BERKELEY^ LIBRARY UNIVERSITY OF CALIFORNIA -M. ^i^^ 'i^j6^€^/C^ <7?V o a^y^^ ^6 Z-r^'-rn^ L^J,^ , i-^ (-rfy^Z^ ^^---^w<: DEPARTMENT OF SCIENCE AND ART OF THE COMMITTEE OF COUNCIL ON EDUCATION, LONDON, S.W. BETIINAL GREEN BRANCH MUSEUM. CATALOGUE OF A COLLECTION OF CONTINENTAL PORCELAIN LENT AND DESCRIBED SIR A. WOLLASTON FRANKS, K.C.B,, LITT.D., D.C.L., P.S.A., F.R.S., HON. MEMBER OF THE ROYAL ACADEMY. LONDON: PRINTED FOU HER MAJESTY'S STATIONERY OFFICE, BY EYRE AND 8POTTI8WOODB, PSINTBBS TO THB QUEEN'S MOST EXCELLEKT H.UESIT. And to be purchased, either directly or through any Bookseller, from EYRE AHo SPOTTISWOODB, East Habding Steket, Fleet Steeet,E.C.; or JOHN MENZIES & Co., 12, Hanovee Street, EDiNBimon, and 90, West Nile Steeet, Glasckdw ; or HODGES, FIGGIS, & Co, Limited, 104, Gbaftok Stbbbt, Dcbliit. 1896. CONTENTS I'age Preface - - - - - - - - iii Introduction - - - - -,- -▼ Catalogue : — German Porcelain - - - - - - 1 Dutch Porcelain - - - • • - 40 Danish Porcelain - - - - - - 42 Swedish Porcelain- - - - - - 44 KussiAN Porcelain - - - - - - 45 Belgian Porcelain - - - - - - 47 Swiss Porcelain - - - , - - - 49 French Porcelain - - - - - - 50 Italian Porcelain - - - - - - 68 Spanish Porcelain - - - - - - 77 . Portuguese Porcelain - - - - - .79 Turkish Porcelain - - - - - - 80 Marks on Continental Porcelain - - - - 81 Index -------- 104 LIST OF PLATES. i.-VI. Germany. VII. Germany and Holland. VIII. Denmark, Sweden, Russia. IX. Belgium, Switzerland, France. X.-XII. France. XIII. France and Italy. XIV^ Italy. XV. Italy, Spain, Portugal. AtHENAEUM %IBRARVi /sr\t*fs-s F7 PREFACE. Ma.NY years ago I formed a collection of marked specimens of European porcelain, but from want of space I decided to confine my attention to English and Oriental examples, and I ceded to my friend the late Rev. Thomas Stani'brth, of Storrs, the continental specimens, which formed the nucleus of the remarkable collection which he brought together, now in a great measure dispersed. Other collectors of continental porcelain were Captain Reynolds, IMr. Octavius Morgan, Mr. Marryat, Mr. Loraine Baldwin, Mr. H. G. Bohn, Lady Charlott/e Schreiber, Mr. Walker Joy, and others, all of whose gatherings have also been dispersed. Little by little a fresh collection grew up, partly derived from those above mentioned, and this is the one now exhibited. It will be readily seen that it is not composed to any great extent of the finest specimens of the Ceramic Art, but is chiefly documentary. There are none of the chefs d'ceuvre of Saxon porcelain, such as those exhibited at the Bethnal Green Museum by the Hon. W. F. Massey-Mainwaring, nor the marvels of the Royal Factory at Sevres, well exemplified in the bequest of Mr. Jones to the South Kensington Museum. Still the collection has its merits, and every day such specimens are becoming rarer. The numerous German museums, established on the same lines as the South Kensington Museum, are absorbing marked specimens of their own and other fabrics, and G erman and Freijch dealers are apt to carry off such examples as pass through the London market. Most of the continental ftibrics are represented ; perhaps the later French makers le-s well, as I have somewhat neglected the hard paste porcelain of France. I ought to add that in preparing this catalogue I have been very materially assisted by my friend and successor Mr. Charles H. Read, who, in addition to other kindly help, has drawn very carefullj all the n\arks that appear in the plates. A. WoLLASTON Franks. June 1896. O 92689. 50.