It was here that the manufacture of enamels was afterwards carried on by his son. Sir Theodore Janssen died at the advanced age of 90, at Wimbledon, in 1 748, leaving five sons and three daughters. In the Gentlenia7is Magazme for that year are some verses to his memory. The eldest son, Abra- ham, succeeded him in the title, and died in 1 765 ; he was succeeded by his brother Henry, who expired at Paris in 1767. The third son, Stephen Theodore Janssen, was a stationer in St. Paul's Church-yard ; he became Alderman and was elected 734 ENAMEL BATTERSEA. Sheriff in 1749, the year after his fathers death. In 1750 he married the daughter of Col. Soulegre, of Antigua, who in the following year gave birth to a son. In 1754 he was Lord Mayor of London. In 1756 he became bankrupt, and all his effects were sold by auction. In 1765 he was elected Cham- berlain of London, and on the decease of his brother Sir Henry, in 1767, the title descended to him. In 1777 his death is thus recorded in the Gentle^nan s Magazine : " Died, Sir Stephen Theodore Janssen, late Chamberlain of London, a gentleman respected for his many public and private virtues." The manufactory was established about the year 1750. The earliest notice we find is in a letter, dated Strawberry Hill, Sept. 18, 1755, from Horace Walpole to his friend Richard Bentley, in which he says : " I shall send you a trifling snuff box, only as a sample of the new manufacture at Battersea, which is done with copper plates." He here alludes to the transfer of impressions from copper plates to the surface of enamel. These impressions were usuallly in red or black ink, and consisted of landscapes and figures, vases, flowers, birds, &c., as well as portraits of celebrated characters of George II.'s reign. Horace Walpole had three : George II.; his son, Frederick Prince of Wales; and another not described, stated in his catalogue ( 1 784, p. 16), as being made at Battersea : "It was a manufacture, stamped with a copper plate, supported by Alderman Janssen, but failed." Other patterns and devices beside transfer printing were adopted, and specimens of old Battersea enamel are frequently met with, but attributed to Germany. They may be easily recognized by the style and fashion of them, in all colours, especially a peculiar pink or rose-coloured enamel, painted with small flowers and gilt borders, — candlesticks of elegant form ; round salt cellars, resting on three or four small claw feet ; snuff boxes ; patch boxes, with polished steel mirrors inside the covers ; toothpick cases ; bottle tickets, &c. Smith, in his Life of Nollekens, speaking of Ravenet says : "He was employed to engrave copper plates for the manu- factories then in high estimation in Chelsea, under the direction ENAMEL BATTERSEA. 735 of Sir Stephen Janssen, from which the articles were stamped, consisting of scrolls, foliage, shells, portrait subjects, and figures of every description; of some of these productions I have seen impressions on paper, and they as well as everything from the hand of Ravenet, do him much credit." The same authority, speaking of John Hall, says : When a lad he painted ornaments upon china for the manufactories at Chelsea, and Sir Stephen Janssen." Bryan {pictionary of Painters, p. 309) says that Hall was placed under the care of Ravenet, with whom was also Ryland at the same time. His first friends in London were Sir Stephen Theodore Jans- sen, and Jonas Hanway, Esq." He also remarks: " There is still extant an admirable pen-and-ink drawing done by him, in imitation of engraving, at the age of i 7." John Hall was born in 1 740, and was apprenticed to Ravenet when fourteen years of age, say in 1754, Ravenet being the engraver for the Battersea works, not the Chelsea (in which respect Smith is wrong). If Hall continued with him nine years, viz. 1763, and then went to Battersea, it is evident the works were continued, as I have stated, for many years after Janssen's bankruptcy. James Gwinn, born in the county of Kildare, came to Lon- don about 1755. Some of his drawings were very neat and imposing, but not true ; he got his livelihood by designs for the lids of snuff boxes, which he did for a manufactory at Battersea, under the direction of Sir Stephen Theodore Jans- sen. He died about 1766 " (^A. Pasqiim s Artists of Irelaiid). From Horace Walpole s account we find that it was a new manufactory in 1755 ; and in the Public Advertiser of March 4th, 1756, in the following advertisement : — " To be sold by auction, by Robert Heath, by order of the Assignees, on Thursday, March 4th, and following days — The genuine household furniture, plate, &c., of Stephen Theodore Janssen, Esq., at his house in St. Paul's Church Yard, consisting of crimson Genoa silk damask, &:c. ; furniture — a carved Indian cabinet, with a variety of fine old Japan, Dresden^ Nankin, and other china ; books, &c. ; a chariot, &c. ; also a quantity of beautiful enamels, coloured and unc oloured, of the new manufactory carried on at York House, Battersea, and never yet exhibited to public view, consisting of snuff-boxes 736 ENAMEL — B ATTERSE A. of all sizes, of a great variety of patterns, of square and oval ; pictures of the Royal Family, History, and other pleasing subjects, very proper objects for the cabinets of the curious ; bottle tickets, with chains, for all sorts of liquors, and of different subjects ; watch cases ; toothpick cases ; coat and sleeve buttons ; crosses and other curiosities, mostly mounted in metal, double gilt." And in June, 1756, the furniture and stock in trade, good- will, &c., was advertised, as follows, for sale, at York House, Battersea : — " To be sold by auction, by order of the assignees, on Monday next, June 8th, 1756, and the following days, at York Place, at Battersea, in Surry — The household furniture and entire stock of Stephen Theodore Janssen, Esq., consisting of a great variety of beautiful enamell'd pictures, snuff-boxes, watch cases, bottle tickets, &c., great variety of blank enamels of various siz€s, copper frames for mounting the unfinished enamels, with all the utensils, &c., belonging, to the manufactory ; also a great number of copper plates, beauti- fully engraved by the best hands ; some hundred dozens of s^ove plates and Dutch tiles, painted and plain, with many other particulars specified in the catalogues, which will be ready to be deliver'd at the house on Friday and Saturday next, the days of viewing, by T. Humphreys, upholsterer, in St. Paul's Church Yard, and by Mr. Chesson, upholsterer, in Fen church Street. The place is most pleasantly situated, with a convenient creek for barges and boats coming up to the house, which has been fitted up at a very great ex- pense, with every conveniency for carrying on the said manufactory, which, if any person should think of continuing, they may be treated with by the assignees before the day of sale." Whether the sale actually took place, or whether it was sold by private contract, we have no information, but we have every reason to believe it was continued for twenty years after, and did not finally cease until about 1 775. Rouquet, a French enamel painter, who resided in England for some years, re- turned to Paris about 1755, when he published a pamphlet, in which he speaks of the progress of printing as applied to enamel work. In reading this advertisement, we find specified among the stock " some hundred dozens of stove plates and Dutch tiles, painted and plain!' It is most improbable that these could have been made of enamelled copper ; nothing could be more unsuitable. Only one inference can therefore be drawn, viz., that the stove plates and Dutch tiles were made of Delft ware. Assuming this to be the case, the plain tiles were probably ENAMEL — BATTERSEA. 737 obtained from Lambeth, and the subjects printed and burnt in at Battersea, which factory alone, at that time possessed the secret. We must bear in mind that the date of this adver- tisement is June, 1756, and the stock had been made perhaps some years before, also that the patent papers of the Liverpool inventor, Sadler, are dated July, 1 756, while the earliest notice of Worcester transfer is Dec. 1757. This opens a new field of conjecture as to the origin of what have hitherto been recognized as Liverpool tiles. Another and still earlier claimant of the invention arises at Battersea. Mr. Binns thinks Robert Hancock was connected with the Battersea enamellers. He has in his possession a Battersea piece marked with his initials " R. H. f. the subject is one (a tea party) which occurs likewise on porcelain. This may serve to show that it was in London, and in connection with the artists before named, that he learned his art ; we cannot, therefore, wonder at the excellence displayed in the engravings transferred to Worcester porcelain. Studying under French artists, he was enabled to catch the spirit which rendered the works of Boucher and Watteau correctly. Lady Charlotte Schreiber has a good collection of all the principal varieties of Battersea enamel, which may, with a little observation, be easily distinguished from the German and other enamels. The pieces with transfer prints are of very artistic character, and their painted enamels are very effective. Among the more important and interesting are the following transfer portraits: George H. ; Prince Frede- rick, his son; George HL when young; the Duke of Cum- berland ; Sir Robert Walpole ; Maria Gunning, Countess of Coventry ; and Elizabeth Gunning, Duchess of Hamilton, afterwards Duchess of Argyll ; Gibbon, &c. An oval Battersea box, with black transfer of the Fortune-tellers. In the foreground is a tablet with a small crescent, probably by Hancock, then at the Worcester Works. Another box, printed with an Almanack for the year 1759, bearing a copy of the Duty Stamp of one penny. It is signed thus : — " Made by Anth. Tregent in Denmark Street." Inside are B B li 738 ENAMEL — BATTERSEA. the words of a French song set to music. Also a table clock, the face of Battersea enamel, painted with scrolls and birds, and name of maker, " James Tregent, Leicester Square, London." There is also a collection of Battersea enamel at the S. Kensington Museum, selected from Mrs. Haliburton's sale in 1868. Lady Charlote Shreiber has favoured us with a sight of a book called The Ladies A^nusement^ which contains engravings of subjects suitable for porcelain ; many of these engravings are transferred on to the Battersea enamels, while others are copied in colours. By comparing specimens from her valuable collection, we are enabled to trace many of the designs to their source. Two snuff-boxes, with five paintings of conversations, are seen on one sheet of plates. Other subjects are derived from the same book. This circumstance will serve to convince the most sceptical that Battersea enamel is essentially of English growth, and painted with designs emanating from English artists, also that the English transfer of engravings upon enamel are by English engravers. And I think, from close observation, we may also come to the conclusion, that many of the identical engravings in this book have been transferred, not only on to the Battersea enamel but on to the Worcester china. We may refer our readers to plates 28 to 38, 56 and 58, of this work, wherein they may recognize many subjects reproduced on Battersea enamel as well as English china, and we may add, on to Liverpool tiles. The following is the title of the book to which we refer : — The Ladies' Amusement ; or, zvkole Art of Japanning made easy, illustrated in upwards of fifteen hundred different designs, on two hundred copper plates, consisting of Flowers, Shells, Figures, Birds, Landscapes, Shipping, Beasts, Vases, Borders, &c., all adapted in the best manner for joining in Groupes or being placed in single Objects. Drawn by Pillement and other masters, and excellently engraved, &c. N.B. — The above Work will be found extremely useful to the Porcelaine and other manufactures depending upon design. London : Printed for Robert Sayer, Map and Printseller, at the Golden Buck, opposite Fetter Lane, Fleet Street." No date. The designs are by the following artists : — Pillement, C. Fenn, A. B., Walker, and Roesel. The engravings are exe- ENAMEL BILSTON. 739 cuted by C. K. Hemerich, R. Hancock, Couse, J. June, P. Benazeck, Elliot, Roberts, and Stevens. The art of enamelling on copper was continued in England long after the close of the Battersea Works. Lady Charlotte Schreiber informs us that she saw at a dealer's in Lower Brook Street, three remarkable pieces of enamel on copper ; a pair of ormolu vases, with dome-shaped enamel tops, painted with rural subjects, beautifully executed, but in rather a debased style of art; one of these was signed W. H. Craft. 1787, the other dated 1788. Also an oval plaque, size 13 in. by i in., the subject of which was Britannia seated, her arm resting on a shield and in her left hand a sceptre, pointing to a triumphal column bearing four medallions, laureated borders, inscribed respectively, " Earl Howe, June i, 1794"; Earl St. Vincent, Feb. 14, 1797"; "Viscount Duncan, Oct. 11, 1797"; " Baron Nelson, Aug. i, 1798." On the other side of the column, a lion trampling on the tricolour flag, and in the background, a man-of-war, &c. It was signed W. H. Craft, mvt. et fecit!' A small enamelled box is painted with a ship, and the words " Brave Nelson is no more." He died in 1805. Another specimen has a portrait of the Duke of Wellington. BILSTON. BiLSTON, Staffordshire. There was a considerable manu- factory of enamel at this place in the latter half of the last century. The products were similar to those of Battersea, but the specimens we have seen are inferior in ornamentation, and we are not aware that they made transfers from engraved plates like the early Battersea. They however carried on a considerable trade in trinkets, snuff boxes, &c., of yellow, pink, green, blue, and other coloured enamels, or plain white, on copper, with medallions of landscapes and figures and fruit, coarsely painted, but effective. In the days when it was the fashion to wear patches, every lady and gentleman carried a small square or oval patch box ; these boxes were generally B B B 2 740 ENAMEL BILSTON. made of enamel, with occasionally polished steel mirrors inside the covers. A few years since a trouvaille of about 2000 of these enamel patch boxes were displayed en pleinjour by a lady in whose house they had been stowed away in cases. The history of them is, that when the manufactory ceased, or rather failed, in consequence of the change of fashion or other causes, about eighty years since, they were taken in lieu of rent by this lady's grandfather. The manufacturers name was George Brett, of Bilston. These were dispersed among the various dealers of London, and may at the present time be purchased for a few shillings each. APPENDIX, UN GUIDE DE L'AMATEUR DE FAIENCES ET DE PORCELAINES." Par A. Demmin. MOST unjustifiable and unprovoked attack having been made upon us by M. Demmin, in the last edition of the above work, who devotes nearly a whole chapter of malignity, vainly endeavouring to disturb our equanimity of temper, and which we would willingly have treated with contempt, had we not felt absolutely compelled to say a few Avords in reply. Even now we will rather content ourselves by quoting the words of one of his own countrymen, showing the estimation in which the man and his book are held among his compatriots in Paris. The following remarks appear in the Gazette des Beaux Arts (vol. vi., page 8i), to which we refer our readers for a more detailed account than we can find space for. Mr. A. Darcel, in reviewing the book, says : — " Nous voulons faire justice d'un pretetidu guide qui, est bien I'ccuvre la plus incroyable qu'un e'diteur, connu jusqu'ici par des oeuvres estimables, ait osd mettre au jour. II s'agit de la nouvelle edition du Guide de V Amateur de Faiences et de Forcelai?ies, par M. Auguste Demmin ; (Edition consid^rablement augment^e pour le malheur de I'auteur et du lecteur ; le nombre des erreurs, des meprises, et des divagations s'y etant accru en proportion des pages." After reviewing the work at great length, and pointing out many of the almost innumerable errors it contains and the general incorrectness of the marks, our reviewer continues : — " Pour les poteries Anglaises, il sufiit de comparer le Guide au livre intitule Marks and Monograms, que M. W. Chaffers vient de publier Londres, pour reconnaitre de quelles eixeurs fourmille le premier, et quelles omissions il a faites. Du reste, voici comment un de nos correspondants Anglais juge le Guide. 