— 10/96. Wt. 9402. ^ 2 438 Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/catalogueofcolleOOfranrich INTRODUCTION. For a long time it had been a great desire in Europe to produce a transparent ware, like tliat coming from the far East, then costly and rare, and confined to the houses of great people. To supply the want majolica was made in Spain and Italy, some of it copied from Eastern wares, and of which one kind was c&Wed porcelan by Piccolpa^si in 1548. The Dutch delft was more useful, as was the similar faience produced in France, at Rouen and elsewhere. According to documents published by the Marchese Campori, actual porcelain would seem to have been made at Venice as early as 1519, and at Ferrara under Alfonso II. about 1575, but no specimens of these wares appear to be known. An undoubted translucent porcelain was made at Florence about 1580, the famous Medici porcelain, now rare and niucli sought after. This was under the patronage of Francesco Maria, second Grand Duke of Tuscany, who died in 1587. The decoration was chiefly in blue under the glaze. The porcelain was not true hard paste, but of a kind of soft or hybrid paste, like many of the later Italian wares. A. little kaolin was employed, but chiefly quartz and a vitreous frit. The marks were the Medici bezants, or the dome of the Cathedral of Florence. There is no specimen of this porcelain in tlie collection, but in the British Museum are two good examples, the gift of Mr. Drury Fortnum, and there are lour in the South Kensington Museum. Next to these in date are the much discussed specimens of soft paste, attributed to Reverend of Paris and Poterat of Rouen, and the well-known soft paste made at St. Cloud in 1695 or earlier. Then comes the great discovery of hard paste by Bottger between 1709 and 1710, followed by the numerous. factories ef'tablished in various pai-ts of Germany, the wares made by Hannong in 1724 at Sti-assburg, then belonging to France, and those made at Paris by Brancas Lauragais, the last chiefly experi- mental. France, however, adhered in a great measure to its bt auti'ul soft paste, cultninating in the great Royal Fa-.tory of Vincennes, afterwards removed to Sfevrt s. The Italians were not behind, and Venice, Doccia, Le Nove, Turin, and Naples, produced charming specimens, partly of a hybrid paste. It may be well to say a few words as to the various porcelain pastes, and I am indebted tu Mr. Louis Solon for the following memorandum on this point ; — " Porcelain is the generic term employed to designate all kinds of pottery to which an incipient \itrification has been imparted by firing. This translucent pottery may be broa^lly divided into two classes : 1. Hard paste, containing only natural ▼1 INTRODUCTION, elements in the composition of the body and glaze. It is the hard porcelain of China and Japan, and that of Europe made on the same principles. 2, Soft paste, where tlio body is an artificial combination of various materials, agglomerated by the action of fire, in which the compound called a frit has been used as a substitute for natural clay. The glaze with which it is covered is a glassy mixture. To this class belong the early Italian and French porcelains, and the larger part of English china. " Kaolin and felspar are the cliief constituents of hard porce- lain. The former is an infusible aud plastic clay,, which supplies, as the Chinese express it, the bones of the body ; t-.e latter acts the part of the tissues and the flesli. This felspar is a strong, dry, and fusible substance, by which the whole mass is bound together in a partial vitrification, ana at a high temperature. It constitutes, almost by itself, the hard nnd limpid g'aze. Hard porcelain wherever made is absolutely identical in its. nature. '•■ This is by no means the case with the soft or artificial porct?- lain. The frit, which composes mainly the paste, admits of an unlimited variety of combinations in the choice and proportions of the alkalies, linie, sands, marls, and other ingredients. Con- sequently the methods of manufacture dilFered, often widely, at the various places where soft porcelain was produced, and many varieties can be recognised in the pottery forming this gioup. On two points, however, they are closely connected ; they all show a vitreous body, and a soft glaze, easily scratched with a steel blade, in which lead enters as the chief component. They are, moreover, burnt at a lower temperature." On all technical matters the best work to consult is, " Traits des Arts Ceramiques," by Alexandre Brongniart. 2 vols. 8vo. and an oblong at'as. Paris, 1844, 1854, and 1877. The last two editions have notes by A. Salvttat, who has also issued "Le(;ons de Ceramique." 2 vols. Paris, 1857. M. Brongniart subdivides the pastes rather more than Mr. Solon. He divides the soft paste into two classes, " Porce- laine tendre artificielle," embracing the earlier Frenc h wares, and " Porcelaine tendre naturelle," chiefly English. He is, moreover, disposed to place under the denomination of " Porcelaine mixte " or " hybride " many of the various fabrics of Italy, somewhat diflferent in each locality, and in the composition of which magnesian rocks greatly entered. The various subjects connected with continentjil porcelain are treated of in a number of works of a general character, of the principal of which it may be well to give the titles : — Description methodique du Mus^e C^rami(jue de la Manufacture royal e de Porcelaine de Sevres, by Alex, Brongniart and D. Kiocreux. 2 vols. Paris, 1845. Collections towards a History of Pottery and Porcelain, by Joseph Marryat, Londo.., 1850, 1857, 18C8. The last of these is the one referred to in the catalogue. INTRODUCTION. Vll G\iide de I'araateur de faiences et porcelaines, by Auguste Deinmin. Paris, 1861, 1863, 1867, 1873. The one re- ferred to is the edition of 1867. A work unfortunately full of errors. Histoire de la Porcelaine, by Albert Jacquemart and Edmond Le Blant. Folio. Paris, 1862, with fine etchings by Jules Jacquemart. Histoire de la C^rnmique, by Albeit Jacquemart. Paris, 1873 ; the work referred to in the catalogue. There i.« an English translation by Mrs. Bury Palliser : London, 1873. Marks and Monograms on P.ttery and Porcelain, by William Chaffers. London, 1863, 1866, 1870, 1872, 1874f, 1876, 1886. The last of these is the one referred ta The Keramic Gallery, by William Chaffers. 2 vols. London, 1872 ; with photographic plates. Grundriss der Keramik, by Friedrich Jaeiinicke, 2 vols, Stuttgart, 1879. Hi>toire de la Geramique, by Edouard Gamier. Tours, 1882, Hamburgisches Museum fiir Knnst und Gewerbe. Be- schreibung des Europaischen Porzellans, by Dr. Justus Brinckmann. Hamburg, 1894 A valuable work full of information. Of these works the most useful to an English collector is the " Marks and Monograms" by the late Mr. Chaffers, as he has collected into it much of what is to be found in other works, though too often without acknowledgment, and he had the opportunity of examining many private collections. A new edition is in preparation, to be edited by Mr, Frederick Litch- field. The works relating to separate factories will be noticed under those heads. In preparing the short introductions of this cata- logue the various published works have been chiefly used, the only difficulty having been to reconcile conflicting statements. In arranging the oidei' of the factories it has been thought best to do so in chronological sequence, according to the dates usually assigned to them, thougli some of the dates are mfre than doubtful, owing, no doubt, to a confusion between the factories of" faience and those of porcelain at the same places. Local writers wish, of course, to carry back the dates as far as possible, and others are apt to require absolute proofs, not always Jorthcoming, and somewhat to post-date the actual origins. The exact position, however, of the various sections in the catalogue is immaterial, especially as in many cases the actual specimens exhibited do not belong to the earliest times at which a factory may have been established. Another plan would have been alphabetical, or to divide Germany for instance (as Mr. Chaffers has done) into the separate countries of which the German Empire is con)posed, which have, however, varied from time to time. VIH INTRODUCTION. There have been printed some useful bibliographies on cera- mics which should be mentioned : — List of Works and Pamphlets in the National Art Library [South Kensington] on Pottery and Porcelain. Edited by R. H, Soden-Smith. 