742 APPENDIX. M. A, Demmin's book is very pretentious and full of blunders, his marks horribly sketched, and he seems to have no clear recollection of the names of persons, places, or things. His account of the English manufactures is simply ridiculous. ' Farturie?it monies^ nasciiur ridicuhis mus^ Le mot est dur, mais le Guide, avec ses pretentions a I'omniscience et la vanite de ses enseigne- ments, ne le merite-t-il pas ? " In endeavouring to prove the priority of the German Renaissance over the Italian, the propositions Demmin adduces are utterly devoid of truth, and most audaciously presumptive. Here is an example : — " Les motifs du decor principal des faiences Italiennes sont le plus souvent pris dans les oeuvres des maitres Allemands, Flamands, ou Hollandais, et particulierement empruntes k Goltzius. Les plats peints d'apres les cartons de Raphael et d'autres maitres Italiens sont rares." Any collector of maiolica must know the falsity of this assertion. Goltzius was born in 1558, and it is related that he did not paint until he was 40 years of age ; so that whatever was copied from him must belong to the decadence of the art. A ludicrous error, but one not at all uncommon in our Guide, is his trans- formation into the name of a people, an adjective, used by antiquaries to denote the lake dwellings or lacustrine cities, formerly existing on the Swiss lakes. M. Demmin wisely observes : " Les Lacustres etaient les anciens peuples de I'Helvetie." He speaks of Sevres porcelain " de I'epoque de Louis XIV whereas Louis XIV. died in 1715, and the Sevres manufactory was not founded until 1740. Among other inventions, Demmin transforms the words found on a plate, " Cartus Burdig." (Cartus Burdigalensis), the Chartreuse of Bordeaux, into a ceramic painter of that name. In another instance, finding the inscription " Fato in botega di Guido Merlino," and not knowing the meaning of the word botega, he translates it into Bologna ; but such instances of false reading are of frequent occurrence. On another plate he finds the words "Guidon Salvagio," which refers to the subject painted upon it, Guido the Savage, in one of Ariosto's poems. Demmin gravely informs us that it is actually painted by one Guidon di Salvaggio, who with his brother established himself at Antwerp in 1620 — a person existing only in his own imagination. Again, Demmin observes — "J'ai vu un magnifique surtout de table, qui portait I'inscription '■Delia fabrica di Gio. Batta Amonibon (ou Amionibon) ?ialle none di Viceii. An 1755,' que Ton doit traduire : De la fabrique de Jean APPENDIX. 743 Baptiste Amonibon au vieiix noir de Vicence," falsely attributing it to Vicenza. Let us remove the spectacles from his nose and read for ourselves, and we shall find it to be clearly, ''Go. Battista Antonibon all Nove, Decen 1755," made by G. B. Antonibon, at Nove (near Bassano). When our author touches upon English manufactories he is transcendent, and surpasses himself Let us quote a few of the headings from the pretcndu Guide, to give some idea of his absurd mistakes ; but we must apologize to our readers for copying such trash : — " Sandwich. — Faience a email stannifbre et grbs silico alcalin. 1588. Lambeth et Tuham. — Terre cuite et faience a email stannifere. i68o. Liverpool. — Terre de pipe k vernis plombifere et stannifere. 1674. BuRSLEM. — Terre de pipe \ vernis plombifere et \ email stannifere. Daniel Bold, potier. 1766. Sackfield en Shropshire. — Terre de pipe a vernis plombifere et email stannifere. 17 13. AsTBouRG. — Terre de pipe \ vernis plombifere et \ email stannifere- Wedgwood. 1725. AsTBOURG. Porcelaine J?iglais. And in the supplementary additions he says, " II existe aussi des biscuits qui portent la marque Wedgivood dN Bentley. Bow, PRiis Leeds. — Terre cuite h, (^mail stannifere. 1745. Bow ScHELSEA. — Terre de pipe )x. email stannifere et faience \ addition kaolinique dite porcelaine opaque, marked C. B. 1740. Derby (appeM en Angleterre Crown Derby). — Porcelaine \ pate tendre. Dewsburg. — Porcelaine k pate tendre. 1750. WoRCHESTER. — Porcclainc h. pate tendre. 1751. Caugley. — Porcelaine k pate tendre. 1755. Shelton, — Porcelaine k pate dure. Cookworthay . 1765. Bristol. — Porcelaine k pate dure. Wm, Cowks. 1772. CoALPORT. — Porcelaine. Johan?i Turner. 1772. Leeds. — MM. Devonport & Co. fabriquent actuellement k Leeds des porcelain opaques, &c." Perhaps Demmin will inform us in his next edition of the pretendu Guide where are the fabriques of Tuham, Sackfield, Astbourg, Bow near Leeds, Bow Schelsea, and Dewsburg? for none of these places are to be found in our English itineraries ; and who are the potters, Daniel Bold of Burslem, Wedg- wood of Astbourg, Cookworthay of Shelton, Wm. Cowles of Bristol, Johann Turner of Coalport, and Devonport & Co. of Leeds? for we have never heard of such persons at the places here assigned to them. M. A. Jacquemart, who does not once use Demmin's name in his recent 744 APPENDIX. work, Les Merveilles de la Ceramigue, alludes to him, truly indeed, as " im krivain qui a V habitude Vkor'cher les noms et les dates T This is fully exem- plified in the preceding quotations from the pretendu Guide: and M. Darcel says : — " Qu'importent les dates \ M. Demmin ? Quand elles ont passe par ses mains, elles sont plus embrouillees qu'une pelote de laine devidee par un singe." The reviewer continues : — " M. A, Demmin a prouve qu'il ne connait rien \ la chimie et a la techno- logic ceramiques, qu'il est brouille avec la geographic et I'histoire, que Tart lui est etranger, qu'il nie les faits averes pour en inventer d'apocryphes, qu'il supprime de sa pleine autorite ce qui gene ses theories pour y substituer ses billevesees, transportant d'un siecle a un autre, les hommes et les choses, prenant une date pour une enseigne, une boutique pour une ville, un adjectif pour un peuple, et une marque de possession pour un ceramiste. II a prouve* que ses renseignements sont nuls la oii ils ne sont point fautifs. Tout cela parce qu'il ignore ce dont il parle, et parce qu'au lieu de se renseigner pour instruire les autres il se contente d'affirmer ce qu'il pretend, c'est-a-dire que toute la ceramique et tout I'art viennent de I'Allemagne et de la Hollande. C'est le dada ou il s'est mis en selle. " Quelle belle chose qu'un dada alors qu'on I'a solidement enfourche ! Les faits qui se dressent en obstacles, les preuves qui se creusent en fondrieres, les raisonnements qui s'enlacent en halliers, on les escalade, on les franchit, on les rompt. Tout empechement est surmonte ; on va arriver au but, mais la monture surmenee s'abat et brise les reins de son cavalier. C'est ce qui est arrive a M. A. Demmin. Son dada c'est I'ant^riorite de la renaissance Allemande sur I'ltalienne. A cela il sacrifie tout, les temoignages contem- porains, les faits les mieux acquis, les monuments eux-memes. Mais apres ce grand effort, son livre est la risee de ceux qui savent, le trouble DE ceux qui APPRENNENT, ET UN LEURRE POUR CEUX QUI IGNORENT." I N D E X. PAGE A.. .71, 129-232, 234, 258, 364, 365.369, 382, 392, 400-431-432 Aalmes, potter 272 A. B 201, 259, 482 ABAsyuENE (Maclou) 189 Abbey (Richard), potter 551, 552 ABENSBERG, Clay of 245 Abellard, potter 215 Abercorn (Marq. of) Collection 468-470 Abiez (Mautin des) 226 ABRUZZI (Castelli), pottery 124-127 Absolon, potter 641 AC 218 Acetabulum 12 Achard (M.), Archiviste 168 AcHARD (M.), potter 197 AciER (Francois), sculptor 337 AcKKOYD, potter 578 AD J91, 382, 431 Adam (Charles), potter 44°, 450 Adams, painter 559 Adams (Benjamin), potter 530 Adams (John), potter 474 Adams (Robert), potter 474 Adams (William), potter 530, 476, 529 A.D.B 65, 269 Addington (Mr. S.) Collection 60, 69, 93, 99, 447-470, 498 Adler, painter 361 AcRiAENS, potter 267 A.D.T 226 AD. W 254 AE. W 327 A.F 103, 110, 114, 254 AG 325, 327, 393, 433 Agflotrinci (Silvestro d') 96 Agnel (M.), potter 215 Agostino DA Duccio 122 Agostino Ratti 140 Agostino, potter, Savona 139 Agostino Veneziano, engraver 8j7 Agostino 146 Agricola (P. Incha), false reading ... 84, 102 A 1 175, 270 AIEZY, pottery 221 Aigmont Desmares, potter 420 A.l.K 270 Aikin, chemist, quoted 280 AIRE, pottery 154, 207 page AK 267, 270 Aked, John and Anne 579 Albarello, or drug-pot 54 ALBISSOLA, pottery 138-141 Alcock (S.), potter 532 Alcock &c Co., potters 508 ALCORA, pottery 232 ALCORA, porcelain 333 Alders (Thomas), potter 486 Aldred, Mr., of Lowestoft 612-628 Aldrovandi (Carlo) 142 ALENCON, kaolin of 442 Alexander I., Emperor of Russia 392 Alexander II., Emperor of Russia 392 Alexander (Mrs.) Collection 272 ALE. P.F 67 Alfonso I. and II., Dukes of Ferrara. . 135, 136 Alfonso Patanazzi 67 Alhambra 147, 237 Allen (Robert), potter .. 623, 624, 625, 631, 632, 633 Allies, potter 652 Allman and Co. potters 482 ALLONNE, pottery 167 Alluaud, potter 424 Alloncle, painter 454 Alpha and Omega 60 Alphen (Simon Van), potter 249 Alphonsol. and II., Dukes of Ferrara 57, 108 311 ALTENROLHAU, porcelain 348 ALTENROLHAU, pottery 253 ALT HALDENSTEBEN, porcelain 376 ALTWASSER, porcelain 356 AMAND (ST.), pottery 206-207,422 Amand (M. de St.), potter 211 AMANDIERS (Rue des), porcelain 437 AMBLECOT, pottery 471 AMELOT (Rue), porcelain 429, 431 Amenhauser (Conrad ), potter 253 A.MERICA, potteries 731 American clay 676 Amhurst(Mr. A.Tyssen), Collection 60,73, ^5° Amigny Rouy, potter 208 Amphora, Roman 20 Ampulles 44 AMR 93 AMSTEL, porcelain 382, 383 AMSTELVEEN, pottery 260 INDEX. AMSTERDAM, pottery 259, 260 porcelain 382, 383 A-N 253, 348 Anchor marks 141, 222, 235, 244, 251, 326, 327, 410, 582, 603, 604 ANCY-LE-FRANC, pottery 154 ANDENNES, pottery 254 Andre, painter 463 Andre (M.), Collection 223 Andrea di Bono 65, 88 Andrea !e Volaterrano 68 Andreoli (Giorgio) 70-77 Andreoli (Giovanni) . , 70 Andreoli (Pietro) 70 Andreoli (Salimbene) 70 Angelini, artist 495 Angleterre, terre 173 ANGOULEME, porcelain 433, 434 pottery 154, 205 Angouleme (Due d') 433 ANJOU GIEY SUR, pottery 230 ANJOU, pottery 230 Annales Dom Colm, quoted 237 ANNET (Chateau d'), pottery 194 Annulet 102 ANSPACH, porcelain 364, 365 Anstatt, potter 193, 419 Antelmy, potter 197 Antiieaume, potter 406 Antheaume, painter 454 ANTHONY'S (St.), pottery 589 Antic (M. Bosc d') 211,224 Antiquities of London 1-5^ Antoinette (Marie) 431 Antonibons, potters .... ill, 1 16-120, 324, 328-330 Antonio of Faenza 135 Antonio of Urbino 133 AO. LASDINR 109 ANTWERP, maiolica introduced at .. 81, 85 A.P 224, 268, 372 Apiello, modeller 318 APK 264, 265 A.P.M.L 267 Apostle mugs 248 Apostles in Porcelain 337 Appel (Joannes den) 267 AP.R 173 APREY, pottery 154, 224 APT, pottery 203 AR 110,173,265,340,410 Arabic numerals' 1. 561 pottery 147 Aranda (Due d') 196, 232, 333 ARB ALETRIERS, Hotel d' 431 Archaeological Journal 25, 34, 35 Ardet Eternum 136 Aretine vases 12, 13 AREZZO, pottery 12, 13 Argyll (Duke of) 680 Ariens Van Hamme, potter 666 Ariminensis 97 Arm holding a sword 348 Armand, painter 440, 454 ARMENTIERES, pottery 221 Armstrong, potter 728 Arnandus (Prince Bishop) 369 PAGE ARNHEIM, porcelain 381 Arnoux (M.), chemist 309, 310 Arnoux (M.), potter 228 Arnoux (M.), quoted 42-2, 448 Arnoux (Veuve), potter 203 ARNSTADT, porcelain 380 pottery 253 Arondel (M.) Collection 3^^, 3^3 ARRAS, porcelain 410 pottery 204 Arrow marks. . . . 374, 431, 560, 572, 579, 641 Artis (E. Tyrell) 15, 16 ARTOIS (Comte d'), porcelain 434 ARV. DE.MILDE 252 Ascanio del fu Guido , . . . . 56 Ashen cups 39 Ashford (Dr.), Collection 648 Askew, painter 597 AsQuiTH (G.), potter 582 ASS 207 AssELYN, painter 263, 454 ASSEN, pottery 250 AsTBURY (Thos.), potter. . 476, 478, 509, 511 AsTLE, painter 565 A.T 263, 580 Athanasius, potter 91 Atrium, Roman Station 124 Attree (Mr.), Collection 126 AUBAGNE, pottery ' 220 AuBERT, painter 454 AuBiEz (Maurin des), potter 411 AuBiN, potter 223 Aubrey's ' Wiltshire,' quoted 655 AUE, kaolin of 320, 335, 336 AuER, painter 362 Auger, modeller 440 AUGSBURG, pottery 246 Augustus of Saxony. 335> 337 Austin, potter 587 AULNAY, pottery 205 Aumale (Due d'), Collection 189 Aussant (M.), Collection 223 AUSTRIA, porcelain 345-3 50 Auvergnat, painter 440 AUXERRE, pottery 221 AVBC 179 AvELLi (Fra Zanto), painter 56, 61 AVH 269 AVIGNON, pottery 168 AVON, pottery 178-179 A.V.S 267 AvissEAU (Victor), potter 229 Axe, a mark 377 Ayoree, an earth so called 488 Aylen (Mr.), Collection 355 Azeglio (Marchese d'). Collection 64, 80, 82, 90, 9h 99> 120, 131, 132, 133, 134, 138, 141, 142, 219, 220, 315, 316, 319, 325, 326, 427, 374, 400 Azuleois 148, 237 Azurro Sopra 55 B 69, 90, 92, 191, 220, 234, 258, 266, 361,388,389,399,418,573 BA 7* Bacchus (T.), potter 532 INDEX. 747 PAGE Bachelier, modeller 440 Bacile 54. Bacon, modeller.. .. 597, 668, 669, 679, 688 Baddeley, potter 513 BADEN, porcelain 377 Baglioni (Count), Collection 95 Bagnall (Charles), potter 512 Bagnall, potter 474 Bagniorea 96 BAGNOLE MOUNT 85 Bagshawe (John J.), Collection 412, 494, 534, 536, 580, 581, 587, 588, 590, 592, 650, 651 Baguley (Isaac), potter 586 Baignol, potter 41 9? 4^4 Bailey (C. J. C), potter 660, 665 Bailly, chemist . 440 Bailly (Madame), painter 440 Bailey, potter 518, 522 BAIREUTH, pottery 238 porcelain 363, 364 Baker, potter 53i> 53^ Baldasaro 80 Baldem Mennicken, potter 242 Baldesara Manara, potter . 86 Baldwin Collection, . 318, 320, 334, 347, 349, 354» 364, 367, 368, 369* 370, 373> 374, 375. 391, 393, 395, 399- 404, 407, 4ii, 4-J, 434» 439, 5'8, 534, 53^, 539, 5^4, 572, 587, 605, 606, 642, 643 Bale (Mr.) Collection 90, 91, 106 Ball (Isaac), potter 474 Balls, painter 620, 633 Baltic pottery 235 Bamboo ware 498 Bambrigge (Robert), potter 591 Bancroft (Dr.), quoted 498 Bancroft, painter 597 Bandinel Collection 343, 391, 393, 438 Banks and Turner, potters 523 Banks (Sir Joseph) 610 Bar, painter 454 BARANUFKA, porcelain 395 Barbaroux, potter 197 Barbe Courdray, potter 403 Barberini vase 496 Barbin (F.), painter 463 Barbin (F.), potter 407 Barbizet (Victor), potter 176 Barbosa (Edoardo), quoted 275 Barcella (Stefano), potter 109, 113 BARCELONA, pottery 137, 15° Bardet, painter 440 Barker (Mr. A.) Collection 58, 63, 72, 76, 89, 90, 93, 95, 98, 103, 129, 467-470 Barker (J.), potter 531 Barker (Samuel), potter 580 Barker, painter 565 Barnes (Z. ), potter 551 Bjroni fabrica Nove 1 19, 329, 331 Baroni Giovanni, potter 119, 120 Barr, potter 565-576 Barrachin, potter 432 Barrat, painter 455 Barrk, painter 464 BARRfe, potter 227 Barre Russin, potter 439 page Baretti, quoted i 50 Bartolo (F.), potter 361 Bartolomeo (Terenzio) 105-107 Bar Turc Romano 106 Barwick (John), potter 578 Barytes, sulphate of. 490 Basaltes introduced 488, 498 BASFROY (Rue), pottery 177 Basilewski Collection 66 BASSANO, porcelain 328, 331 pottery 11 5-1 17 Bassford (Nottingham) 590 Bastenaire Daudenart, painter 207 Basto (Pinto), potter 333 (Lawrence), potter 227 Bat printing 569, 570 Batelier, potter 215 Bateman (Lord) Collection 467, 468 Bath (Marquis of) Collection 469 Bathurst, potter 557 Bathwell, potter 482 BATIGNOLLES, pottery 176 Batkin, potter 522 Batoutah (Ibn) quoted 147 BATTERSEA, enamel 567, 733-737 Battista di Francesco 108 Battista (Franco) 94 (Giovanni) 94 Battista of Urbino, painter 66 Baylis, (Mr.), Prior's Bank 6^8 Baudouin, painter 4SS BAVARIA, porcelain 355^-365 pottery 248, 249 Baxter, artist 565 BAYEUX, porcelain '. 420 Bayly (Mr. C. V.) Collection 726 Bayol, potter 214 BAYREUTH, porcelain 363, 364 pottery 238 BAZAS, pottery 154 BB 179, 191 BC 129, 139, 482 BD 455 BE 388 Beacon 137 BEAUMONT LE CHARTIF, potter)^ . . 206 Beaupoil de St. Aulaire 419 Beaupre (Mdlle.), her equipage 444 Beausobre, • Connaissance ' de 233, 390 Beausse, painter 440 BEAUVAIS, pottery 166 Beauvoir (Roger de) Collection ...... 1 10, 113 Beaux Arts Gazette 158, 741, 742 Beccherone (L.), artist 315 BECHAUME, pottery 154 Bechone del Nano 146 Becker (Paul), potter 366 Becquet, painter 409 Bedeaux (}.), painter 209 Beech ( Henry), potter 474 Beech (James), potter 530 Beehive as a mark 5 > 5 Beevers, potter 584 BEILEN, pottery 250 BELFAST, pottery 727 BELGIUM, porcelain 380 pottery 237 INDEX. PAGE EUEN RETIRO, pottery 232 Bellarmin (Cardinal Robert) 48 Bellarmine, a jug so called 36, 46, 48 Bell (W.), potter 581 Bell as a mark 581 BELLE VUE, pottery , 581 BELLEEK, pottery and porcelain 728 BELLEVILLE, porcelain 435 Belliol (Dr.), Collection 141 Bemrose (W., Jun.), Collection. .602, 607, 611 Benbow (Francis) 560 Benedetto, potter 106 Benedict XIII., arms of 325 Bengraf, potter 356, 366 Benoist, potter 224 Benson (Thomas), engineer 478 BENTHAL, pottery 556, 557, 563 Bentley (Thomas), potter 488 Berain, artist 198 Beranger, painter 463 Berbiguer, potter 197 Berge, potter 197 BERGER AC, pottery 154 Berlin Chamber of Arts .. 106, 110, 113, 127, 139, 246 BERLIN, porcelain 351-355 Bernal Collection.. 57-84, 87, 88, 91, 92, loi, 102, 106, 114, 123, 138, 143, 144 Bernard (Jean), potter and librarian .... 159 (M.), potter 439 Bernardinus of Siena 106 Berney (Rev. T.) Collection. . 69, 75, 94, 341 Berrow's * Worcester Journal ' 568, 646 Bert (P. A.), potter 256 Bertet (P.), potter 168 Berthevin, potter 234 Bertin (M.), of Versailles 216 Bertin, potter 167,208 Bertolini, potter lii, 113, 327 Bertrand (P.), painter 455 Bertrand, potter 2109, 214 BESANCON, pottery 154, 194, 229 ^Beschet (A.), potter 181 Besle, modeller 416 Besnard (Ulysse), of Blois 194 Betew, artist ^. 679 BETHUNE, pottery . . 204 Bettignies, potter 387, 422 Beuter (Antonio), author . . 100, 124, 127, 149 Beyerl^ (Baron), potter 193, 416 BFB 574 BFVF 66 BFS 269 B&G 398 B.G 128, 129 Biagio Biasini, potter 136 BiAGio OF Faenza, potter 61, 135 Bianco allatato 135 Bianco-sopra 55 Bienfait, painter 455 BiGouRAT (Claude), potter 189 Bill (John), potter 524 Billingsly, potter .. 561, 562, 565, 597, 598, 609, 610, 718-720 BILSTON, enamel 739 BiNET, painter 440, 455 BiNET (J.), potter 175 PAGE Bing and Grondahl, potters 398 Bingley (T.), potter 585 BiNNS (R. W.), potter 566-576, 614 Biot, potter j8o Birch, potter 536 Birnie (Mc), potter 728 Bird as a mark. . 130,553 Bird (Daniel), potter 476, 529 Bishop, a bowl of , 236 BiSTUGGI, GlOVANNA DAI 8 1 BK 238 BL 138, 254, 255, 375, 389, 408, 414 B la R 412 Blake, potter ^92 Blake (J. Bradley) 491 Blakeway, potter 556 Blake WAY, potter 556 BLC 254 Blanchard Brothers, potters 168 Blanch New China 528 Blankenburg Works 260 Blankers (Ariel), potter 260 Blayney (Rev. Benj.), of Worcester .... 564 Bligh or Bly, potter 619, 620, 633 BLOIS, pottery ; 194, 225 Bloor (R.), potter 596, 608 Blue dragon pattern 558, 562 Blue John 599 Blood (I.), painter . . . 597 Bly (Abel), painter 619-620, 633 BM 86, 91, 24.4 BN 193, 4i7 Boar's Head tavern 47 Boccaleri 108, 123 BoccioNE (J. B.), potter 67 BocH, potter 251, 254, 389 BoDELET, potter 230 Boden (Henry), painter 559 BOHEMIA, porcelain 350 BoHME, painter 352 Bohn (H. G.), Collection .. 59, 84, 191, 315, 334> 344» 377> 39'* 393) 400, 43^» 439> 467, 522, 575) 580 BoiLEAU, potter 440, 441 BoiLEAu, GoLDREE, potter 439 BOIS DEPAUSSE, pottery 154 BOISETTE, porcelain 418 BoizoT, modeller , 446 Boke of Kervyng 40 BOLOGNA, Churches at 85 Bolton (J. & F.), potters 555 BoNcoiRANT, potter 225 BoNDiL, potter 197 Bondil (Dr.), of Moustiers 196 BONDY (Rue de), porcelain . . 433, 434, 435 Bone (Henry), enameller 646, 647 Bones used in porcelain 280, 512, 526 Bonghi (Signor), Collection 125 BONN, pottery 251 BONNAIRE, fabiique de 184 Bonnefoy (A.), potter 215 Bonnet, potter 203 BoNNiET, painter 464 BoNNOT, potter 439 Bono (Andrea di) 65, 88 Book bindings, XVIth Century 159 Boote (T. and R.), potters 507 INDEX. 749 PAGE Booth (Enoch), potter 476, 529, 530 Booth (G. R.), potter 521 Borbone (Carlo) 125 BORDEAUX, porcelain 420, 421 pottery 154, 201 Borgo {San Polo) 62 Borne (H.), potter 188 (Stephanus), potter 258 BoRELLY, potter 141, 142, 216, 220 Borlase, * History of Cornwall,' quoted .. 545 BORGO SAN SEPOLCHRO 146 Bosc, potter 230 Bosc (D'Antic), author 211, 224 BoscH-BuscHMAN, potter 251 BOS^UET-LEZ-SINCENY, pottery .. 211 'Bossu (J.), potter 256 BOTANY BAY, pottery 530 BoTTCHER (J.), potter 335, 336 Boucher, painter 455 BoucoT, painter 455 BouGON, potter 407 BouiLLAT, painter 455 EouLANGER, painter 455 BouLARD (J.), potter 187 BouLLE, artist 198 BOULETS {Rue de) porcelain 428 BouLLEMiER, painter 463 BOULOGNE, pottery 154 BOULOGNE, porcelain 411 BoULONNE (Cassar), potter 204 Bouquet (M. ), painter 177 BouRciER (B.), potter 183 Bourdaloue (note) 48 Bourdon, potter 414 Bourdon Des planches 434 Bourdu {J.), potter j88 BOURG EN BRESSE, pottery 154 BOURG LA REINE, porcelain 412 pottery 154, 224, 225 Bourgoing (Baron), potter. , 226 Bourgouin, potter 223 Bourne (C. ), potter 533 Bourne (W,), potter 476, 531, 532 BOURVALLES, pottery 1 54 BoussEMART (F.), potter 256, 257, 258 BOUT DE MONDE, fabrique 184 Boutciller (Jeanne), tablet of 223 BouTET, potter 221 BOVEY TRACEY, pottery 644 BOW, porcelain 339, 676 679 Bow and arrow mark 693 BowcocKE (John), potter 681-685 Bowman, painter 595, 597 Buwness (Rev. Samuel), Lowestoft .... 638 Boyer, potter 212, 215 Boyle, potter 526, 529, 597 BP 270 BPT 343 BP.M 355 BR 202, 412 Bradbeer (Mr.) Collection 635-640 Bradley (Samuel), Worcester 564 BRADWELL, pottery 508, 509 Brama (Giovanni) 93 Brameld (Dr.) Collection 580 Brameld, potter 585 PAGE Brameld, (J. W.), artist 585, 633 BRAMPTON, pottery 591-592 Brancaleoni arms 70 Brancas Lauraguais, potter 406, 408 Brand (F.), Naples, potter 128 Brandeis, potter 259, 260 BRANDENBURG, porcelain 356 Breage china stone 545 Breicheisen, painter 337 BREITENBACH, porcelain 373, 374 BRESLAU, pottery 238, 246 BREST, pottery 228 Brett (George), enameller 740 Brewer, of Derby, painter 565, 597 Brianchon, potter 437, 438 Brichard (Eloi), potter 441 Bricks 255 Bridden (W.), potter 592 BRIDGNORTH, pottery 558 Bridgwood and Clark, potters 481 Bridgwood, potter 533 Bridgwood (Sampson), potter 524 Briot (Francois), potter 171 Briou (Edme), potter 182 Bris (George), pot er 205 BRISLINGTON, pottery 652 BRISTOL, pottery and porcelain .... 649-652 British pottery 1~52. Bkitton, potter 578 Britton (John), quoted 655, 656 BRIZAMBOURG, pottery j8i Broc de Segange Collection 185, 186,188, 189 Bromley (W.), potter 591 Brongniart, Director, Sevres 6, 89, 93, 129, 139, 158, 194, 230, 42c, 424, 443, 444 Brookes (William), potter 476 BROSELEY, pottery 556, 558 Brouchier, potter 213 Brough, (B. S.), potter 524 Broughton and Co., potters 4S2 Brouwer (Isaac, Justus, and Hugo), potters 264, 266 Brown, of Bow 683 Browne, potter, Lowestoft 612-630 Brown (W.), quoted 611 Brown (Rawdon), quoted 321 Browne, potter (Caughley) 557 Bruhl (Count) 337 Brument, potter 190 Brumng, artist 366 Brunswick (Charles, Duke of) 339 BRUNSWICK, porcelain 366 Brunton & Co., potters 589 Bruschi, modeller 315 Bruslon (Savary de) 261 BRUSSELS, porcelain 388 pottery 255 Brussels Museum 243 Bruyere, potter 211 Bruyn, (G.), potter 2(;6 BT 209, 265 Buccleuch (Duke of) Collection 467 Buchwald, Director 235-236 Buckle (Elizabeth), 1768) 631,635 Bucknall (Robert), potter 474 BUEN RE TIRO, porcelam 332, 333 750 INDEX. BuLiDON, painter 440» 455 Bull (Mr.) Collection 637 Bulletin de Bouquiniste 220 BuLLiARD, potter 194 BuLOL, painter 464 Bulwer, quoted 49 BuNEL, painter 455 BUNTZLAU, pottery 247 BuoNTALENTi (Bernard) 311 BuRGuiN, potter 439 Burn Collection ... 62, 63, 139, 260, 347, 377 537, 592 BuRNAND, potter 378 Burnett, Bow 683 BURSLEM, potteries 471-508 Bust of a man 90 BuscH (Baron) 339 BuscH, potter 370 BuscHMAN (Bosch), potter 251 BuTEUX, painter 455 Butler (Edward), potter 584 Butler (Henri de) 369 Butterfly, as a mark 297 BV 176,244 Byerley (Ihomas), potter 501, 502 Byford (W. and D.), potters 582 ^ 77, 95 CA 200, 400 Cabaret, potter 223 CADBOROUGH, pottery 642 Cades, artist 495 Cadogan (Lord) Collection 343, 531 Caduceus, a mark 341, 426, 537, 571 CAEN, porcelain 419, 420 CAFFAGIOLO, maiolica 100-104 Caffo, potter 116 CAILLOU (Gros), porcelain 431 Caldwell, potter 507 Calle Monteroux, potter 168 Callot's caricatures 198 Calonne (Mons. de) 410 Cambiasi (Luca) 68 Cambis (Comtesse) Collection 96 Cambray, painter 259 CAMBRIAN pottery 713-718 CAMBRIA '. 718 Cambrian Argil , 534 Cambridge (Duke of) Collection 469 Camelford (Lord) 545, 645 Camillo-Fontana 57,135,136 Camillo, of Faenza 135 Camillo, of Urbino 135, 136 Camerlingh ( H. ), potter 256 Campana Collection ... 68, 71, 74, 75, 76, 77, 84, 9i» 95, 98, 105, 121, 144, 145, 150 Campani (Ferdinando 107 Campbell (Colin M.), potter 526 Campori 1 M. », quoted 107, 132, 134, 136 Cancate, potter 424 Candelieri pattern 55 CANDIANA, pottery 120 Cancstrella 5.3 Canigiano 4i7 CoADE, potter 669 Coal used in kilns 69, 386, 410, 721 COALPORT 561-563 CoATES, potter 727 COBLENTZ, pottery 251 COBRIDGE, pottery 532 Cock spurs 581 Cock used as a mark 260 COCKPIT HILL, pottery 592-593 CcEUR d'Acier, potter 437 Coffee of Derby, artist 597, 598 CoiGNARD, painter 209 Coke (John), potter 609 Coins, discovery of 24, 32 Colbert le Grand, his arms 174, 198 COLCHESTER, Roman pottery at 17-21 Cole, painter 565 COLEBROOK DALE 561,563 CoLONESE (F. and G.), potters 130 Collier, potter 644 COLOGNE, pottery 241-245 Roman pottery at 6, 7, 11 COLOMBER T, pottery 204 Colours, preparation of 309, 624 C^omb as a mark 372 CoMBON, potter 197 Comet as a mark 465 Commelin, painter 456 Complin, modeller 597 Conde (Prince de) 406 * Connaisances ' de Beausobre 233, 390 Conrade (Domenique), potter ...139, 183-188 CoNRAHE family 139, 183 Conservatoire de Musique 262 Conyers (J.), antiquary 18, 51 Cook (C), Lowestoft 636 Cook (Henry), potter, Worcester 564 Cook (Richard), Worcester 564 CooKsoN and Hollins, potters 513 CooKWORTHY (William), potter. ..476, 545, 565, 645-649, 676 Coope (Mr. O.), Collection 106 Cooper, artist 633 Cooper (W.), painter 597 Cope and Martin, potters 524 CoPELAND, potter 528, 597 COPENHAGEN, porcelain 397, 398 PAGE COPENHAGEN, pottery 236 Coppa amatoria 54, CoQUEREL, potter 422 CORBEIL, porcelain 411 CoRDEN (W.), painter 597 Cordon (Ralph), potter SS3>586 Cordova, Arms of 334 Cordova, Mosque of 147 CoREB.5;us, potter 1 24 CORENTIN OUIMPER, pottery 228 CORFU, pottery 81 CoRMiE (J.), potter 508 CoRNAiLLE, painter 457 CoRNE, turner 440 Cornwall clay first used 540 CORNWALL, pottery 643 Cornwall tin and pottery 643 Cosel (Comtesse) 341 CossoN, potter 203 Costril 33, 38, 43 Cottier (Andre), potter 435 Cotman's Dictionary 42 Cotton, painter 597 Counterfeit vessels 41 COURBETON, pottery 230 CouRDRAY ( Barbe), potter 403 COURONNES (Rue de Trois), pottery... 174 COURTILLE (De la), porcelain 430 Courtney, potter 608 CouTOURiER, painter 457 CowEN, painter 597 Cowper ^^Countess) Collection 469 Cox (Mr. Roger) 606 Cozzi (Giminiano), potter 324-327 CP 434 Craft (Thomas), potter 680, 699 Craft (W. H.), enameller 739 Crane's head mark 326 Craven (Earl of) Collection .' 187 Crealock (Col. H. Hope) Collection. . . 290, 39 1, ,39^> 393) 394 Creeper, a mark 113 CRIEL, demi porcelain 170,422 Ckemer (M.L.), potter 244 Crescent 129, 158, 560, 570 Crettk (L.), potter 388 CREUSSEN, pottery 248 Cricq, St., potter 170 Criq, (M. de St.), potter 170 Crispe, potter 668-669 CRISTOPHE, St., pottery 132 Croasmen, potter 426 Crock 42 Croi7.ier, potter 204 Cronon. Croc. Fogo 571 Cros, painter 200 Crosa (Paolo) 120 Cross 89, 133, 194, 214, 229, 320, 369 397, 404» 426, 650, 652 Cross I'R. Assheton), Collection 544 Crouch ware 483 CROWN DERBY, porcelain 606, 609 Crowns (three) of Sweden 234, 396, 397 Crowther, potter 678-691 Cruci feres pottery 173 Cruskyn 41 CRUSSOL (Rue de), porcelain 436 INDEX. 753 PAGE CS 2i8, 562 C.S.L 114 CT 361 CV 371, 372 Callings or stone jugs 51 CuLLYN (Abraham), potter 50 Cumberland (Duke of) service 633 Cumberland, Duke of 701 Cups of ash 39 Curtis (Thomas), artist 619, 630, 635 CusTiNE (General), potter... 193, 356, 416, 417 CusTODE (Jehan), potter 184, 188 (Pierre), potter 184 CuTius (Ant. Maria) 141 CuTTs, potter 609, 610 C. We. Dw 400 Cycle (the), a Jacobite Club 604 Cyffle (P. L.), potter 414, 415 D 77> 95> 96, 25^* 263, 270, 413, 603, 606, 608 Dacosta's * History of Fossils ' 714 Daeuber, potter 382 Dagoty (P. L.), potter 419, 438 Dahl, potter 252 Dalmazzoni (A.), artist 493> 495 D'Alva bottles 654 Dam (J.)> potter 272 Damman, potter 205 Daniel (Henry), potter 513, 529 (John), potter 512 (Ralph), potter 476, 532 (Richard), potter 474 (Robert), potter 474 (Thomas), potter 476 DANNIERE, pottery i 54 Dantier, potter 211 DA.PW 269, 271, 272 Darcel quoted 73> 97> ioi> I04> ioS> 1^7 »43> 144, 741-744 Darcet, potter 408 Darnet (Madame) 442 Darte (H. M.), potter 431, 437 Darwin (Dr.) quoted 408 Dastin, potter 434 Daudenart (B.), painter 207 D'Aumale (Due) Collection 189 Dauphin, Manufacture de 386 Daussy (Alex.), painter 209 Davenport, potter 525 Davey, (Mr.) Collection 629, 632 David, painter 464 David, potter 168 Davillier Collection ... 99, 100, 148, 196, 198, 199, 200, 214, 220, 313, 333, 427, 428 Davis, painter 565, 575 potter 564 Dawson, potter 588 DB 234 DD&Co 582 Dear, modeller 597 De Bruge Collection 65,81 Decan, potter . 423 Deck (Theodore), potter 175, 176 Deoel (A.), potter 381 Defranay's poem 155 Dega (MS.) 120 Dejean Collection 192 Delabre, potter 182 De La Cour, artist 689 DE LA COURTILLE, porcelain 430 Delamain, potter 721, 726 Delamarre, potter .. 167 Delange quoted 68, 83, 88, 91, 97, 103 Delannot, potter 206 Delanoue, potter 208 Delaresse (Jean), potter 215 Delarive, painter 378 Delatour (M.) 216 Delatre, turner 440 Delavigne, potter 205 Deleneur (Madame), potter 410 Delessert (M.) Collection 163 DELFT pottery 261, 274 Delft ware, Lambeth 666-670 Dellesette Collection 67, 142 Delinieres, potter 425 Deltuf, potter 430 Delvecchio (F,), potter 129 Demartial, potter 425 Demmin quoted 62, 85, 128, 138, 139, 162, 240, 246, 250, 255, 260, 262, ^63, 273, 359, 383, 569, 741-/44 Demmin, the irrepressible 162 De Moll, potter 380-382 De Monville Collection 77 DENIA, potterv 196 DENIS DE LA CHEVASSE, porcelain... 426 DENMARK, porcelain 396 pottery 233 Dennistoun, quoted 69 D'Entrecolles (Pere) 275 Denuelle, potter 439 DERBY, porcelain 592-609 DERBY CHELSEA, porcelain 603, 605 Derichsweiler, painter 464 De Rivas, potter 424 Deruelle (Pierre), potter 412, 413 DERUTA, maiolica 94 96 Des Abiez (Maurin), potter 226 Desmares (D'Aigmont), potter 420 Desmuralle, painter 207 Desnoyer, painter 440 Destrees, potter 205 DESVRES, pottery 204 Deutsch, painter 416 Devaere, artist 495 Develly, painter 463 Devers (Joseph), potler 176 Deville 184 De Vivy, modeller 559, 597 Dextra, potter 267 Dezon (Fran9ois), potter 175 DG 231, 320 Diamond (Dr.) collection... 