2nd edition. London, 1885. National Art Library, South Kensington, Classed Cata- logue of Printed Books. Ceramics. Edited by W. H. James Weale. London, 1895. One great merit of these two works i» that they include in a classified form a number of separate articles in transactions of societies or periodicals, which might easily escape the student's notice. The latter of them has a very useful index of authors. Bibliotlieque Ceramique, by Champfleury, the learned keeper of the Museum at S^vrts. Paris, 1881. Die gesammte Keramische Literatur, &e., by Friedrich Jaennicke. Stuttgart, 1882. CATALOGUE. GEMIAN PORCELAIN. Saxony. Tlie Saxons may well feel proud that the first true hard paste porcelain made in Europe was invented in their country, though ni»t by a native of Saxony. Johann Friedrich Bott(j;er was bom 4th February 1685 at Schleiz, then the cap'tal of the principality of Reuss Schleiz in Thuringia. He was educated to be a doctor in medicine, and as a youth went to Berlin to learn chemistry under the apothe ary Zom. He became an able chemist, and busied himself with alchemy, then fashionable. He left Berlin in 1701 against Zorn's wishes, and the King of Prussia set a price on his head, having been told that he had dis overed the art of making gold. He went to Wittenberg and thence to Dresden, where he entt red the service of the Elector of Saxony, Augustus II. of Poland, who had also a desire to discover the philosopher's stone. There he was associated with von Tschii-nhaus, an able chemist, who died in 1708, and made various alchemical experi- ment-!. Being dissatisfied with the crucibles, he obtained a new earth from Okrilla near Meissen, which led to his discovering the re I ware now known by his name. This was a kind of stoneware, of much i&ner quality than usual, and which could be polished on the lathe. The factory for this was estab- lished at Dresden, and a great number of objects seem to have been maxle, as appears by an inventory of what was in stock in 1711. Bottger claimed to have discovered, about 1707, the secret of white (or true) porcelain, probably only the composition of the paste, at the same time as the red, and is stated to have produced some of the ft rmer beft»re a commission in April 1709, and to have furnished the King with a specimen in 1710, so the first making of hard porcelain in Euiope cannot be well later than that date. For greater secuiity the works were removed in 1710 from Dresden to the Albrechtsburg at Meissen, where Bottger settled, and whce he and his workmen were almost State pri- soners. The making of porcelain was greatly helped by the acci- dental discovery that the white earth known as " Schnorrische weisse ErJe," found near Aue in Saxony, and used as hair powder, was true kaolin. Bottger ditd 13th March 1719, in his 35th year, leaving in Saxony the foundations of one of the most celebrated factories in Europe, a great benefit to the country, and which still exists 2' GERMAN PORCELAIN. On Bottger and his works it would be well to consult " Historische Nachrichten iiber die Konigliche Porzellan- Manufaktur zu Meissen, und d-ren S ifter Johann Fried rich Freilierrn v.m Bottger," by C. B. Kenzelm mn. Meissen, 1810. This pamphlet of 32 pages is dedicatfd to Count Camillo Marcolini, then director of the factory. Also "J. F. Bottger, Erfinder des Sashsischen Porzellans," by Carl August EngelhMrdt. Leipzig, 1837 ; in which is a portrait of Bottger, and much niinute information respecting the earlier years of the factoiy, and the events of Bottgjer's life. There is also an interesting memoir by W. von Seidlitz, published in the " Neue