126, 138, 142, 143, 144, 218, 349, 410, 507, 515, 536, 538, 549» 567, 573,-576, 588, 603, 6^6, 637, 639, 642, 650, 668, 688, 691,709,711,716,720 Dick's pepper box 543 DiDiER, painter 463 Diepenbroeck (Gronsveldt) 380 Dietrich, potter 337 C C C r 754 INDEX. PAGE DiEu, painter 457 DIEU LE FIT, pottery I54> 203 DIGLIS, pottery 574 DiGNE, potter 174 DiHL (Christopher), potter ^S^, 433, 434 DiHL and GuERHARD, potters 433, 434 DIJON, pottery 154, 230 Dillon (N.), potter 532 Dillon (Talbot), ' Travels ' 149 DiLLWYN, potter 715-718 DiMMocK & Co., potters 521 DIMSDALE, pottery 508 Diomed of Viterbo 99 DioNiGi Marini, potter no, 113 DiscRY, potter 437 DivETT, potter 645 Dixon, potter 587 Dixon (C), Norwich 635 DK 267 DKL 121 D.L 122 DLF 188 DM 268 DOCCIA, porcelain 313, 314 DoDiN, painter 457 Doe (E.) painter 565, 575 Dog as a mark 382 D'OGNES, pottery 208 Doiz (F. M.) 69 Dolphin as a mark 386 Dome of Florence 312 Domenge Tardessir 164 DoMENiGo da Venezia 109, 112 Dommer (George), potter 382 DON, pottery 579, 580 Donaldson, enameller / 566 (J"0-)> artist 566 DONCASTER, pottery 580 DoNiNo Garducci 56 DoNKiN, potter 589 Donovan, potter 726 Donovan's 'Excursions in Wales' 713, 714 DoNTiL, painter 559 DooNE (P. J,), potter 268 DOORNICK (Tournay), pottery 255 Dorez (freres), potters 257, 259, 384, 385, 405 Dossie's ' Handmaid to the Arts ' 678 Dossi (Battista) 135 Dosso Dossi 135 DOUAI, pottery 1 54, 205 Douglas, quoted 346 DouLTON, potter 670 DP 204 DR ; 457 Dragoons (regiment of) bartered 340 Drake (Sir W. R.), quoted 1 11, 116- 11 9, 132, 149,319-327,395 Drand, painter 457 Drapers' Company books 38 DRESDEN, porcelain 335-344 pottery 252 Drolling (Martin), artist 432 Dryander (L. G.), potter 416 DRYHAUSEN, pottery 252 D.S.K 268 DT 457 DV 191, 407 DVDD 267 DVXI 263 Dubarry (Madame) 444 DUBLIN, pottery 721-726 Dubois (freres), potters 410, 414, 431-440 Duccio (Agostino da) 122 DucLUSEAu, painter 463 DucoTE, printer 535 Dudley (Earl of) 708 DuESBURY (John), potter 597 DuESBURY (William), potter 592-609, 708, 711 Dugareau (Chevalier) 419 DuLATTY (Veuve), potter 223 Dumas (Veuve), potter 176 DuMONTiER, potter 168 DuMousTiER, artist 189 DuNDERDALE (David), pottcr 582 DuPAS (Enoch), potter 181 Du Pasquier (Claude) 181, 345 DuPLEssis, modeller 440 of Ne vers, potter 189 Dupuis, potter 345 DURANTE, maiolica 81, 85 DuRANTiNo (Guido) S^j 6i, 62 (Francesco) 62, 83, 85 Durham (Jos.), sculptor 688 Durlacher Collection 284 DuRNFORD Clark, agent 615 Durobrivae of Antoninus 15 Durot (Le Perre), potter 386 DuRosEY, painter 457 DusoLLE, painter 457 DuTANDA, painter 457 Dutch traders to Japan 305 Dutuit Collection 72 DuTTON (Jos.), painter 597 DuYEN, potter 268 DuviviER, modeller 597 DwiGHT (John), potter 242, 478, 653-666 Margaret, (potter) 664 Dwight (Dr.) 664 Dynasties, Chinese 282 DZ 191 E 234» 391 Eagle 355j 364>.365> 45^ Early English pottery 26-52 Earthenware vessel, its ramifications 52 Eastwood, potter 537 EB 400, 436 Ebenstein, painter 388 E.B.S 267 ECHELLE (Rue de 1'), pottery 173 Ecouen (Chateau d') pavement 189 Edge (Samuel), potter 474 Edwards (William) potter 532 Edgworth (Maria), 509 Edkins, Collection 647, 650 Edward II, jugs of the time of 35 IV, Orders and Regulations 39 Edwards (Warner), potter 476> 5^3 E.F 199 EFB 65 Egerton (Sir Philip) Collection 604, 605 Eggebrecht, potter 393 Egyptian (black) ware 498 INDEX. 755 PAGE Ehrenreich, potter 234, 396 Ekaterina II, Empress of Russia 391 ELB 169 ELBOGEN, porcelain 348 Elbow, as a mark - 348 Electric telegraph 485, 487 Elers (J. P. and David), potters 476, 508, 509) 1 Eley, modeller 597 I Elizabeth, Empress of Russia 390, 391 | Elkins, potter 533 j ELLE (L'ISLE D'), pottery 202 \ Ellis (John), potter 475 Ellis (J.), potter 555 Ell. R. PC 80 Ellis (Sir Henry), * Letters ' 45 Elowry, potter 228 Eisner (Dr.), Qhemist 353 Elton (Sir H. M.) Collection 172 ELVANGEN, pottery 249 Email inger9able 174 Emanuel Philibert, D. of Savoy 132 ENAMEL, Battersea 733-739 ENAMEL, Bilston 739 Engel Kran, potter 242 English pottery and porcelain 471-720 [ Ennius Raynerius 144 [ EntrecoUes (Pere D') 275 ; EPERNAY, pottery 166 , EPINAL, pottery 154 ! Ermine, as a mark 526 ESPEDEL, pottery 154 \ ESTE, fayence 142 j EsTiENNE (Nicolas), potter 183 Estienne (Robert), quoted 166 Etienne (St.), Poterat de 190 ETIOLLES, porcelain 411 ETRURIA, pottery 489-502 ' Ettel (G.), modeller 315 ' European porcelain 308 ad finem Evans (Mrs.), Collection 641 Evans, painter 457 EVEQUE (Rue de laVille L'), porcelain... 428 EvERs (Genrit), potter 241 ■ Exmouth (Lord) Collection 5^6, 635 Eydoux, potter 215 ; Eye within a triangle 394 ; F 88, 89, 122, 130, 191, 199, 220, 269, 366, 435 FA 228 Fabre, potter 214 FABRIANO, maiolica 96, 79 j Fabroni (Dr.) quoted 8-12 FAENZA, maiolica 85-93 Faienciers, petition of 154 Falcke (Isaac) Collection 71, 75, 146, 284, 470, 498 Falcon mark 141 Falconnet, modeller 446 Falmouth (Lord) Collection 467 Falot, painter 457 Fanciullacci, chemist 3^5 Fano (Nicolo da) ^2 Farnham Park, clay from 38 Farnsworth (I.), Derby 594 | page Fauchier, potter 215, 220 * Faujas de St. Fond's Travels ' 500 Faulkner's Chelsea 7°^ Fauquet, potter 168, 206, 421 Favorite (Chateau de la) 238, 249, 263 Favot, modeller 416 Fawkner (Sir Everard) 701 Fayard (J. B.), potter 209 Fayence 154-173 Fayence, the process of. 155 * Fayence La ', a poem I55 FB 172, 200, 258, 361 FC 107, 131 FCL 418 FD 93> 191 FDVN 129 Fe I99» ^64 Feathers ^ 146 Feathers, P. of Wales 7^8 Feburier (Jacobus), potter 213, 255, 256, 257, 258 F. G. Ko 91 Fehn (Ter), painter 263 Fell & Co., potters 588 Felspar china 5^6, 527, 562 FELTRO (Monte), pottery 131 Fennell (Thomas), painter 559 FENTON, pottery 531 FEOU-LIANG, History of 276 Feraud, potter 197, 199 Ferdinand de Medicis 143 Ferdinand IV. of Italy 317 Ferdinand VII. of Spain 332 Ferdinando Campani 107 FERMANAGH, pottery 728 FERMIGNANO, maiolica 56 FERRARA, maiolica 134-^37 Ferrat (Freres), potters 197,201 Ferreira, potter 334 Ferriere-Percy (Comte de la) 165 Ferro (Jean), potter 182 FERRYBRIDGE, pottery 583 Fesquet (Veuve), potter 215 Feu, au grand 210 Feu de revcrbere 210 Feuillet, potter 435 FF 191, 253, 319, 369 FGC 66 FI 122 FiASCHi (Angiolo) 315 Fictilia of England 1-52 Field (Mr. Geo.) Collection 163 Figg (Mr. W.) Collection 35 Fillon (Benjn.), of Poictiers 158-164, 181, 182,437 Fiori pattern 54 Fischer (Christian), potter 349 (Morice), potter 349 Fischer (Sigismund), potter 328 Fisher (Thos.) Collection... 522, 527, 530, 536, 579, 580, 582 Fish as a mark 137, 138, 379 Fish-hook, a mark 110,113 Fitzwilliam (Earl) 585 FIZEN (Japan), porcelain 306 FLR 69 FLV 421 C C C 2 756 INDEX. PAGE Flambeaux as marks 430 Flamen Fleury, potter 432 Flan, potter 432 Flavigny, potter 208 Flavigny (M. de), potter 208 Flaxman, artist 494, 495 Fletcher (William), potter 484 Fleur-de-lis 190, 191, 218, 316, 320, 333, 404, 449j Fleury Flamen, potter 432 Fliegel, painter 253 Flight, potters 565-576 Flints calcined 478, 511, 661 Flint ware 529 FLORENCE, porcelain 311,312 pottery 120-122 Florio's Dictionary 43 Flowers used as marks 297 Fluid Glaze 530 Fluor Spar 599 363, 399 F.M. Doiz 69 F.MED.II 312 FOl 106 FOESCY, porcelain 435 Fogg, china dealer 683 Foglie pattern 54 FOLLY, pottery 644 FONTAINE AU ROI (Rue de), porcelain 430 (Rue de), pottery 176 FONT AINBLEAU, porcelain 435 Fontaine, painter 457, 463 FONTAINEBLEAU, pottery 178:179 FONTAINES, SEPT, pottery 136 Fontana (Camillo), potter 57, 135 (Guido), potter 57, 62 (Nicolo), potter 57 (Orazio), potter 57, 63, 132 FoNTEBAsso (Fratelli), potteis 319 FoNTELLiAu, painter 457 Ford, potter 584 FORD, pottery. Foresi (M.) Collection 312, 313 FORGES LES EAUX, pottery 203, 205 Fork as a mark ; 372 FORLI maiolica 98, 99 Forman (Mr. W. H.) Collection 173, 191 Forms of maiolica 61, 66, 81 Fortnum Collection... 104, 109, 112, 153, 312, 3I3j 318 Forrester (G.) Collection 532, 533 Forrester, potter 529 FossELiERE, potter 208 Foster, potter 583 Founders' Company 638 Fountaine Collection ... 57, 62, 64, 67, 71, 73, 76, 88, 92, 93, 95, 102, 109, 112, 160, 162, 172 FouQUE, potter 197 FouQUET, potter 228 FouRMY (Jacques), potter 423 (Mathurin), potter 182, 423 FouRNEAUX, potter 204 FOURNEAUX, pottery 208 FouRNERAT (Nicolas), potter 423 FouRNiER (Pierre), potter 201 Fowkes (Sir Francis) 583 FP 132, 225 F.P.R 132 FR 76, 86, 92, 189, 318, 350, 428, 451 Frain, potter 253 FRANCE, porcelain 402-470 pottery 154-230 France (Manufactures in), 1790 154 Francesco (Battista di) 108 Francesco di Pieragnolo 109 Francesco Durantino 83, 85 Lanfranco 69 Francesco Maria II 53, 143 I. de Medicis 311 Francesco (Niculoso) 100 Francesco Patanazzi 67 OF Pesaro 1 64 • SiLVANO 67 ■ DEL VaSARO 81 r- XaNTO 56, 59-61 Francesco Urbini 96 Francha, potter 128 Francho (Sig), Naples 128 Francis I, King 158, 167 Francis II. of Mantua 135 Ill, Duke 414 Francisco (San) at Siena 105 Franco Battista, painter 94 Francois, modeller 416, 425 Frank, potter 646, 651 FRANKENTHAL, porcelain 359-361 pottery I95» 253 Franks (A. W.) Collection... 106, 153, 188, 320, 325* 375> 39^ 4^6, 566, 578, 668, 710, 717 Frantz (J. T,), potter 272 Frate, potter 94, 95, 96, 136 Fratoddi, artist 495 FRATTA (La), pottery 143 Frederick the Great... 351, 352, 544, 549, 566- 569, 634, 686 Frederick William IV 247 Freeling and Co., potters 535 Freeman (Mr. T.) Collection 634 French sprig pattern 610 Frere (Temple) Collection 695 Frick, potter 353 F.R.T 134 Fruit trenchers 40 Frutti pattern 55 Fry (Francis) Collection 648 Frye (Thomas), potter 676-679 FT 243 FuiNi, painter 125-127 FULDA, porcelain 369 FULHAM, pottery and porcelain 653-666 Fuligati quoted 48 FuMEz, painter 457 Furnasotti (muffle kilns) 118 FURSTENBURG, porcelain 366 FuRSTLER, painter 347 FX 457 FXAR 59 G 7i> io4j "3j 129, 201, 212, 374, 376, 378, 420, 579 GA 7Jj433 GA.FF 319 INDEX. 757 PAGE GAG 139 G.A.M 378 GAR 191 Gaberil Vengobechea 260 Gabice, Giroiamo of 79 Gabriel da Gubbio 77 Gabriel (Nicolo de) 56, 57 Gabry 20S GAFAGIZOTTO, maiolica 103 Gagliardino (Bernardino) 78 Gale (Rev. J. S.) Collection -141 GALIANO, maiolica 104 Galitzin (Prince) Collection 163 Galiardi Collection 76 Gallimore, potter 557 Gallois, modeller 440 Gambier, painter 440 Gambyn (Scipio) 164, 183 Gardie (L.), potter 439 Gardin (Nicholas), potter 191 Gardner (J.), potter 476 Gardner, Moscow potter 393 Garducci, potters 56 Garlandia (John de) 39 Garnet Tynes, potter 49, 241 Garner (Robert), potter 531 Gamier (Dr.) 707 Garret, potter 528 GARRISON, pottery 588 Garsoni (Tomasso) 86 Gaston de Cloves 183 Gatti, potter 81 Gauda, potter 266 Gaudin, potter 167 Gaudry (L. A.), painter 207 Gaumo^t, potter 227 Gautier, potter 1 74 Gay (Pietro), potter 77 Gaze, potter 212 GB 33J, 437, 59i G.B.A.B 119 G.B.F 66, 401 G.D 264 G.V.C 268 G.E 241 Gelz, potter 252, 356 Genese (L.), potter 379 Genest, painter 457 potter 176 GENEVA, porcelain 378 Genlis (Helen de Hangest) 159 GENNEP, pottery 248 GENOA, pottery 137, 138 Genrit Evers 241 Gentile (Maestro) 81 Gentili, painter 125,127 ' Gentleman's Magazine ' 337> 35i> 664 George II., portrait of 549, 568, 573, 647 III., portrait of 3I7> 569 Georget, painter 463 GERA, porcelain 376 Gerard (Louis), potter 224, 461 Gerin, painter 440 GERMANY, porcelain 335-337 GERMANY, pottery 237-254 Gerolamo, of Urbino 67, 139 PAGE GERONA, porcelain 334 Gerrard, painter 457 Gerreault, potter 413 Gervais (Madame) 213 Gesnault (M.) Collection 96, 132 Gesundheitsgeschirr ... , 355 Geyer, potter 233 Geyers and Co., potters 397 G.F.B 537 G.F.G 145 G.H 432 Ghail (F. J.), painter 209 GiAN Antonio, potter 56, 109 GiARiNELLi, modeller 516 GiDE, painter 378 GIEY SUR ANJOU, pottery 230 Gilbert (Laurent), potter 227 GiLBODY (Samuel), potter 548 Gilding, painter 236 Giles, potter 566,680,699 Gill, of Wirksworth, potter 611 Gill (Richard), potter 582 GiLLET, potter 438 Gillingwater's ' Lowestoft ' 612 GiLLio (Maestro), potter 73 GiLLOUN, painter 440 GiNDERs (S.), potter 533 GiNORi, potters 313* 31 6 GioANETTi (Dr.), potter 231 Giordano, modeller 318 Giorgio (Don) 70, 85, 87 (Maestro) 70-77 Vasaio .,. 95 GioviNALE (Tereni), painter 131 Giovanni Battista 94, 145 DAI Bistuggi 81 Maria 82 Andreoli 70 Salvetti 86 GiRARD, painter 458 Girolamo, of Gabice 79 GiROLAMo Lanfranco 68, 78, 79 DELL a RoBBIA 121 Salomone 140 Raffaello 131 of Urbino 67, 139 Giuliano de Medici loi GiuLio Romano 58 Giusti (Giusto) 314 GiusTi (Giovanni) 315 Giustiniani arms 78 GiusTiNiANi, potters 108,129 G.K 271 Gladstone Collection... 313, 330, 331, 335, 373 501, 566, 646 Glass (Joseph), potter 473, 475, 504, 521 Glaumont, potter 205 Glaze, antiquity of 27-30 Glaze, lead ■ 27-30 Glaze printing 476 Glot, potter 223, 409 Glovis, a motto 101 Gluer, painter 240 G.O lyo G.O.B 68 GoDENius, potter 235 INDEX. 758 PAGE Godet, a cup so called .*. 42 GoDiN (Esme), potter 183 Goding (Mr. W.) Collection 470 Godwin (S.), potter 532 GoFFART, turner 440 GOGGINGEN, pottery ... 251 GOINCOURT, pottery 169 Gombron ware I5I> GoMERY, painter 458 GoMON, potter 426 GoNiN, potter 378 Gonzaga, Louis of 183 GooDENOuGH, potter 530 GooDFELLow, potter 482 Goodwin and Orton, potters 524 Goodwin, potter - 508, 554 Gorges, white 664 Gorne (Frederic de) 356 GOSPODINA FABRICA 394 GossE, potter 420 GOTH A, porcelain 376 GOTHENBERG, pottery 235 GoTTSKowsKi, potter 351 Gouellain Collection 190 Gouffier, potter 159 GoujoN (Jean), sculptor 180 GouLDiNG (R.), potter 674, 675 (William), painter 674 GouNOT, potter 184 Gournay (* Tableau General du Commerce') 220- 223 Gourd 33 G.R 4-^3 Graesse (Dr.) quoted 300, 307, 341, 342 Graham, potter 552 Graindorge, potter 386 Grainger (George), potter 576 (Thomas), potter 576 Granby, Marquis of, portrait 569 Grandval, potter 190 Grangel, painter 200 Granite, decomposed 545 Grant, modeller 492 Grapling hook, a mark 113 Gratapaglia, potter 134 Gravant, modeller 440 Greatbach (William), potter 531 Greaves Collection 720 Greber, potter 240 Green and Co., potters 578, 580, 585 Green (Ebenezer), potter 578 Green (Stephen), potter 670 Green (Saville), potter 578 Green (T ), potter 481 (Guy), potter 476, 547, 548 Green pots 38 Greathead (J. and M.) 647 Gregorio (Castelli) 96 Greiner (Gotthelf), potter 371, 372, 373 GREINSTADT, porcelain 359, 361 Grellet, potter 423 Gremont, painter 440> 45 8 GRENADA, maiolica 148 GRENOBLE, pottery 154 Grenouilliere. Palace 490 GRENZHAUSEN, gres 248 PAGE Gres de Cologne 241 de Flandre 241 GRESLEY CHURCH, porcelain 611 Gresley (Sir Nigel), potter 611 Greslou quoted 76, 85, 190, 363, 365 Greybeards 46, 47 Griffin 267, 586 Griffiths, Lowestoft 631 Griffo (Sebastian), potter 165 Grigorovitch Collection 392. Grison, painter 458 Grondahl, potter 398 Gronsgeldt (Count), potter 260, 381 GROSBREITENBACH, porcelain ... 373, 374 GROS CAILLOU, porcelain 431 Qrosdidier, potter 214 Grosse, potter 427 Grosso, painter 136 Groteschi pattern 54 Growan clay 545, 646 Grue, potters 125-127 G.S 95j 140 G.T 440 G.V 95, 145, 371 G. V.V.D 68 GuAGNi (F.), of Turin 133 " GUBBIO, maiolica 70-77 GuBBio (Gabriel da) 77 Guerhard, potter 433) 434 GuERiN, potter 194 Guermeur (Charles), potter 182 GuERRY, potter 425 Guest (Sir Ivor) Collection 643 Guettard, chemist 408) 44^^ GuiCHARD, potter 197, 201, 202 Guide des Amateurs, quoted 434 Guide Marseillaise, quoted 215 Guide pretendu 162, 741 Guido Baldo II 53, 78, 79, 83, 142 GuiDO DuRANTINO 56, 61, 62 FONTANA 57, 62 Merlino 56, 62, 69 Ubaldo 53, 78, 79, 83, 142 Di Savino 81, 85 Guidobono (Gianantonio) 139 (Bartolomeo) 139 • (Domenico) 139 Guignet, potter 230 GuiGOU, potter '.. 214 Guilbert (L.) 210 Guillebaud, painter 19OJ 191 GuLENA, potter 394 GuLicH (Jan.), potter 266 GuNTHER, potter 537 Gunton, Mr. Luson of. 612 GUNTON, pottery 612 GUSTEASBERG, pottery 235 GwiNN (J.), enameller 735 Gylding, painter 397 Gysbz, potter 381 H. ..195, 227, 228, 253, 270, 360, 392, 410,431 Haag (J.), potter 381 Haas, potter 348 Hackney, potter 532 INDEX. 759 PAGE Hackwood, potter 493, 513 Haffringue, potter 411 HAGUE, porcelain 383, 384 HAGUENAU, pottery 154, 195 Haidinger, potter 348 Hailstone (Mr.) Collection 265, 268, 273> 5^°* 523> 590 Hainhault (Countess of) 249 Hainshausen (Comte de) 361 Hair powder 335 HALDENSTEBEN, porcelain 376 Hall (J.), artist 735 Hall (Mr. S. C.) Collection 717 Hall, potter 229, 508 Haly, potter 333 Haman, potter 373 HAMBURG, pottery 260 Hamilton (Duke of) Collection 163 (Sir William) 49<3 Hamme (J. A. Van), potter 666, 667 Hammer (Christian) Collection 396 HANAU, pottery 249 Hancock (G. and J.) Derby, painters ... 597 potter 475) 5^4> 609 (Robert) 564, 565 (Sampson), potter 609 Hand holding a sword 348 Hand, open 150 Han Dynasty 274 Hangest-Genlis (Helene de) 159 Hanley potters in 1710 475 HANLEY, pottery 504, 515, 521 Hannong (Joseph Adam) 195, 253, 273, 360, 419 (Philip Paul) 253, 359, 425 (Pierre Antoine) 226, 411, 431,434, 441 Hanson (G.) potter 578 Hanway (Jonas) 704, 735 HARBURG, pottery 247, 248 HARDES, pottery 154 Harford (J.), potter 650 Harley (T.), potter 522 HARNHEM, pottery 259 Harp as a mark 726, 729 Harrington (Sir John), Expenses of 40 Harrison, potter 582 (G.), potter 535 (John), potter 486 , (W.), potter 474 Harrison's ' Description of England ' ... 37, 41 Hartenberg, modeller 597 Hartley, Greens, and Co., potters... 578, 579 Hartog Van Laun, potter 259 Haslem (J. Derby), artist 597, 598 Hastings (Lord) Collection 103, 126, 337 Hatchet as a mark 268 Haviland, potter 425 HAVRE, pottery 154, 204 Hawkins (Mr. John) Collection 439, 527, 590, 591, 610, 636, 665 Haydn's * Dictionary of Dates ' 261 HAVE (La), porcelain 383, 384 Hay-fork as a mark 372 Haynes (George), potter 713-718 Hayward (Robert), 1781 636 PAGE H.B 188, 268 H.C , 458 HCD 240 H D 158, 369 HDK 273 HEADINGTON, Roman pottery found 19 Hearacher, potter 379 Heart as a mark 200, 398 Heath (Alderman), potter 592 Heath of Derby, potter 592, 593 Heath (Joseph), potter ' 530 Heath (Robert), auctioneer 735 Heath (Thomas), potter 508, 532 Heathcote and Co. potters 719 Hebert, potter 446 HEILIGINBERG, Roman potter's kiln 6 Heintzman, painter 361 Heinze, decorator 366 Helchis (Jacobus), painter 326 HELSINBERG, pottery 235 Hemple (J.), potter 712 Henderson (Mr. J.) Collection, 88, 99, 103. >o6, 137, 153 Hendrick (D.\ potter 256 Henneberg, potter 376 Hennekens (C. J.), potter 250 Hennye (William), potter 476 HENRI IL WARE 157-164 Henri IL, Inventory of 171 Henrion, painter 458 Henry IV. of Silesia, monument of 246 Henry VIII. 's expenses 40 Henry (David), of Worcester 564 Henry, painter 440 Herbert, modeller 446 HERCULANEUM, pottery 55^-554 Hercules II. of Ferrara 136 HEREND, porcelain 349 Hereng, potter 257 Hericourt, painter 458 Heringle, potter 173, 258 Herold (C. F.), painter 344 Herouard, quoted 178 HESDIN, pottery 206 HESSE CASSEL, porcelain 369 HESSE DARMSTADT, porcelain 370 Heubach, potter 356 Hevise, potter 439 Hewelcke (Frederick), potter 323 Heylin (Edward), patent 677 H. F 120 H. H 83 Hicks, Meigh, and Johnson, potters.. 514, 534 Higgins (Mr.), Bow ... 695 HILBURGHAUSEN, porcelain 376 HILDESHEIM, porcelain 369 HiLKEN, painter 458 HILL, pottery 508 Hill, painter, Derby 597 Himpelen ( Ter), painter 263 HiNGHAM (David), potter 582 HippoLiTo Rombaldotti 84 Hirschvogel (Veit), potter 239 HISPANO-AR ABIC pottery 147 HISPANO- MOORISH pottery 147 H. K 401 76o INDEX. PAGE Hoang-Ti (Emperor), porcelain invented 274 HOCHST, porcelain 356, 357 , pottery , 252 HocQUART, potter ., 419 Hoffman (Dr.), 'History of Japanese porce- lain ' 305 Holburne (Sir W.) Collection 520 HoLDSHip (Josiah), potter 566, 567 (Richard), potter 564-573? 607 HOLITSCH, fayence 239 HoLKE (Frederick), potter 349 HOLLAND, pottery 237 porcelain 380 Holland, (Derby), painter 597 Holland (Queen of) Collection 272 Holland, potter 552 Holland, King of 382 HoLMNs (J.), potter 511 HoLLiNs and CooKSON, potters 513 (Michael D.), potter 529 • (Samuel), potter 512 HOLMES, pottery 587 Holmes, potter 554 Hone (Nat.), painter 979 HoNEYCHURCH, pOttCr 644 HoNoRfe, potters 419, 438 Hook as a mark 1 10, 113 Hooker (Dr.) Collection 509 Hoop (C. Van der), potter 381 Hope (H. T.) Collection 81, 82, 163, 498 (J.), potter 381 Hopetoun (Countess of). Collect on 348,691, 692 HoppFER (Jerome), painter 245 Horn as a mark 406, 369 Horoldt, potter 336 Horse as a mark 370 HosKiNS, modeller 492 HOT LANE, pottery 530 HOUDA, fayence 260 HouDiN, modeller 437 Houdoy (Jules) Collection 206, 259 Houghton quoted 577, 657, 671 HOUNSLOW, pottery 675 Housel, potter 432 Howard (Sir lohn), expenses of 30, 37 HOXTER, porcelain 367 HP 175 H-s 195, 538 H.S.LR. 264 H.S.T.R 271 HuARD, painter 463 Huart de Northomb, potter 208 HuBAUDii;RE (De la), potter 228 Hubert, painter 378 HUBERTSBERG, pottery 251 Hughes, artist 633 Hughes (Mr. T.) Collection 537, 571 Hughes (W.), modeller 633 HULL, pottery 581 Hulme (J.), potter 524 Humble, potter 552 HUNGARY, porcelain 349 Hunger (Conrad), potter 345 HuNij, painter 458 Hunnenbedden 250 Hustin (Jacques), potter 211, 257 Huth (Mr. Louis) Collection 153, 396, 637 PACK Huyvetter Collection 242, 243 H.V , 191,238 H.V.G 244 H.V.K 266 H.V.M.D 268 H.V.S 269 H.W 244 Hygiocerame 355 HYLTON, pottery 588 Hypocausts, Roman 24 H.Z.Z 426 I 76, 201, 404 IAG. ... 231 IAH 360, 362 lAO-TCHEOU, porcelain 276 LB 188, 264 I-C 456 ID 177 LD.A 267 LD.M 267 LD.P 266 Ides (Ysbrante), quoted 277 I E 243, 264, 538 I.E.B 538 lES 146 I.F 336 I 110, 114, 115, 270, 415 I.G.V 268 I H 188, 195, 245, 273, 425 I.H.D 267 I.H.K 195 II 93 LK 266 I.L 230 Ilchester (Earl of) Collection 710 ILMENAU, porcelain 375 IMARI in Japan porcelain 306 Imhoff of Nuremberg 55 Imperial Epoch 45^, 453 IMPERATRICE (L'), porcelain 419 I.N 129, 192 Incha Agricola, false reading of 84, 102 INFREVILLE, pottery 221 Ingham, potter 583 Inkstand, Bow 682 * Intelligenzblatt' of Leipsig I73j 177 I.P 79 I.P.L 202 I.R 2i9> 243> 3 '8, 427 IRELAND, pottery 721-729 Ironstone china 534 I.S 187, 582 Isidore of Seville 13 ISIGNY, porcelain 420 ISLEWORTH, porcelain 674, 675 Italian forms of maiolica 53, 54 ITALIENNE (L') fayence 169 ITALY, porcelain 311 pottery 53-146 I.T.D 267 lucHT, painter . 364 luNGER, enameller 348 I.V.L 269 I.W 264, 327 i.z 331 INDEX. Jacinto Monti, potter 131 (Mr.) Collection 134 JACKFIELD, pottery 556 Jackson, potter 673 (W.), potter 671, 673 Jacoba-Kannetje 249 Jacquelin, Countess of Hainault 249 Jacquemart and Le BLint, 'Histoire de la Porcelaine'.. 61,72,79,84,95,97, 99, 104, III, 114, 120, 127, 128, 129, 130, 132, 134, 140, 141, 146, 172, 174, 178, 196, 223, 232, 303, 311,362, 370, 404, 408,411, 419,429, 432, 437, 440 ACQUES AND JULLIEN, pOttCrS 407, 4I2 AME, painter 440 anssen (Sir Theodore) 733, 739 APANESE porcelain 293, 305, 307 asper ware 49°, 495, 496, 498 AUFFRET, potter 199 EAN (A.), potter 175 eans (Mr.) Collection 605 EANNoT (P.), painter 209 ERONiMo (Maestro), da Forli 98 essop (Mr.), of Derby 598 ews compelled to buy china 352 ewitt quoted 19, 568, 591, 607, 617,618 oANNis a Bocalibus 78, 98 ohnson (Mrs.), Lowestoft 625, 632 ohnson (Robert Allen) 625, 631 OHNSON (W.), potter 591 OHNSON & Co., potters 514 oHNSTON fM.D. ), potter 212 OHNSTON, potter 420 OLLiVET, potter 223 ONES (Elijah), potter 513 ones (Mr. John) Collection 470 onson (Ben), quoted 45, 48, 49 oseph (A.) Collection .. 372, 392, 395, 396, 397, 426 oseph II., Emperor 352 OSEPH, painter 440 ouBERT, potter . . . , 424 OUENNE, chemist 440 ournal des fetes a Marseilles 216 OYAU, painter 458 OYE, potter 168 oYNSoN, potter 481 ubbe 44 UBiN, painter 458 udas, a lugger so called 638 ullien (Stanislas), * History of Chinese Porcelain ' 274 ULLIEN, potter 407, 412 ULiENNE, painter 463 uLius II., Pope 135, 84 uste 44 K. 200, 235, 238, 269, 273, 368 Kahn, potter 338 Kampe, potter 356 Kandler, sculptor and director 336, 337 Kaolin (British) introduced 643 Kaolin 275, 281 Katosiro-Ouye-mon, potter 305 KAUFBERN, pottery. 247 Kauffmann (Angelica), painter 339 PAGE K&B 575 K&G 194 K. & G. Praag 350 Kean (M.), potter 596, 606 Keeling (Anty. and Jas.), potters 512, 520, 530 Keller, potter 194 Kelsall, potter 583 KEL IERSBACH, porcelain 370 Kempe (Samuel), potter 356 Kendrick (Dr.) Collection 498, 556 Kentish Town Kiln 566 Kerr and Binns, potters 575 Key 316 Keys (S.), of Derby 592-596 Keyser (Cornelius), potter 266 K.H 83, 238 K.H.C.W 343 Kidd (Mr.) Collection 608 Kidson ( Mr.) Collection 710 KIEF, pottery 394 KIEL, pottery 235 Kiel (A.), potter 267 Kiln 387 KILNHURST, pottery 584 KING-TE-CHIN (China) 274-^77 King (Mr.), quoted 626 KIOU SlOU (Japan) 306 Kirkman (Mr.) Collection 35 Kishire, pot:er 674 KL 272 Klein, painter 363 Klemm (Dr.), quoted 280 Klipsel, painter 352 KLOS TER WEILSDORF, porcelain 372 Knight, potter 533 Knot as a mark 537 KNOTTINGLEY, poetry 583 Knowles (L.), potter 592 Koesel (Comtcsse de) 341 Kolbe (M.), of Berlin 239, 353 KoR 244 KoRNELOFFE, pOttCr 392 KORZEC, porcelain 394, 395 KPM 343, 354 Kraane Pook, potter 256 Kran Engel, potter 242 Kraut (Hans), potter 240 Kriegel, potter 350 Krister, potter 356 KRONENBERG, porcelain 367, 368 Kuhnel, potter 344 KuM, potter 270 Kuntze (C. G.), painter 356 Kuttner, potter 247 KuwzT (J.), artist 272 K.V.K 266 L . . 64, 75, 130, 191, 228, 229, 368, 375, 429 L.A 164 Labarte (Jules) quoted ill, 158 Label as a mark 414 Laborde (Comte de), quoted 333 Laborde, potter « 419 Lace (Ambrose), potter 552 La China, Madrid 322 Ladder 91 762 INDEX. PAGE Ladies' Amusement 569 Ladurie Collection 72 LAFAYETTE (Rue de) porcelain 438 Laferte, potter 426 Laffineur, potter 167 Laflechere Paillard, potter 229 La France, potter 345 LA FRATTA, pottery 144 LAFOREST, pottery 134 Lafreri, engraver 95 LAGANVILLE, pottery 727 LA HAYE, porcelain 383-4 Lahens and Rateau, potters 212 Laim, or clay 46 Lake (Sir James) 679 Lakin and Poole, potters 535 Lallemand (Baron d'Aprey) 224 Lalouette, potter 439 LA MANCHA, pottery 332 Lamarre (Advenir), potter 431 Lamasse (M.) Collection 203, 221 Lambel d'Orleans 414 Lambert, painter 464 Lambert, potter 178, 192 LAMBETH, pottery 666-670 Lammens (B.), potter 254 Lamoninary, potter 206, 421 Lamprecht, artist 347 Lamps, Roman 21, 22 Landais, potter 229 Landlords' rhymes 539 Lando, arms 108 LANE DELPH, pottery 53^, 533 LANE END, pottery 522-524 Lanfranco (Francesco) 69 (Giacomo) 78, 80 -. (Girolamo) 68, 78, 79 Lanfray (F. C), potter 193, 416, 418 Lang (Baron Von) 366 LANGERWCHE, pottery 241 Langlace, painter 463 Langlois, potter 420, 426 LANGRES, pottery 154, 223 Lansdowne MSS. quoted 49, 241, 703 Lanzi, quoted 146 Laocoon, account of. 59 LAPLUME, pottery 154 Laroche, painter 458 LA ROCHELLE, pottery 154, 202 La Rue, modeller 446 Lasalle, modeller 440 LA SEINIE, porcelain 419 Lasdinr 109 Lassia (Jean), potter 422 Latesini Ii6 Lasteyrie (M. de), quoted 1 76 Lathille, potter 212 LAUENSTEIN, pottery 241, 251 Laugier, potter 197 Laun (Hartog Van), potter 259 Lauraguais (Count), potter 406, 408 Laurent, potter 214 Laurin, potter 224 Laurjorois, potter 228 Laval (Gilles de), his arms 160 Lavalle (Dr.), potter 230 La VIE (Germain), Worcester 564 page Lawton (T.), potter 699 Lazari (Vincenzio)... 56, 86, 89, 111,115, ii7> 123 L.B 375, 408, 4H L.C 77, 388 LCG 77 LCS 42^ L.D 191, 211 Leach (Brothers), potters 205 Leaves '2.71 Lebarquet, potter 194 Lebel 458, 463 Leblanc Collection 117 Lebceuf, potter 170, 230, 422, 431 Lebrun, potter 387, 414 Lecerf, painter 209 Lecomte, painter 209 Lecomte, (M.), potter 211 Lecot, painter .. 458 Ledoux, painter 458 Lee, Grainger, & Co., potters 576 LEEDS, pottery 578, 579 Lefebvre, potter 423, 431 (Francois), potter 257 (Denis), potter '. 188 Legay, painter 459 Lege (F.), modeller 554 Legge (Rev. H.), Collection 605 Legros, potter 422 Leguay, painter 459 potter 408 LEHAMMER, porcelain 349 Leichner, potter 383 Leigh (Egerton) Collection 507, 603 Lethammer, potter 235,236 Leipsig enamelled tiles 238, 245 Lejeal (Dr.), quoted 207 Lejeune, potter 206 Lekkerkerk 263 Leleu, potter 19^ Leloup, painter 209 Lemaire, potter 410, 436 Lemaitre, painter 440 Lemire, modeller 416 LE MONTET, pottery 228 LE NOVE, porcelain 328-331 pottery ii6-j20 Leo X., Pope loi, 102 Leon (M. de St.) Collection 202 Leonardi, potter 230 Leopold, modeller 41 5 Leperre Durot, potter 386 Lepper, potter 247 Leppert (G.), potter 348 Leray, potter 225 Lerosey, potter 439 Leroy Montill^e, potter 182 Leroy, gilder 465 Lessee (Johan Otto), potter 260 Lessore, painter 176 Letellier, potter 192 Letourneau (Veuve), potter 212 Leucadius Solombrinus 98 Levasseur, potter 178 Leve, painter 459 Leveel Collection 195, 200, 259 Leveille, potter 432 INDEX. Levouland, potter 213 Lewes, earthen vessel found at 35 Lewins (E.), potter 589 Leynoven, potter 266 L.F 458 L.G 47 L.GP 127 LHERAULE, pottery 168 LIANCOURT, pottery 207 LfAUTE (Louis), potter 229 Liber niger 39 Lichfield (Lady) Collection 432 Lichfield and Co. Collection 375 Lici (G.), modeller 315 LiEB (F.L.), enamel-painter 348 Light house 137 Ligne (Prince de) ^ 353 L'lLE D'ELLE, pottery 202 LILLE, pottery 154,256-259 porcelain 384-387 Lilly (John), potter 575 LIMBACH, porcelain 375 LIMOGES, porcelain 4^3-4 pottery 154, 212 Lincoln, discovery at 36 LiNDEMAN, painter 362, 362 LiNDENER, artist 336 Lindsay (Rev. H.) Collection 643 LINDUS, pottery 152 Lion 360, 382 Lion's head mark 326 LISBON, pottery 231 Lisi GiNOfii (Marquis) 3H> 3^5 LISIEUX, pottery 220 List (J. G.), of Budstedt 349 Lister ( Dr. Martin ), * Travels ' . . . . 1 52, 1 70 402, 509 Lithogeognosie 353 Lithographic stoneware 535 Lithophanie 353 Littler (Wm.), potter 476, 484 Liver as a mark 553 LIVERPOOL, pottery and porcelain 538-554 LJ.LC 209 LK 375 L.L 88, 207, 362, 375, 404, 449-454 L.M.W 381 Loam or clay 45 Locker and Co., potters 592-609 LocKETT (Thos.), potter 474 LocKETT (J.), potter 522 LocRE (Jean B.), potter 430 LODI, pottery 130 LoDovico (Maestro) 112 LoEBNiTz, potter 174 LoGiER, potter 197 London, Roman antiquities 1-26 London, early British ^7-5^ London Magazine quoted 338 LoNGDEN (W.), artist 597 LONGES (St.), pottery 221 LONGPORT, pottery and porcelain .... 525 LONGTON, pottery 522-524 LONGWY, pottery 208 LooscHEN, painter 353 LOOSDRECHT, porcelain 381-2 Lorenzo de Medici loi LORETO (Santa'Casa), maiolica .. 143-144 Lorraine, terre de 415 (Due de) 180, 414 Losely MSS 38 LouAULT, potter 439 Louis XIV 190, 404, 440 XV 441 XVI 444 XVIII 412 Philippe 411 Napoleon 454 Stanislas Xavier 413 LOUISBERG, porcelain 367-8 Lowe, painter 565 LowENEiNK, potter 356 LOWESBY, pottery 538 LOWESTOFT, pottery and porcelain 612-640 LowNDS ( Abraham), potter 530 LowToN (Cuthbert), painter 597 Loyal (Chas.), potter 194 L.P 104,270,410,411,429 L.P.K 269 L.R 122, 212 L.R.F 122 L.S 419 L.S.C 413 L.S.X 413 LucA Cambiasi 68 Lucas, painter 440, 586 Lucas (iMr. J. ) Collection 611 LucKocK, modeller 524 LucocK (Jno.), artist 495 LucH, of Frankenthal 337 Lucilius quoted 5 Lucrezia Borgia 135 LuDovico OF Venice 109, 112 LUDWIGSBERG, porcelain 367-8 LuDwiG, potter 712 LUNEVILLE, pottery 154,194 porcelain 414,415 LUPO (Monte), pottery 130 LURCY LEVY, porcelain 439 LusoN (Hewlin ), potter 612 LUTZEMBERG on the Spree 355 LUXEMBOURG, pottery 254 LUXEMBOURG, porcelain 389 Luxillion, tin of 539 L.V 213, 421 LVE 264 L.W 243, 244 Lygo, potter 711 Lynker (A.), potter 383 Lynn sand used for porcelain 613, 614 LYONS, pottery 154,164,165 M .. 93,94,104,130,131,202,244,252, i59> 399. 400» 41 3> 434> 5 '4 M.A 432 Macartney (Lord), Ambassador 276 Macheleidt, potter 371 Machin (W.), potter 476, 508 Maclou (Abasquene) 189 MACON, pottery 154 MAcyuER, potter 406, 442 MAcyuERET, painter 455 Mac Birnie, potter 728 764 INDEX. PAG Macintosh, potter 665 Madin (Aaron), potter 591 MADRID, porcelain 332, 333 MADRID, pottery 232 MAGNAC BOURG, porcelain 439 Magniac (Mr.) Collection .... 