Archiv " of the Society for Saxon History and Antiquities, vol. IX., " Die Meissner Porzellanmanufactur unter Bottger," in which extracts are given from aa inventory of the stock at the manufactory in 1711, from which it would appear that the making of the red ware was continued after the white porcelain was discovered, as also shown by No. 2 of the collection, which is dated 1720, though of course the engraved decoration may have been added to a piece already made. The earlier white porcelain was no doubt rudimentary, chiefly imitations of Oriental, which must have been greatly assisted by the large collection of Chinese and J.-ipanese porcelain which the King had formed. The true development of the factory began under a Viennese, J. G. Herold, who came to Meissen about 1720, and was afterwards director till 1740; and in 1731 he obtained the help of the excellent sculptor, Johann Joachim Kaiidler. The rococo style, for which the porcelain became most renowned, reigned from 1740 to 1774, when Count Camillo Marcoliui became director, and a somewhat classical style was ititr duced, in accordance with the taste of the period. With the later developments of the factory we are not concerned. While the collector may be most attracted by the charming productions of the Herold period, the world at large prefers the figures and services of the rococo style, of what is known in France as the "porcelaine de Saxe," and incorrectly termed in England " Dresden china." It is impossible to enter into the full description of the decoration employed. An excellent account of it is given in thft work by Dr. Brinckmann above noted, who has added the details of an interesting price list of 1765, from which the names by wliich the various patterns were known may be ascertained. Dated examples are very useful in determining the successive changes of style, and of these there are 14 in the collection now exhibited. The early marks of Saxon porcelain were various ; the Royal cypher, the rod of iEsculapius, imitatio'ns of Chinese mai'ks, gradually settling down into the well-known crossed swords, the arms of the rulers of Saxony as Electors, which has been con- tinued to the present time. To the sworc's various adjuncts have been made; after 1763 a dot was intr-)duce(J, and under Marcolini a star. GERMAN PORCELAIN. 3 As will be seen by the catalogue, Meissen porcelain was sometimes decorated elsewhere. Such decorators are termed in France chambr elans, answering to the English " Chamber- masters," which is still used in some trades. This decoration cut of the fabric prevails extensively in modern times, and it may be useful to remember that when the porcelain of the Royal Factory is sold in the white stale a cut is made across the swords, and where the defects are considerable, two or even three cuts are made. Where these cuts occur we may be certain that the decoration has not been painted at the Royal Factory. 1. Bo'iTGER. CvLiNDRiCAL Tankard of red ware polished on the lathe : silver cover set with a circular medallion of the same ware, also polished, a copy of the obverse and reverse of a medal of John Frederick I. Elector of Saxony, of the year 1535. H. 9^ in. 2. BoTTGER. Cylindrical Tankard of marbled ware, black, grey, and red, polished on the lathe : in front is engraved and j^ilt a coat of arms, viz. coup^ per fess, 1. Bendy sn. and or ; 2. Or, a man's head sa. Crest a man's head between two elephants' trunks; above G. T. V. S., (G. Tucher von Simmelsdorf) ; beneath the date 1720, and military trophies. H. 6^ in. S. BoTTGER. Quadrangular Vase with rounded sides, dull led ware, with designs cut on the wheel and partly polished. On two siues A. R. (Augustus, King of Poland) under a royal crown. (Chinese boccaro cover added.) H. without cover, 2^ in. 4. Bottger. Pilgrim Bottle of red ware, with the surface in the state before polishing ; on the shoulders masks. H. 5^ in. 5. Bottger. Pair of Pilgrim Bottles, with cap covers, of red ware, polished on the lathe ; on the shoulders masks (one cover cast in metal). H. 6^ in. 6. BoiTGE!