159, 162, 180 MAGONNE, pottery 154 Maidment & Co., potters 518 Maidstone Museum 20 MAIM 77 Maiolica, painter in his studio 102 Maiolicha fina (fayencej I 18 MAIORCA, pottery 148 MALAGA, pottery 148 Malcolm (Mr. J.) Collection 163 Maleriat (L.), painter 209 Malicorne, potter 221 Maling, potter 588 Malkin, potter 474 Malpass (W,), potter 584 MALTA, pottery 231 MAMERS, pottery 221 Mamet, potter 230 Manara (Baldasara) 86, 91 Manardi, potters 116 Mandois, potter 211 MANERBE, pottery 220 Mangiarotti, artist 495 Manifold writer 485 Manning (Mr. J.) Collection 586 MANISES, pottery 149, 150 Manon, painter 455 Man's head 272 Mansart, potter 170 Mansfield, potter 532, 552 MANSFIELD, pottery 610,719 Mansfield (Lord) Collection 730 Mantel, modeller 353 Mantovani Luca 321 Manufactories in France, 1790 154 Manzolini, artist 495 MAP 431 MARANS, pottery 202 MARBURG, pottery 252, 253 Marceaux, potter 223 M ARCHES ANA at Bassano 115 MARCOGNAC, mines of 424 Marcolini, potter 251, 338, 342 Marcone (G.), painter 326, 330 Mare, potter 474, 475 Marforio (Sebastiano) 82 Margarita Preciosa 237 Maria Giovanni 82 Maria Theresa (Empress) 345 Mariani family 56 Marinao (Siculo) 149 Marie Antoinette porcelain 431 MARIEBERG, porcelain 396 pottery 234 MARINIAL, pottery , 154 Marini, potter 113 Marinoni (Simone), potter 115 Marion, painter 440 Marjoribanks (Sir Dudley), Collection 468, 470, 498 Marks, unknown 399,536 Marne (M.) Collection 203 page Marre de Vjllars 428 Marryat Collection 67, 83, 85, 88, 126, 151, 248* 253> 306, 361, 364, 372, 410, 432, 534, 635, 643, 692 Marryatt (Horace) Collection 397 MARSEILLES, porcelain 427 pottery 154, 196, 214-220 Marsh, potter 474, 475, 508 Marshall & Co., potters 535 Marriott, painter 6.10 M ARTHE, pottery ' , . . 154 Martial quoted 4 Martinet, painter 465 Martin & Cope, potters 524 Martin (Mr. Studley), quoted 626, 637 MARTRES, pottery 212 Marz (Christopher), potter 358 MARZY, pottery 189 Maser, of wood 43 Mason (Miles), potter 533 (Chas. Jas.), potter 533 Mason (Richard ), 1771 635 Masquelier, potter 257, 259 Masse, potter 167 Masselli, potter 137 Massie, potter 167, 423 Massieu, potter 202 iMasson, potter 174 Massuque, potter 215 Massy, painter 459 Matteo (Maestro) ; 78 Matthews (W.), potter 533 MA UBEUGE, pottery 206 Maubree, potter 378 Maurin des Abiez, potter 226 Maw & Co., potters 557? 5^3, 566 Maximilian Joseph, Elector 361 May, Toft & Co., potters 521 MAYENCE, porcelain 3 56, 3 57 pottery.... 252 Mayence, Archbishop of 356 Mayer & Newbold, potters 522 Mayer (Jos.), potter 515 Mayer ( Thos.), potter 529 Mayer (Josh.) Collection 491, 498, 501, 515, 522, 529, 535, 538, 544, 547-554, 5^7, 615 Mayer (Elijah), potter 515 (John Jacob), potter 358 M.B 234, 396 M.C. 130, 264 MCA 200 M.D 191, 332 MED.F.II 312 Mediaeval pottery 26, 52 Medici porcelain 312 Medway, Roman pottery 14 MEHUN, porcelain 435 Meigh (Job), potter 514, 516 MEISSEN, porcelain 335-344 pottery 252 Meister, potter 245 Melchior, potter 356 Melchior of Ferrara 135 Melde (Jacobus de), potter 267 Mellor (Geo.), painter 597, 610 Melsens, painter 440 INDEX. PAGE Melton Constable Collection 146 MELUN, pottery 154, 208, 226, 418 MEMMINGEN, pottery 247 Menagier de Paris ■ 40 Menard (C. H.), potter 437 MENECY VILLEROY, porcelain 407 Mennicken (Baldem), potter 242 Merault, painter 459 potter 394 Mercati (Gio. Batt.) 146 Merceret, potter 184 Merchants' marks 84, 85 Merck, potter 165 Merigol, painter 465 Merlesius, potter 168 Merligno (Guido) 62, 69 Meteyard's ' Life of Wedgwood ' 408, 473, 491, 492, 494, 498, 510, 732 Mettenhoff, potter 204 Metterie (De la), potter 192 METTLACH, pottery 251 Metul ( Von), potter 367 MEUDON, pottery 203, 204 MEULAN, porcelain 419 Meusnier (M.) Collection .. 77, 79, 193, 202, 224, 238 MEXBOROUGH, pottery 584 Meyer, painter 352 Meyrick (Mr. W.) Collection 518 MF 349 M.F.S 64 M.G 73» M°Go 71-73 M.I 71 M.l.B 254 MicHAUD, painter 459 Michel, painter , 459 potter 167, 169, 425 MicHELiN, modeller 440 MIDDLES BOROUGH, pottery 582 MiEG, potter 350 Miguel Vilax, potter 200 MIL J31 Mil 132 MILAN, porcelain 318 pottery 131,132 Milani Collection 243 Milch glass 406 MILDE (Arv. de), pottery 252 Miles (Thomas), potter 476, 514, 516 MILHAC DE MONTRON, pottery 208 Mille, potter 197 Milliet (Gratien), potter .... 170, 23c, 422 Mills (Sir Charles) Collection 467, 470 Mills for grinding flint 478 Ming Dynasty 287 Minicis (Sig. Raffaelle de) Collection 95, 126 Minsheu's * Spanish Dialogues ' 45 MiNTON, potters 525, 526, 672, 673 MiNTON & Boyle, potters 526 Minutoli Collection 239 MIRAGIA, pottery 231 MiSERA, painter 440 Mitchell, potter 642 Mitchell (John), potter 504, 506 (Thomas), potter 474 Mitre 363 765 page MJ 428 M.M 204 M.O 150, 243 MO ABIT, porcelain 355 Modelling table, as a mark .... 298-300, 605 MoiRON, painter 459 MoiTTE, potter 426 M.O.L 381 Moll (De), potter ^80-382 MOLLERSHEAD, pOtter 623, 625 MONCLOA, porcelain ^ 333 MONES, pottery 154 Money, hiding-places for 663 MoNGiNOT, potter 430 MoNNERiE, potter 424 MoNMER, potter 411 MONSIEUR, porcelaine de 413 MoNTAGNAG, potter 214 MONTAIGU, pottery 154 Montaran, Intendant 426 MoNTARCY (Ontrequin de), potter 428 MONTAUBAN, pottery 154 Montbrun (Comte de) Collection 126 MoNTCLERGEON, potter 168 MONTE (Capo di) 316-318 MONTE FELTRO, pottery 131 Montefeltro, arms 94 Montefeltro, Duke Frederick de 53 MONTE LUPO, potteiy 130, 131 MONTEREAU, demi-porcelain 154, 229, 230 MoNTERoux, potter 168 MONTET, pottery 228 Montfaucon quoted 5 Montferrand Collection . . 59, 66, 78, 88, 101, 106, 107, 130, ^37, 140 MoNTiLLEE (Le Roy), potter 182 MONT LOUIS, pottery 154 Montmorency (The Constable Anne of) 56, 159 189 MONTPELIER, pottery 154,212,213 MONTREUIL, pottery 418 MONTROUGE, pottery 176 Monville Collection 72, 77, 313 MoNY, potter 224 Moore (Abraham), potter 635 Moore and Co., potters 589 MORAVIA, pottery 253 More (Mr. Samuel). Secretary Soc. Arts 491 MoREAU (Marie), potter 403, 419, 428 MoRELLE, potter 431 Morgan (Mr. O.) Collection 331, 576 Morgan, potter 482 MoRiN, p-iinter 459 potter 402, 440 Morland (G. H.) Collection 105, 145 Morley (Edward), 1768 635 MoRLEY (Francisj, potter 534 MoRREiNE (A.) potter 181 MoRT, potter 55^~554 Mortaria, Roman 19 MOR TLAKE, pottery 673, 674 MoRTLOCK, potter 585, 719 Mortrieul (M.A.) quoted 215, 219, 428 MORVIEDRO, pottery 149 Mosaic pavement 672 MOSCOW, porcelain 393, 394 MosELY, potter ^81 766 INDEX. MosER, artist , 679 * Moss's Liverpool Guide ' 548 Mottoes on Lowestoft 633,636 Moulds, Roman 7 Moulin (M.), potter 203,211 MOULINS, pottery 202 MOUNTS BAY, pottery 644 MouROT, potter 204 MO USTIERS, pottery 154,196-202 MouTON, potter 199 MO 7 AT, pottery 154 Mover, modeller 440 M.P 231, 264, 267 M.P.M 343 M.Q 270 M.S.DEGA 120 MuLHousER (Pierre), painter 378 MuLLER, potter 205,397 Mullion, soap rock 545 MUNICH, porcelain 361-363 MURANO, pottery 111,113 MURVIEDRO, pottery 149 Museum, Berlin 116, i 10, 113, 127, 139,246 Museum, British 91, 92, 107 ■ Brunswick 62, 109 Cluny 83, 85, 87, 94, 95, 97, 103, "O, »3i> i43» H4j H8, 163, 186, 187, 194, 239, 241, 243, 250, 256 Dresden 2,39-293, 340-344, 419 Geological 20, 68, 91, 481, 511, 511, 512, 515, 518, 529, 538, 571, 573, 587, 651, 668 Louvre 59, 60, 64, 73, 84, 96, 104, 105, 106, 117, 127, 136, 144, 162, 244 Nevers 130, 186, 221 Salisbury 36 Scarborough 36 Sevres passim Sigmaringen 93,122,131,238 South Kensington passim Musgrove, painter 610 Musical instruments of fayence 261 MUSIGNY, pottery 230 Muss, painter 559 MuTEL, painter 459 MuTEL and Co., potters 205 Myatt, potter 533 N 74, 129, 187, 193, 317, 399, 417, 437, 454 Nabob, China 623 Nachet, potter 205 Nagler's Lexicon 94 NAMUR, pottery 254 NANCY, biscuit de 415 NANKIN, porcelain 279, 281 Nansung Dynasty 286 NANTES, porcelain 423 pottery 154, 182 NANTGARW, porcelain 718-720 Napier Collection... 65, 347,400, 463,467-470 NAPLES, porcelain 316-318 pottery 127-130 Napoleon 1 444 III. 454 Narbonne, Hospital of. 214 Nassau, porcelain 356, 357 PAGE NASSAU, pottery 252 Nast, potter 437 Nathusius, potter 376 National Assembly, petition to the 154 Navorscher quoted 383 Neale, potter 5'7~5i9 Neeld, potter 535 Negro's head 272 Negrisoli, painter 319 Nelson's (Lord) porcelain service 574 Nenert, potter 425 NEPITA, pottery 128 Neppel, potter 439 Nerligno (Guido) 62, 69 Nesbitt (Mr. A.) Collection 153 NEVA, porcelain 390 NEUDECK, porcelain .361 NEUHAUS, porcelain 367 NEVERS, porcelain 439 pottery 154, 182, 189 Nevill (Lady) Collection 468, 7J0 Newbold, potter 522 NEWBOTTLE, pottery 588 NEWCASTLE-ON-TYNE, pottery 588, 589 New Canton woiks at Bow 676-699 NEWFIELD, pottery 530 New Forest, ancient pottery found at 18 NEW HALL works 512 NEWITT, pottery 241 N.F 238 N.G 74, 141 Nicholas I., Emperor of Russia 392 Nicholson (Thomas), potter 582 NicoLAUs d'Orsini 85, 87 Di Ragnolis 87 NicoLETO of Padua 123 NiCOLO DA FaNO 92 DI Gabriele 56, 57 DA Urbino 57, 66, 92 NicoLo PizzoLO, painter 123 NicuLoso (Francesco) 100 NIDERVILLER, porcelain 416-418 pottery I54> 193 NIEDERFELL, pottery 251 Niedermayer, potter 345, 361 NIEUER AMSTEL, porcelain .'. 382 Nievre (Archives de la) 183 Niewerkerke, Collection 94 Nigg (Joseph), artist 347 Nightingale (Mr, J. E.) Collection . . 571, 645 NIMES, pottery 154, 225 NiNi (J. B.), potter 225 Niquet, painter 459 NivAS (Rostaing de), potter 423 No 119 NOCERA, maiolica 74 NOE 97 Noegeli, potter 205 Noel, painter 459 NOIRLAC, porcelain 435 Nollekens, artist, and his times 679, 702, 734 NoNNE, potter 371 Nordenstople, potter 233 Norman (Emerson) Collection 505, 522, 552, 580, 586, 590, 605, 611, 623, 634, 635, 64c, 641, 648, 667, 691 NoRTHEN, potter 670 INDEX, 767 PAGE NoRTHOMB (Haurt de), potter 208 Northumberland (Duke of) Collection . . 694 ' Household Boole ' 37 Northwick (Lord) Collection 68 NORWAY, porcelain , 396 Notes and Queries, quoted 232 NOTTINGHAM, pottery 59°) 59^ Nou.iilher, painter 457 NOVE, porcelain 328-331 pottery I16-120 NowoTNY (A. ), potter 253> 34^ ■ N.Q 459 N.R 90 N.S 400 Numerals, Arabic 5^' Nunnely (Dr.) Collection 585 NUREMBERG, pottery 239, 241 porcelain 358 Nuremberg Museum 243 NYMPHENBERG, porcelain 361-363 NYON, porcelain 378, 379 0 64 OA 83 Oade (N.), potter 671 O.B 412 OBERDORF, pottery 246 O.F.L 332, 333 O.F.V.F 62 OGNES (D'), pottery 208 OIRON, pottery 157-163 Oiron (Chateau d') 163 Ojone 64 O.L 200, 201 OLD HALL works 516 Oldfield (T.), potter 592 Olery (Joseph), potter 196-202 Olfers (Van), Berlin Museum 358 Oliphant's Narrative, quoted 281 Oliver (W.), Worcester 564 Ollivier, potter .... 173, 184, 213, 257, 431 Olsoufieff (J. A.), of St. Petersburg 390 Olwerk, potter 245 OMER (St.), pottery 154 Ondrup, artist 397 Ongarescha 53 Onions (Mr.) Collection 556 O.P 225 OPORTO, porcelain 333 pottery 231 Oppel (M. Von), potter 338, 358 Orazio Fontana, potter .... 57, 58, 63- 132 Orb as a mark 354 ORCHAMFS, porcelain 439 Ordelaffi, of Forli 98 Oriental porcelain 44, 274 • body of Lowestoft, an error .... 618 Origny (Hutteau d') Collection 163 ORLEANS, porcelain 413,414 pottery 1 54, 227 Orleans (Louis Phillippe d') 428 Orleans (Duke of) 171,403,408 Orry (Pere), quoted 275 Orsini (Nicolaus) 85 Ortolani (Ludo), painter 326 Orton and Goodwin, potters 524 page OSMOTHERLEY, pottery 587 OT 68 Ottoboni (Cardinal Pietro), arms 325 OUDER AMSTEL, porcelain 382 Oulton Park, Cheshire 604 OuTREyuiN de Montarcy, potter 428 Ovens, The Yarmouth 641 OVERTOOM, pottery 260, 380 O.Y 200 P 75, 2CO, 258, 264, 550, 610 P. A 104, 191, 200, 391 Pacetti, artist 495 Pa Crosa, potter 120 PADERBORN, porcelain " 367 PADUA, pottery 123, 124 Paesi pattern 55 Paillabd (Laflechere), potter 229 PAIX, RUE DE LA 439 Palisser (Mrs.), ('ollection 95 Palissy (Bernard), potter. . 160, 171, 179, 180 (Mathurin), potter 180 (Nicolas), potter 180 Palmer (H.), potter 476, 516-523 Palmerston (Lady) Collection 451 Palvadeau, potter 182 Pancheon or pan 583 Paolo Crosa 120 PARADIS POISSONNIERE (Rue de) 435 Paradise (Mr. T.) Collection 271 Par! (Pieter), potter 267 Paris, painter 440 PARIS, porcelain 428-439 pottery . 154, 171, 177 Parker (John), painter 559 Parr ( S. ), potter 699 Parkes' Chemical Essays 213, 490, 497 pAROLiNi, potter II}^, 329 Parpette, painter 459 Parsons (E.), potter 578 Parrish ( Robert and Anne), Norwich. ... 635 Pascal (M.) Collection.. .. 140, 141, 200, 203 221, 223, 224. Pasolini Collection 70 Pas^uale Rubati, potter . PAsyuiER (Claude), potter 181, 345 PASSAGE VIOLET, porcelain 435 Passeri quoted .. 67, 68, 71, 78, 79, 80, 92, 98, 124 Patanazzi (Alfonso) 67 (Francesco) 67 (Vincenzio) 67 Patch boxes in enamel 739 PATERNA, pottery i <;o Pate tendre and pate dure defined 308 Patte (Veuve), pottery 167 Patterson (G.), potter 589 PAUL (St.), pottery 169 Paul, Emperor of Russia 391 PAvfeE DE Vendeuvre, pottcr 2c6 Pavement Mosaic 672 Pavia, pottery 142 Payne, Salisbury 645 4 55 P.BC 225 PC 270 768 INDEX. P.C.G 436 P.D 191 P.D.W.T 273 P.E 404 Pearl ware 525 Pedrinus a Bocalibus 98 Pegg, artist, Derby 597, 598 Pelisie (Claude), potter 203 Pellatt (Apsley) Collection 498 Pelleve (Pierre), potter 209, 412 Pellipario Family, potters 57 Pellisier (Pierre), potter 257, 384, 405 Pelloquin, potter 197 Pennington, potter 550 Pennington, painter 565 Pennis, potter 268 Penshurst, Collection 643 Penthievre (Due de) 222,409,413 PENTHIEVRE (Sceaux), porcelain 409 pottery 1 54, 222 PENZANCE, pottery , 644 Pepper-box 543 Pepys' Diary 38, 261 Percy (Comtd de la Ferriere) 165 Perestino (Maestro) 74, 75 Perger, artist 347 Perillieu Collection 254 Periods, Chinese 283 Peris, painter 232 Perouse (Lac de) 78 Perret (Joseph), potter 182 Perrin (Veuve), potter 215, 217, 427 Perrino del Vaga 62 Perry, potter 559 PERSIA, fayence 151-153 Persius quoted 5 PERUGIA Maiolica 85, 144 Perugino (Pietro), his portrait 102 Peruzzi (Giovanni), painter 85 PESARO, maiolica 78-81 Peter the Great 233 Peterinck, potter 387 PETERSBURG (St.), porcelain 390, 392 pottery 233 Pether (Henry), potter 672 Petion, potter 394 Petit (Jacob), potter 435 Petition of French potters 154 Petrucci palace loi, 105 PfeTRY, potter 431, 439 Petuntse 275-281 Pewter vessels 41 Pewter -v. Pottery 643 PF I99»3i5 P&F.W 535 Pfalzer, potter 377 Pfeiffer, painter 459 P-H 195, 227, 360-425 Philip, potter 213 Philippine, painter 464 Philips (Mark) Collection 59 Phillips, potter 514, 533, 588 Phillips & Co., potters 588 PHILADELPHIA, pottery and porcelain 732 Phillips (E.), Worcester, potter 575 Phillips, auctioneer 602 Piadene 53 PAGE Piazza Universale 86 Piccolpasso quoted 53, 81, 85, 83, 86, 93, 97, 98, 109, 123, 137 PiCHENOT, potter 174 Pichon, potter 225 PIEDMONT, pottery 231 porcelain 319 PiEDOR, potter 414 Pieragnolo, potter 109 Pierce W. & Co., potters 557 Pierre, painter 460 Pierrot china 341 Pietro di Medici lOl Pigal, painter 440 PiGNANT, potter 230 PiLLivuYT, potter 435 PiNART (Hippolite), painter 175 Pinkerton Collection 515 PiNTo Basto, potter 333 PiNTO, potter 334 PJNXTON, porcelain 609, 610 Plot quoted 237, 312 PIRKENHAMMER, porcelain 349 PiROTK, potter 86, 89 PISA, maiolica 100 PiTHOu, painter 460 Pitman, painter 565 Pittman (Mr.), Collection 534 271, 391 Place, potter 577 Planche, potter 593 Planches (Bourdon des), potter 434 Plant (Benjamin), potter 523 Plantier, potter 225 Plaster of Paris introduced 532 PLAUEN, porcelain 356 Plautus quoted 4 Pled, potter 206 Pline, painter 465 Pliny quoted 4 PLOMBIERES, porcelain 439 Plot (Dr.) quoted 242, 471, 654, 655, 659 Plowes, potter 582 PLYMOUTH, porcelain 645-649 PoDMORE, potter 540 Poictiers (Diane de) 160, j8o POICTIERS, pottery 1 54, 181 PoiREL (Nicolas), potter 190 POISSONNIERE (Boulevard) 438 POISSONNIERE, RUE, porcelain 435 POLAND, porcelain 394 POLO (San), maiolica 62, 112 Pompadour (Madame de) 200, 440 Poncis or pricked patterns 199 PONT AUX CHOUX, porcelain 428, 429 pottery 173 PONTEFRACT, pottery 577, 583 PONT VALIN, pottery 221 Ponz (Antonio), 'Travels' 333 PooLE & Co., potters 535 POPINCOUR T (Rue de), porcelain... 410, 436 PopoFF, potter 393 POPPLESDORF, pottery 251 Porcelain, European 308 ad finem first made in England 656 King, the 337 of six marks 293, 307 INDEX. 769 PAGE Porcelain, Oriental 274-307 properties of, described 308 tickets 312, 566, 609 tower at Nankin 281 Porcelain d'Angouleme 433, 434 de Belleville 435 de Brandenburg 356 de Comte d'Artois 434 de Due d'Orleans 428, 429 de la Courtille 430 de rimperatrice 438 de la Reine 431 de la Tour 387 • de Monsieur 412 de Prince de Galles 436 Porcellana pattern 55 PoRCHER, potter 228 Porte de Halle Museum 243, 255 Portland (Duchess of) 496, 497 House 491, 500 vase 493) 496 PORTO BELLO, pottery 730 PORTO (Oporto), pottery 231 Portraits in outline 340 PORTUGAL, pottery 231 porcelain 332, 333 Portuguese traders to Japan 305 PoTERAT, potter 1 90* 385, 404, 653 Poterie du Rhin 195 Pot-ovens 587 Pot works at Burslem in 1710 474 Pott, of Berlin 353, 569 Potts (J.), potter 476 Potts (W. Wainwright), potter 476 Potter of Chantilly, potter 407 Potter (Rev. Robert), Lowestoft 634 Potter (Charles), potter 436 Potters' moulds, Roman 7 names, Roman 9 Pottery, Roman i, 25 Mediaeval 26, 52 Pettier (Andre), of Rouen 158, 188, 189, 190, 262, 405 Pountney, potter 652 Pourcelaine 274 PouiLLOT, painter 460 PouLAiNE (Dupre), potter 204 PouLSON, potter 475, 525 PoupART, painter 464 POUPRE, pottery 202 Pourtalfes Collection 92, 94, 96 PouYAT (J.), potter 212, 430 PowLEs, artist 629 PowNALL, potter 525 P P 181, 191 P.P.L 81 P.R 430 Prager, potter 350 PRAGUE, porcelain 350 Pratt (Felix), potter 531 Pratt (J,.) potter 533 PREMIERES, pottery 230 Pressel, potter 35^ Preston (Mrs.) Collection 498 Preudhomme, potter 208 Prevost, painter 460 Price (Sir Charles) Collection 317 Prince (Albertus), potter 256 PRINCE DE GALLES, porcelain 436 Prince (Derby), painter 597 Printed transfers on china, &c 547, 594 Printed ware at Bow 685 Pritchard (Mr.) Collection 688 Pritchett (Rev. Samuel), Worcester ... 564 Prosser (R.), potter 673 Proudlove (J.), potter 506 Provence (Comte de) 217, 412, 427 Prussia (King of), his portrait ... 549, 566, 686 PRUSSIA, porcelain 351 PR YSIE, fabrique de 1 84 P.S 188 Ptto Fee 68 PtGH, potter 563 PujoL-of- Toulouse 212 Pull, potter 175 Puileine (Rev. R.), Collection 582, 730 Pungileone quoted 56,133 P. & V 407 P.V.D 268 P.V.M 273 Pynacker, potter 266 Pyrometer 476 Q yuARMAN (Benjamin), potter 675 Quartiere pattern 55 Queen Dowager Collection 398 (Her Majesty the) Collection ... 467, 470 Queen's ware 487 QUIM PER, pottery 154,228 Quinton of Yarmouth 635 QUIRICO (St.), maiolica 105 <«>v 583 90, 113, 150, 265, 273, 372, 376, 427 632 76 373 373 Rabbit as a mark 300 Rabelais quoted 166 Rabesche pattern 54 Radford (Thomas), painter 531 Raffaele Ciarla, painter 143 RafFaeli (Giuseppe), author 81 Raffaelo (Girolamo) 131 Ragnolis (Nicolaus) 87 Rainerius (J. B. Rebeus) 145 RAMBERVILLIER, pottery 154 Rambouillet (Chateau de) 263 Ramiere Matteo 78 Randall, enameller 559>7i9 RAP 173 Ratcliffe (W.), potter 513 Ratteau, potter 212 RATISBON, porcelain 373 pottery 245 Ratti (Agostino) 140 Rattier Collection 106 Ravenet, engraver 735 RAVENNA, pottery 99 RAUENSTEIN, porcelain 373 D D D INDEX. 770 PAGE Ravenstein, potter 256 Raux, painter 460 Ray (Belward) Collection 114, 413 Raymond (M.), of Bordeaux 22.0 R.B 400 R.C.P 436 Read, potter 651 Reaumur's porcelain 4'^5) 4^6 RECOLLETS (Rue des), pottery 175 Recum (Von), potter 361 REDCLIFFE BACKS, pottery 651 Redgrave (J.)> artist 633 Red ware of Saxony... . 335 Reed, potter 583, 584 Reeve (Mrs.), Collection 634 REGENSBERG (Ratisbon) 245, 373 Regnault, Director of Sevres 444 potter 386 Regnier, painter 464 Reichembach, potter 350 Reid (W.) and Co., potters 551 REINE, porcelaine de la 431 Rejaux, painter 465 RENAC, pottery 154 Renaissance pottery 157-164 Renault (M.) Collection 182 Rendorp (J.), potter 381 RENNES, pottery 154, 223, 228 Republican Epoch 451,453 Republique, fab* gen'« de 173 REUILLY (Barriere de), porcelain 429 Reverberating enamel kiln 719 R^verb^re, feu de 210 Reverend (Claude), potter 173 Revil, potter 434 Revol (Chapeau), potter 166 Reynolds (Mr. C. W.) Collection ... 114, 120, 125, i3o-i33> 137, 141, 142, i5o> i53j 173, 186, 193, 204, 224, 225, 228, 232, 235, 240, 252, 255, 258-260, 266, 318, 319* 325-331, 333» 334, 347, 354, 35^, 361-363, 367, 372-381, 387-390, 392, 400, 404, 409, 412-414, 417-421, 424, 430, 433, 434, 437, 503, 560, 572, 588, 641, 642, 649, 658, 668, 711 Reyraud, potter 203 R F 317, 318, 428, 451 RG 373 RH 573 Rheinzabern, ancient pottery of 7 RHIN (poterie du) 195,253 Rhodes (David), of Etruria 615 Rhodes, painter 569 RHODIAN ware 151 Richard (Emile), painter 465 Richard (Eugene), painter 465 Richard (Francis), painter 465 Richard (Giulio), potter 132, 318 Richard, modeller 210 Richard (Oliver), potter 476 Richard (Paul), painter 465 RiCHELiNE (Gr^goire), potter 214 RicHMAN, potter, Lowestoft 612, 630 Richter, potter 393 Ridgway (J. & W.), potters 513, 514, 515, 534 RiES, potter 356 Rietti, a dealer at Venice 119 PAGE Rigaci, painter 315 Riley, potter 535 RIMINI, maiolica 97, 98 RiNALDo, potter 78 Ring (Jostph), potter 651, 652 Ringler, potter... 356, 359, 360, 361, 367, 425 Ringsend glass manufactory 726 Rinuccini (Marchese) 314 Riocreux, Curator of Sevres 67, 147, 196, 222, 389, 410, 444 Riocreux (Isidore), painter 465 Ris (Comte Clement de) quoted 158 Ristori (Carlo), painter .» 315 (Tite Henri), potter 189 RivAS ^De), potter 424 RMWT 538 R n 373 RoBBiA (Giovanni Delia) 121 (Ambrosio Delia) 121 (Girolamo Delia) 121 (Luca Delia) 121, 122 (Andrea Delia) 121 Robert (J. Gaspard), potter 215, 219, 427 Robins, enameller 719 Robinson (Christopher), potter 482 Robinson (J. C.) quoted 70, 74, 83, 105, 120, 121 {John and Anne) 635 Robinson, painter 597 Rocco, of Castelli 127 Rocha Soares, potter 231 RocHEBRUNE, artist 159 Rochefoucauld (Marquis), potter 208 ROCHELLE, pottery 154, 179, 202 Rocher, painter 460 ROCK, pottery 584 ROCKINGHAM, porcelain 584- 586 ware 584-586 Rodney jug 598 Rodrigue (Fran9ois), potter 189 Roerder (Saml. Piet), potter 264 Roger, potter 386 Rogers, painter 575 Rogers, potter 534 Rogers (Spencer), potter 525 RoLET, potter 69, 216 Rolfe (W. H.) Collection 34 Roman cups inscribed 17 Roman potters' moulds 7 Romano-British pottery 1-52 ROMBALDOTTI (Hippolito) 84 RoMELi (John Conrad), potter 358 RoNssE, potter 439 Roos, potter 272 Roquefort's ' Dictionary ' 41 RoQUETi, potter 168 ROQUETTE (Rue de la), porcelain 431 pottery 175 Ror 234 RORREN, pottery 242 RORSTRAND, porcelain 397 pottery 233, 234 Rose, artist, Lowestoft 626, 630 Rose as a mark 563 Rose, of Coalport, potter ... 556, 559, 561-563, 716, 719 RossELLi, painter 127 INDEX. PAGE RossET, painter 460 Rossignol (M.) of Auvergne 222 ROSTAING DE NiVAS, pOttcr 423 RoTHfiNBURG, pOttCr 376 ROTHERHAM, pottery 584, 587 Rothschild (Baron Alphonse de) Collection 100, 102, 163, 313 (Sir Anthony de) Collection 162 (Baron Gustave de) Collection 89, 180, 162, 312 (Baron James de) Collection 162 (Baron Lionel de) Collection... 162, 163 (M. Salomon de) Collection 61 ROUANNE, pottery 154 ROUEN, porcelain 385,''405 • pottery 154, 189 Rouennaise Chronique 189 RouyuET, enameller 701, 736 Rous (Thomas), potter 50 RoussEL, potter 177 painter 460 Roussel's sale 71 Roux (Pol), potter 197 ROUY, pottery 208 RovERE (Francesco Maria della) 53 RoviGo da Urbino 56-61 Royal Epoch 450, 452 * Royal Magazine ' quoted 355 RoYAARDs, potters 256 R.R.I 27^ R.S 27^ R.T.C 270 RuAULT, potter 425 RuBATi (Pasquale), potter 132 RuBBEUS (G.B.) 144 RUBELLA, porcelain 537 RU BELLES, pottery 226 RucH, painter 236, 397 RucKER (Mr. S.) Collection 341, 343, 352, 364, 381, 461, 462, 468, 470 RUDOLSTADT, porcelain 372 RuEL (J.), potter 666 RuEL, potter 168 RuELLE, potter 712 Russell (Mr. William), Collection 710 RUSSIA, porcelain 390, 394 pottery 233 RussiNGER, potter 430 Ruzini, Doge of Venice 321 R.V.A 99 RV.H 243 R.X 219 Ryan (James), potter 476 RYE, pottery 642 Rysbrach, sculptor 647 S 76, 77» i03> ii5» i4o> 209> 34^, 400, 404, 43 1 > 560, 563 S.A 4^2 Sadler (John), potter 476, 547-550, 567 S.A.F 264 S.A.G.S 139 SAGUNTUM, pottery 149 Sailly (Nod), potter 228, 421 ST. AMAND-LES-EAUX, porcelain ... 422 pottery ... 206-207 77T PAGE St. Amand (M. de), potter 211 ST. ANTHONY'S, pottery 589 ST. ANTOINE (Faubourg), porcelain 428, 429* 43i> 438 pottery 175 ST. BRICE, porcelain 426 ST. CENIS (Sinceny), pottery ... 154, 208, 411 ST. CLEMENT, pottery 154, 203 ST. CLOUD, porcelain 385, 402, 440 pottery 170 St. CRicg, potter 170-229, 422 ST. CRYSTOPHE, pottery 132 ST. DENIS DE LA CHEVASSE, porcelain 426 ST. DENIS (Faubourg), porcelain 432,434 Isle, porcelain 427 St Etienne (M. de) 190 St. Etienne, of Rouen, potter 405 St. Fond, Faujas de ..." 500 St. Francisco, at Siena 105 ST. GEORGE SUR L ESTANG 363 ST. GUYE, pottery 154 St. Helene, at Venice 108 ST. HELENS, pottery 554 ST. HONORE (Faubourg), porcelain 431 ST. JEAN DU DESERT, pottery 215 ST. LAZARE (Faubourg), porcelain... 403, 428 St. L6on (M.), Collection 202 St. Leon (M.de) Collection 421 ST. LONGE, pottery 22 i ST. NICOLO, furnace at 321 ST. OMER, pottery 154 ST. PAUL, pottery 169 ST. PETEBSBURG, porcelain 39c, 392 pottery 233 ST. PETER'S, pottery 588 ST. PIERRE DES CORPS (Faubourg de) 228 ST. POLO (Urbino), maiolica 62 (Venice), maiolica) 109, 112 ST. OyiRICO, maiolica 105 ST. SAMSON, pottery 169 St. Stephens, soap rock 545 St. Sebastian, at Venice 108 St. Sever, at Rouen 405 St. Sulpice-la-Foret, Abbey of. 223 ST, UZFS, pottery 225 ST. VALLIER, pottery 154 ST. VERAIN, pottery 182 St. Yrieiex, kaolin of 442 ST. YRIEIX LA PERCHE, porcelain ... 439 SAINTES, pottery 154, 179, i Si Salamander 157 Salford Museum 503, 554 Saliera 54 Salimbene (Andreoli), potter 70 Salinum 12 SALISBURY, pottery 645 Salmazzo, potter iii, ii6, 117 Salomone (Girolamo), potter 140 SALOP, pottery and porcelain 556-563 Salt glaze 483 Saltzburg, Chateau de 239 Saltzmann (M.) Collection 152 Salvaggio (error corrected) 85 Salvetti (Giovanni) 86 Salway (John), Worcester 564 Sambrook (Mr.) Collection 152 Samian ware 4 D D D 2 INDEX. 772 PAGE SAMSON (St.), pottery 169 Sandys, of Bow 683 Sandenus (L,), potter 3-12, 267 Sanford (J ), potter 732 (Moses), potter 475 SAN POLO, pottery 62 Sans (William), potter 473, 476, 503 Sansont (M.), potter 203 SANTA CAS A, Loreto 143 Saracini Collection 63 SARREGUEMINES, porcelain 425 pottery 169 SARUM, pottery 645 SATSUMA, pottery 307 Sauvageot Col lection... 6 6, 74, 76, 83, 105, 174, 240, 245, 244 Sauze, potter 215, 220 Savile (B.) Collection 716 SAVEIGNIES, pottery 166, 167 Savino (Guido di) 81, 85 SAVONA, pottery 139-142 SAVOY, pottery 132, 134 Saw (Honor^), potter 215, 218, 427 SAXE COBURG, porcelain 373 SAXE MEININGEN, porcelain 373 Saxon blue china 528 Saxon graves 34 Saxon pottery 34 SAXONY, porcelain 335-344 • pottery 252 S.c 200, 404 Scaliger, quoted 275 S.C.E 90 SCEAUX PENTHIEVRE, porcelain ... 409 pottery 1 54, 222 Sceptre 354, 362 SCHAFFHAUSEN, pottery 241 ScHAPER (John), painter 247, 248 SCHATSUMA, pottery 307 Scheffer (Comte) 234, 396 ScHEFFER (Ary), artist 176 SCHELESTADT, pottery 237, 239 SCHERZHEIM, pottery 249 Schifanoia Palace 136 SCHILLEMANS, pOtter 256 SCHLAGGENWALD, porcelain 348 Schmidt, potter 238, 363 Schneider, potter 194 Schnorr's white earth 335> 33^ SCHOELCHER, pOttCr 439 ScHRADRE, painter 460 SCHRAMBERG, pottery 252 Schreiber (Lady C) Collection... 131, 325, 328, 329* 336, 339> 569, 636, 638, 639, 647, 650, 680, 684, 693, 709, 737 ScHUMAN (M.), potter 355 Schwartzbourg (Prince of) 371 SCHWARTZBERG (Rudolstadt) 372 Schweighauser (M.) discoveries 7 SCHWERDTNER, potter 373 Schwiter (Baron) Collection 123 S — c — y 211 Scott (Brothers), potteis 588, 730 Scots (Mary Queen of) 46 * Scots Magazine ' quoted 408 Scudaleri, of Venice 108 Scudella 53, 54 PAGE SD 457 S C.T 1 70> 404 SEACOMBE, pottery 554 Seago (M.) Collection 630-640 Seaton, potter 583 Sebastiano Marforio 82 Seganges (M. de Broc de) 155, 186-189 Seignes (Jacques), potter 187 Seilletz (M.), potter 423 Seipsius, painter 236, 397 Selkirk (Alex.), flip can 665, 666 Selliere (M ) Collection 62, 63 SELTZERODE, porcelain 371 Seltzman, potter 246 Semper, glovis 1 01 Senlis, potter 187 SEPT FONTAINES, pottery 254 porcelain 3^9 Septalio (Signer), of Milan 318 SEVER (St.), Poterat de 190, 384, 404 SEVILLE, pottery 148 SEVRES, porcelain 440, 470 pottery 178 S6vres names of vases 445 colours employed 448 marks of the manufactory 449 marks of painters 44°) 454 date marks 449, 466 decrees of prohibition 441, 443 frauds, &c 446 — ; — Mus^e C^ramique 444 SEVRES (Rue de), pottery 175 Sewell, potter 589 Seymour (H. D.) Collection 418, 437 S.F.C 120 Sforza (Jean) 78 S.F.R 350 S.G 127 S.G.LB 115 S.G.P 126 Sgrafliato pattern 55, 143 S.H 609 Shakespeare quoted 45 Sharp (Jas,), potter 582 Sharp and Co., potters 609 Sharpe, potter 527 Shaw (Aaron), potter 474 (Alderman), potter 547 (Moses), potter 474 Shaw (Dr. Simeon) quoted 309, 476, 483, 505, 508, 516, 524, 564 Shaw, of Lane End, potter 524 Shawe (Ralph), potter 474, 504 S.H.D 609 Shears as a mark 150 Shelton clay S^4- SHELTON, pottery and porcelain 510-515 Sheriff Hill pottery 589 Shield XI 2, 114, 125, 128, 133, 134, 139, 140,141, 158, 167, 346, 347, 349, 362, 363> 364* 368, 37h 37^ Shore (Joseph), potter 674, 675 Shorthose, potter 536 Shuttle, a mark 65 S.I 269 Sibthorp (Rev. Waldo) Collection 195 SicuLo (Lucio Marinao) 149 INDEX. 773 SIENA, pottery ...„ 105 Sigismond d'Este 136 Sigmaringen Museum 93,122,131 Signs, Chemical 478 SiLBERTAMER (C. H.), painter 362 SILESIA, porcelain 356 pottery 247 Silk, painter 559 SiLVANO (Francesco) 67 SiLVESTRO d'AgFLOTRINCI 96 SiMONE MaRINONE II5 SiMoNz, of Siena 78 Simonetto di Chorso 86 Simpson (A.), potter 699 ■ (C), potter 699 • (of Liverpool), potter 552 (of Mexboro'), potter 584 (Jo^n)> potter 474 (Richard), potter 474 (William) 49, 241, 474 Simpson (Mr. and Mrs.), Pinxton 610, 630 SINCENY, pottery 208,211 SiNETY (Marquis), potter 439 Singer (Alfred), potter 672-673, 674 SiNssoN, painter 460 Sioux, painter 460 SITZERODE, porcelain 371 Skinner (W. & G.), potters 590 S.L 146, 265 Slater, painter 610 Sloman (C), potter 644 S.M 243-270 Smalto or painted glass 327 Smeraldi, painter 315 Smith (Dr.), Brislington 652 Smith (Hubert), of Bridgnorth 557 Smith, of Stockton, potter 590 Smith (Charles Roach) quoted 3, 8, 10, 32, 38, 582 (John), Bassford 590 (Martin T.) Collection 163, 466-470 Smith's 'Nollekinsand his Times' 679, 702, 734 Smith (Timothy), potter 583 Smith (Lady) Collection 626, 633 Smith (W.), Derby, painter 597 Smith (William), potter 476 Sneyd, potter 521 Soap rock 545, 646 Soar (Derby), artist 597 SoAREs (Rocha), potter 231 SoiRON, painter 447 SoLivA, painter 200 Solombrino (Leucadio) 98 Solomon's knot 140 SoltykofF Collection 58, 80, 90, 172, 180 SoNTAG, potter 356 Sopra azurro pattern 55 Sopra bianco pattern 55 Sogui, artist 646 Sore, artist 597 Sorgenthal (Baron de) 345 Soulages Collection 7O) 7I) 73) 74> 87, 90, 101, 136, 148 SouRoux, potter 431 South Sea Bubble 733 SOUTHWARK, pottery 6;i SOUTHWICK, pottery 588, 589 I S.P 102, 103, 408 Spaandinck, potter 268 I SPAIN, maiolica 147, 150, 231 I porcelain 332, 333 [ Spangler, modeller 597 j Sparham (John), artist.... 632 Speder, potter 258, 467 I Speight, painter 586 Spencer (Earl) Collection 145 Sperl (Widow), potter 377 ! Spezieria, of Loreto 143 Spezieria, Vasi di 54 S.P.M 343, 531 Spitzer (M.) Collection 96 j Spode (Josiah), potter 527, 528, 531 [S.P.QF loi I S.P.^.R 101 Sprengler, potter 379 Sprimont, potter 597, 701, 708 S.S 526 St 234 Stables (Derby), painter 597 STAFFORDSHIRE, pottery and porcelain 471-538 Stag's horn as a mark 369 Stanesby, painter 597 Stanghi (P. P.), potter 136 Staniforth (Rev. T.) Collection... 139, 253, 254, 318, 319, 331, 336, 340, 343, 360, 362, 364* 365* 367, 368, 372, 373> 376, 377, 381, 387, 388, 397, 400, 401, 416, 418, 420, 429, 436, 450, 470, 504, 505, 519, 522, 526, 536, 553, 556, 582, 590, 606, 607, 644, 649, 650, 651, 668, 692 Stanislas (Manufacture de) 194, 414 Stannard (Elisha) 620 Stanniferous enamel glaze 238 Star as a mark 147, 315, 329, 330 Steatite of Cornwall 545, 646 Stechetine, artist 392 Steel (Moses), potter 474, 507 Steel, painter 597 Steingut (stoneware) 241 STELZSTATT, pottery 237 Stephan, modeller 559, 597 Stephenson, potter 683, 727 Stevenson and Hancock, potters 609 Stevenson (J.), modeller 633 Stevenson, potter 474, 532, 536, 609, 633 Stiff (James), potter 670 STOCKHOLM, pottery 233, 2 34 STOCKTON-ON-TEES, pottery 590 STOKE-UPON-TRENT, pottery and porcelain 525, 527, 528, 529 Stolzel, potter 345 Stone, potter 422 Stopford (Mr.) Collection 726 Stoppani (Cardinal) 82 Stork as a mark 382 Stowe Collection 102 STRASBOURG, porcelain 425 pottery 195, 226 Strata of former habitation 2 STRATFORD-LE-BOW, porcelain... 