^. Quadrangular Coffee Pot, with rounded sides, of dark brown ware, unpolished ; spout proceeding from a dragon's mouth. Mark impressed, a square. (PI. I., fig. 1.) H. 6i in. 7. Bottger. Low Jug, dark red ware, polished on the latlie over the whole outer surface. H. 4| in. 8. Bottger. Octagonal Teapot, pyramidal; red ware, polished on the lathe, with shaped spont and handle, and mouldings in relief. Under the handle, left dull, a blank shield with a royal crown. L. 6^ in. * GERMAN PORCELAIN 9, BoTTOER. Head of Apollo, of light red ware, unpolished. H. ^ in. These " ApoUokopfe " are mentioned in the inventory of the stock at Drtsden in l/H, in which there were 60 priced at 9 groschen, or polished at 16 groschen (W. von Seidlitz). There is another bust of about the same size which has been absurdly called by Gamier, who has engraved it (p. 454), and by Demrain (p- 7^7), a portrait of Bo'tger himself. It is a head of the Emperor Vitellius, and is also mentioned in the inventory. It is totally unlike the known portrait of Bottger. 10. Bottger. Circular Mfdallion, with portrait of John George, Duke of Saxe-Weissenfels (1697-1712), bust to right in armour and cloak, curled wig ; ground polished on the lathe. Mark impressed, the crossed swords on a shield. (PI. I., fig. 2.) Diam. 3| in. 11. Bottger. Circular Medallion, with portrait of Augustus, Elector of Saxony and King of Poland (1G70-1733) ; bust in armour to right with mantle and ribbon of an order ; ground polished on the lathe. Diam. 2| in. 1 2. Bottger. Circular Medallion, with portrait of Frederick IV., King of Denmark (1699-17-^0); bust in armour to right, wearing Order of the Elephant. Diam. 4| in. 13. Bottger. Knife and two-pronged Fokk, with har'dles of red ware polished on the lathe. L. 8^ in. and Sj in. These " Messerklingen mit Gabeln " are mentioned in the Dresden stock inventory of 1711. 14. Bottger. Bowl of a Tobacco Pipe, f)f octagrmal s ction ; red ware polished on the lathe; silver mounts. Bragge Collection, A.h. 37. L. 3^ in. These " tabakspfeifenkopfe " are mentioned in the Dresden stock inventory of 1711. 15. Bottger. Pilgrim Bottle, with cap cover, of pale red A^are covered with a brilliant brown glaze, aisd decorated with Chinese scenes in gold ; masks in relief on shoulders. H. 6| in. 16. Bottger. Oviform Tea Bottle of red ware, glazed dark brown, and decorated with plants and birds in silver. On bottom " 3 " incised. Embossed silver cover. H. without cover, 4^ in. 17. Bottger. Tea Cup and Saucer, covered with dull 3'ellow glaze, and decorated with Chinese figures and trees very neatly executed in silver, now turnea black. Diam. 3 in. and 5 in. 18. Bottger. Plate of red ware, glazed dark brown, and decorated in gold ; in the centre C.A.V.K. in cypher under a coronet, and beneath " Geb. Jorgin." Scroll border. Diam. 8| in This may have been made at Plaue on the Havel, where Von Uorne founded in 171«^ a factory for red ware. There was a family of J org in Bavaria. - GERMAN PORCELAIN. , 6 19. Meissen. Tea Caddy, plain white, six-sided, with Chinese floral designs and birds in low relief. On bjttoiu, N. 29 W painted in black. H. 4| in. 20. Meissen. Tall Cup and Saucer; plain white, with branches of pninus in reliei"; double foot-rim to cup. Engraved on bottom of each N = 397W. Diam. 3 in. and 5 1 in. 21. Meissen. Two Figures, plain white, of a Chinaman squat- ting, bald headed ; hand on right knee. Engraved on backs, N = 87 W and N = 220 W. H. 3 J in. 22. Meissen. Figure, plain white, of a Chinaman squatting, bald headed; hand on right knee. Engraved oa back, IS =220 W. H. 3iin. 23. Meissen. Two Cups of plain white, in the form of six- petalled flowers. Diam. 3;^ in. 24. Meissen. Cup with crinkled edge, imitating Chinese ; slightly painted in red and black with