676-679 Strawberry Hill Collection 404,408,412, 415,433,667 STREHLA, pottery 245 774 INDEX. PAGE I Stringfellow, potter 721-726 Strobel, potter 240, 241 Strutt's * Horda Angl.' , 27 Stubbs, painter 500 Stunkel, potter 366 Sun as a mark 1 40, 141, 404 SUNDERLAND, pottery 587, 5^8 Sung Dynasty 284 SuREDA, potter 333 SUSSEX pottery 642 SuTER Van der Even, potter 264, 265 Sutherland (Mr.) Collection 469 S.V.E 264, 265 S.V.H.G.X 504 Swaab (M.) Collection 248 SWADLINCOTE, pottery 526 SWANSEA, pottery and porcelain 713-718 SwEBACK, painter 390, 464 SWEDEN, porcelain 396 pottery 232 Swinburne, quoted 137 SWINTON, pottery and porcelain 584, 586 SWITZERLAND, porcelain 378, 379 Sword and anchor 691-693 Swords crossed 341-344, 380, 388, 426, 571, 607, 609 S X 222, 408 T 134, 374, 404, 537 Tabberner's mine rock 524 Tabley (Lord de) Collection 126 Tabory, painter 440 Tae-pings, Chinese rebels 277-281 Taglieri 53 Taillandier, painter 409> 4^5, 460 TALA VERA, pottery 1 50 Talmour, potter 437 Talandier, potter 425 Talor (William), potter 473, 503 Tandart, painter 461 Tardesir (Domenigo) 164 Tardi, ptinter 461 Tardieu, engraver 439 Tathille, potter 425 Tauber (Geo. Michael), painter 358 Taunay, painter 440 Taupin, potter 168 T A. VERNES, pottery 212 TAfLOR, potter 582, 583, 584 (Thos.), potter 474, 521 Rev. M.) Collection 468 Taylor (W.), artist 597 T3 92 T.C 360 Tea, introduction of. 261 Tebaldo, agent 108 TEINITZ, pottery 254 Tele cerate 118 Telegraph (electric), discovery of 485, 487 TEMPLE BACKS, pottery 652 Temple of gratitude 281 Teppit (Gauregan), a miner 544-546 Terche (Bartolomeo) 105-107,117 (Antonio) 105, 117 Tereni Gio, painter 131 Terenzio (Matteo) 80 PAGE Ter Fehn, potter 263 Ter Himpelen, painter 262 Terraglie (terre de pipe) 118, 120, 329 TERVUEREN, pottery 255 Tesaurus carbones erant 69 Tesselated pavements 672 TEYLINGEN, pottery 249 T G.C 436 T.H&O, potters 336 Tharaud, potter 425 T.HD 175 Theodore, painter 461 Theophilus quoted 237 Theresa (Maria), Empress 345 Thevenet, painter 440, 461 Thielsch, potter 356 Thimble rig, antiquity of 12 Thion, potter 19-/, 201 THIONVILLE, pottery 154 Thiraut, potter 230 THIROUX (Rue), porcelain 431, 43^ Thomas (F.), potter 703-705 Thomason (J.), Derby 596, 603 Thompson (Mr.) Collection 675 Thompson, potter 583 Thomson (C. T.) Collection 640 Thoresby (Ralph) quoted 577, 67 1 Thorneloe (John), Worcester 564 Thornhill (Sir James) 702 Thorwaldsen's groups ^ 398 THOUARS, pottery 158 Thsing dynasty 289 THURINGIA, porcelain 371-377 Thursfield (Edmund) Collection 561 Thursfield (Robert), potter 556, 557 Tibullus quoted 5 TICKENHALL, pottery 592 Tickets of porcelain 312, 566, 609 Tielsch and Co., potters 356 Tiepolo Doge, arms of 330 Tiles, Roman 23, 24 Tirata pattern 55 TiNET, potter 418 Tinners' rise in Cornwall 643 Titian, painter 108 T.K 368 TN & Co 582 TO: 68, 388 Tobacco pipe a mark 195, 253 Toft (Ralph), potter 473, 502 Toft and May, potters 521 (Thomas), potter 473, 476, 502 Tokens of porcelain 312, 566, 609 TOLEDO, pottery 150 ToMLiNsoN (William), potter 583 Tondino 54 Torcy (Marquis de), potter 426 TORKSEY, pottery 719 ToRTEROLi (G. T.), potter 139 TOUL, pottery 154 Toulouse (Edme), potter 428 TOULOUSE, pottery 154, 227, 228 Tour d'Auvergne (Marie de la) 164 TOURAINE, pottery 158 TouRAssE, potter 1 74 TOURNAY, porcelain 387 pottery 255 INDEX. 775 TOURS, porcelain 421 pottery 154, 228, 229 Tower 387, 410 Tower mark 141 Tower of Porcelain at Nankin 281 Toys, Roman 25 T.P.M 355 T.R 368 Trajer, painter 465 Transfer printing 547, 567, 569 Trautmansdorf (Count) 254 TRAVISIO, maiolica 99 Treaty of Commerce 1 54, 500 Trefoil leaf. 373, 374 Tremble (Baron de), potter 226 Tremouille (Fran9ois) arms 160 Trenchers 40 TRETTO, porcelain clay 324 Trcvans (Count) 197 TREVISO, porcelain 319 T.R.F 65 Triangle 316, 361, 363, 394, 607, 710 Trident 102, 103, 718 Triebner, potter 371 Trijiuet, potter 712 Trofci pattern 54 TROIS COURONNES (Rue des), pottery 174 Trote, potter 439 Trou (Henri), potter 170, 379, 403, 428 Trumpet mark 142 **Truppet " on a plate 167 _Tschirnhaus, chemist 335 Tuke (Mr. J. H.) Collection 627, 637, 640 Tulk (Mr. J. A.) Collection 122, 283, 675 Tumuli, Roman 3 TuNSTALL, potter 474 TUNSTALL, pottery 529, 530 TURIN, porcelain 319, 320 pottery 132-134,231 TURKEV", porcelain 395 Turner (Mr.) quoted 277 Turner (John), potter 512, 523 (Ralph), potter 473, 305 (Thomas), potter S57-560, 574 (William), potter 524 of Ddft, potter 166 and Banks, potters 523, 527 Tuscany (Duke of) 311 TusNiG (WoUen), potter 260 Tussau (Count) Collection 163, 172 Twelve Apostles, in porcelain 337 TWER, porcelain 393 Twyford (Josiah), potter 476 Tyg, or cup 5»> 643 Tygel-wyrthan 51 Tynes (Garnet), potter 49, 241 Tyrwhit (Sir H.) Collection 634 Ty 388 V 231, 320, 421, 425 V.A 229, 264, 333, 419, 421 Va 3^5 V.A.B 179> 244 U. & Co 169 Vaga, Perrino del 62 VALENCIA, pottery 149 VALENCIENNES, porcelain 421 pottery 154 i PAGE ' Valin, potter 42^ VALLADOLID, pottery 232 ; Vallance (Mrs.), Pinxton 610 Vallaresi, painter 315 VALLENDAR, pottery 251 Vallet Collection 347 VALLIER (St.), pottery 154 VALOGNES, porcelain 426 VAL SOUS MEUDON, pottery 203 Van Alphen, potter 249 DoMMELAAR, painter 263 Duyen, potter 268 Gronsfeldt, potter 260 Haeren, potter 260 Hamme, potter 666, 667 HooREN, potter 267 Laun, potter 259 Marum, potter 267 Middledyk, potter 268 Oppel, Director 338 Palland, potter '260 Van Romondt Collection 262 Vande, painter 461 Van der Briel, potter 267 Does, potter 267 Even, potter 264 Hagen, potter 267 Hoop, potter 381 Kloot, potter 267 Mandere, potter 256 Waert, potter 254 VARAGES, pottei-y 1 54, 21 3, 214 Varsanni, painter 347 VajRyon, painter 440 Vasa fictilia 1-52 Vasari quoted 311 Vasi di Spezieria 143 Vauceton, potter 168 VAUCOULEUR, pottery 154 VAUDANCOURT, pottery 230 Vaupier, turner 440 VAUGIRARD, pottery 175 Vautrin, painter 461 VAUX, porcelain 419 VAUXHALL, pottery 671,672,673 Vavasseur, potter 461 V.D.G 231, 320 Udy (John), tinner 539 V E 264, 270 Vecchio (F. Del), potter 129 Vega of Spain 232 Veillard, potter 420, 421 VEN 114, 325> 326 VENDEUVRE, pottery 206 Veneziano (Agostino), engraver 87 Vengobechea, potter 260 VENICE, porcelain 320-327 VENICE, pottery 107, 115 Venuti, of Naples 317 VERAIN (St.), pottery 182 Verboom (Abraham), painter 263 Verburg, potter 268 Vergilio, potter 86, 92 Vermonet, potter 418 VERNEUIL, pottery 154 Verneuille, potter 421 Vernon (Rev. Thos.), Worcester 564 776 INDEX. PAGE VERONA, maiolica 93> 94 Verstelle, potter 267 Vert de Savy 215 Vezzi (Francesco), potter... 321, 322, 325, 326 V.H 276 V.I.B 224 VICENZA, porcelain 360 ViELLARD, painter 421, 440 VIENNA, enamel 341 porcelain 345-348 VIERZON, porcelain 438 ViGNAL, potter 209 ViLAX (Miguel), painter 200 Vilestreux Collection 265, 272 ViLHAULT, potter 224 VILLEDIEU, porcelain 439 ViLLEROT, potter 251 Villeroy (Due de) 407 Villier (M. A.) quoted 225 Vincennes (Chateau de) 226, 440, 449 VINCENNES, porcelain ... 410, 440, 449, 450 pottery 226 Vincent, painter 209, 461 potter 205 ViNCENTio (Maestro) 67, 70, 74 VINEUF (Turin), pottery 231 porcelain 319, 320 Vinot (M.) Collection 228 VioDE (Nicholas), potter 187 Violins of fayence 261 ViRY (Gaspard), painter 199 (J. B.), potter 199, 215 VisEER (Piet), potter.. 263, 268 VISTA ALLEGRE, porcelain 333 VITERBO, maiolica 99 V.L.P 269 VM & Co., potter 434 Unaker, an earth so called 677 Undertaker of the Chelsea works 703 Unknown marks 144, 145, 400 Unkotspuch 55 Unwin, potter 554 VoGT (Adam), potter 176, 246 VOISINLIEU, pottery 170 VOLHYNIA, porcelain 395 VOLKSTEDT, porcelain 371, 372 Volterra (Frater Andrea of) 68 VoN Lang, potter 366, 397 Metul, potter 367 Olfers, of Berlin 358 Oppel, potter 338 Recum, potter 361 VoYEz, potter 517-520 V.P 219 V.P.A 146 UPCHURCH, pottery 14 V.R 270, 860 Urban VIII, Pope 82, 84 URBANIA, maiolica 79, 82 URBINO, maiolica 56-69 v.s 147 VTBL. in Q, a mark 108 UTRECHT, pottery 256 Utzschneider, potter 169, 425 UZES (Gard), pottery 225 Uzes (Due d') Collection 163 Uzieli Collection 90, 93, 113, 139 PAGE W 270, 320, 354, 373r38o> 381, 570 Waanders, potter 273 Wadham (Dr.) Collection 349 Waert (A. Van der), potter 254 Wagon, painter 440 Wagstaffe, potter 671, 674 Wainwright, potter 578 WAKEFIELD, pottery 5^7 WALDENBERG, porcelain 35^ Waldenstein, potter 393 WALES (Prince of), porcelain 43 6 WALES, pottery and porcelain 713-726 Walker and Billingsly, potters ... 561, 562, '718, 720 and Co., potters 612-630 Walker (Minories) 638 Wall (Dr. J.), potter 564 WALLENDORF, porcelain 373 Walpole (Horace) quoted... 152, 404, 412, 415, 433) 577) 650, 667, 702, 710, 734 Walton, potter 537 Wandhelein (Carl), chemist 313 Warburton (Jacob), potter 5^2., 531 (Joshua), potter 474 Warburton (John or Joseph), potter 550 Warburton (Peter), potter 476, 512 (Mrs.), potter 476 » — and Britton, potters 578, Ward, potter 475, 529, 700 Warland, potter 664 Warmont (Dr.), quoted 205, 209, 210 WARRINGTON, pottery 555 WATERLOO, potteries 507 Waters (R.), potter 669, 670 Watts (James), potter 670 W.D 267, 270 WE 354 Wear, potter 534 WEAR, pottery 589 Weatherby, potter 678-679 Webb (Professor) 613 Webber (Derby) modeller 597 Webber, modeller 493, 497, 597 Weber, potter 376 Webster (Moses), painter 565, 597 Wech (J.), painter 348 Weckherlin Collection 243 Wedgewood, potters 590 Wedgwood (Aaron), potter 474, 476, 480, 482 (Abner), potter 480, 486 (Burslem), potteV 480 (Clement), potter 480, 502 Wedgwood family, chronological table ... 480 Wedgwood (Francis), Collection... 489, 498, 502 Wedgwood (Gilbert), potter 480 (Godfrey), potter 480, 502 (John), potter 480, 481, 484, 500 (Joseph), potter 480,481 (Josiah), potter A73-S°^> 53^) 650 (Moses) 480 (Ralph), potter 480, 485-581 (Richard), potter 474, 480, 482 (Samuel), potter 480 (Sarah) 480 (Thomas) ... 473, 474, 480, 481, 482, 484, 487, 500 (Dr. Thomas) 474, 480, 482, 505 INDEX. 777 PAGE 480 583 Wedgwoods of Yearsley, potters ... 581 583 , 380, 381 351, 354 254 634 Wellington (Duke of) Collection.. 353 WELSH ware 675 506, 533 West (Mr. Cornwallis) Collection 251 435 418-522, 634 590 485 252, 357 486, 531 665, 666 273 WHITTINGTON, pottery 591 583 636 Wilkinson (Mrs Eason) Collection Willemin's ' Monumens inedits ' .. 583 »58 194 William III., King of England .. 272 266 525 683 Willoughby (Lord) Collection ... 482 467-470 527, 558, 562 519 4i2>4i3 89 152 WIRKSWORTH, pottery 6u 597, 598 583 583 476 482, 505, 531 482, 506 (Enoch), potter 474 482 205 505 and Caldwell, potters 507 and Grainger, potters .... 576 PAGE Wood, of Worceater, painter 575 Wood (Mrs.) Collection 629, 630 Woodley (W.) Lowestoft 634 Woodward, actor 647, 688 Woodward, pipe maker 593 WooLEY, Cheatham and, potters 524 WooLF (Lewis), potter 583 WORCESTER, porcelain 564-576 WoRTHiNGTON and Co., potters 552-554 WoRTHINGTON, pOttCr 554 W P.C 566 W.R 243, 368, 169 Wrede, potter 651 Wright (J.), potter 592, 673 W. S. & Co 500 WROTHAM, pottery 642 W.T 243 WURTEMBERG, porcelain 366, 368 arms 363 WURTZBURG, porcelain 369 W.V.D.B 267 Wytmans, potter 383 X 56-61, 124 Xanto (Francesco), potter 56, 59, 60, 61 Xrowet, painter 440, 461 Y 399 YA.E 77 YARMOUTH, pottery 641 Yarmouth roads, view of 629 Yates, potter 483 Yates (W. and J.), painters 597 Yccard, potter 197 YEARSLEY, pottery 583, 584 YORK, pottery 577, 578 York House, Battersea 733, 739 YOUGHAL, pottery 729 Young, painter 715 YRIEIX, kaolin of 442 Ysbranti Ides 277 Yuan Dynasty 287 YvERNEL, painter 440 YvoN (M. d') Collection 163 Z 98, 367, 379 Zachtleven, artist 265 Zaffarino, printer J36 Zaneti, Abb^ 327 Zener Dommenigo, Venice 109, 112 ZiEGLER, potter 170 ZiESELER, potter 367 ZURICH, porcelain 379 pottery 205 LONDON : PRINTED BY J. DAVY AND SONS, 137, LONG ACRE. NOTICES OF BICKERS & SON'S PUBLICATIONS IN THE INTERNATIONAL EXHIBITION. From The Daily Telegraph, May 6th, 1872. While speaking of the stationery and printing section, which, excelle7itly arranged as it is with a view to instruction, might have been richer in the English display of printed books, we should not omit 7iotice of the latest accession to this important branch. It is a easeful of Messrs. Bickers and Sons fine editions of classical English liter atiire, selected fro7n a private library ; and it does honoiir to the single firm by whose praise- worthy zeal so much excellence of modern typography has been, within a very short time, placed before lovers of books, who generally agree with Mr. Ruskin in thinking that such trea- sures " ought not to be too cheap!' The superb eleven-vohime imp. 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They a7^e severally volu7)ies of Tho7nas Grays, a7id George He7^bert' s Poetical Works ; Bewicks Select Fables ofyEsop; B7niya7is Divi7ie E77ible7ns ; a splendid copy of Milto7i i7i prose a7id verse (8 vols.), a7id a7iother equally perfect of Motleys ''Rise of the Dutch Republic" (3 vols). There is also as fi7ie a copy as there is i7i existe7tce of Shake- speare, edited by Charles a7id Mary Cowde7i Clarke, and a 77iagnifice7it copy of He7iry Fieldi7ig's co77iplete works (i i vols), together with a7i 7i7ms7Lally large edition of Bewick's '' Select Fables of ^sop." To the bookworm visitors this case of Mr. Godf rey Ttirner's books cannot fail to be specially attractive!' CATALOGUE OF PUBLISHED OR SOLD BY BICKERS AND SON, I, LEICESTER SQUARE, LONDON, VV.C. //ow Ready ^ a nnv Library Edition of THE WORKS OF HENRY FIELDING, Edited by Murphy, and Re-Edited by James P. Browne, M.D. io vols., demy 8vo., half morocco Roxburgh, 5s. 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And as there is to be no re-publication of this edition, and as Murphy's edition has long been scarce, those who are desirous of being possessed of the finest Library Edition of the works of the unrivalled author of *' Tom Jones," will see the advantage of securing an early copy of them. The work is printed from a new fount of Pica Type, on fine Toned Paper. It is well to add that the Publishers have resolved upon producing in the same form, the works of Smollett, Swift, Sterne, and other old English novelists. Smollett, who, as a novel-writer, is deemed only second to Fielding, is already in course of preparation. Ready this day, I vol., demy Svo, uniform with the above, price ioj. dd. MISCELLANIES AND POEMS, by Henry Fielding, with Introductory Essay by James P. Browne, M.D. Forming the nth vol. of his Works, and thus completing the only perfect edition of ALL His Works. 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By Walter Thornbury. 2 vol. post 8vo, with Illustrations. 6s. (published at 24s.) " All who know Mr. Thornbury's racy, vivid, and vigorous style, and his pleasant and graceful way of presenting information to the reader, will be sure to become familiar with his travels through England." — Daily Telegraph. " English tourists should ^et Mr. Thornbury's charming book. It contains a large amount of topo- graphical, historical, and social gossip." — Sun. Siajidaj'ii Books, c^c , Bickers and Son, Publishers. Re-issue of the Third Edition, revised and considerably Augmented, royal Svo, cloth extra, pp. 777, price 2%s. MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN, of the Renais- sance and Modern Periods; with Historical Notices of each Manufactory; preceded by an Introductory Essay on the Vasa Fictilia of England, of the Romano-British and Mediaeval Eras. By William Chaffers. With 2,200 potters' marks and illustrations. 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