flowers. Engraved on the bottom, N=48W. Diam. 3| in. 25. Meissen, Hexagonal Vase and Cover, painted in colours in Japanese design, formal pattern of flowers ; round the shoulder scroll work of flowers and birds ; similar pattern >on cover. Mark, the crossed swords in blue. Inside cover engraved N = 138W. H. 12 m. 26. Meissen. Octagonal BuWL, painted in colours in Japanese (Kakiyemon) style ; bamboos, &c., growing from rocks ; formal border. Mark, the crossed swords in blue over glaze, and N = 256W engraved. Diam. 7^ in. 27. Meissen. Shaped Oval Box and. Cover, painted in colours in Japanese (Kakiyemon) style, with two figures ; round the edge sprigs ; inside the cover in black 290W ; (PI. I., fig. 3.) On the bottom No. 290W in black and the crossed swords in blue. L. 4| in, 28. Meissen. Two Octagonal Plates, painted in colours with gilding in Japanese (Kakiyemon) style ; in the centre the Chinese story of Sze ma Kwang and the boy in the vase ; border of formal flowers ; maiks, on one the crossed swords in blue over glaze and N = 37W engraved; on the other, the swords in blue under glaze and N = 211 W engraved, Diam. 9| in. For the story of Sze-ma Kwang see Mayers, Chinese Readers' Manual, p.'l9y. 29. Meissen. Fluted Bowl with scalloped edge painted in colours with Japanese designs ; figures and birds ; inside a landscape. Mark, crossed swords in blue over glaze and K = 450W engraved. Diam. 8^ in. 6 GERMAN PORCELAIN. 30. Meissen. Bowl painted in colours with groups of formal flowers in Japanese (Kakiyemon) style. Mark, crossed swords iti lilac over glaze, and N = 502W engraved Diam. 7^ in. 31. Meissen. Lozenge Shaped Box and Cover, painted in colours with Oriental designs of flowering branches. Mark, crossed swords in blue, and N := 493 W engraved. L. 6 in. Part of a set of toilet boxes made for Augustus II. King of Poland, the other five being in the Dresden Collection. 32. Meissen. Five-lobed Bowl, painted in dark blue with red and green details; Japanese design, coiled phoenix in centre. Mark, crossed swords in blue over glaze, and in ^old, two staves in saltire crossing an ornamented lozenge, and engraved in the paste N = 285W. (PI. I., fig. 6.) Diam. 5^. Part of a service made for the Couhtess von Cosel, the celebrated mistress of Augustus King of Poland. Anna Constantia von Brockdorff, of a good Holstein family, was born in 1680, and married 1699 Baron von Hoym, an influential courtier in Saxony, from whom she was divorced in 1/06, having become the recognised mistress of the King of Poland. At the request of the King she was created by the Emperor, in 1706, Countess von Cosel. Her favour lasted till 1713 when her imperious character having created many enemies she fell into disgrace, took refuge in Prussia, but had to return to Saxony in 1716 where she wag imprisoned in the Castle of Stolpen, and there resided, more or less of a prisoner, till her death in 1765. See a memoir of her by Oscar Wilsdorf, 1892. 33. Meissen. Small Bottle, of Chinese form ; painted in colours with flowers and butterfly. On tlie bottom, in purple, K. H. C. (Kdnigliche Hof Conditorei). H. 2f in. 34. Meissen. Small Bottle, of Chinese form ; painted in red with gilding ; dragons, &c. On the bottom in black K. H. C. H. 2| in. 35. Meissen. Small Bottle, of Chinese form, painted in red, (fee, with flowers. On the bottom in black, N = 94W. H. 3 in. 36. Meissen. Four Zafts for holding Turkish coffee cups ; with scalloped edges ; painted in blue under glaze ; Chinese flowers. Mark in blue imitating the Chinese characters of the date Yung Ching 1723-36. See Franks Catalogue of Oriental Porcelain, Plate II., fig. 15. Diam. 2 in. H. 1 in. 37. Meissen. Cup and Saucer, painted in red and blue, with gilding, in Japanese (Imari) style ; band of- varying diapers with chrysanthemums at intervals. Mark, crossed sworc^s in blue. Diam. 3^ in. and 5| in. GERMAN PORCELAIN. 7 38. Meissen. Two Plates, with foliated edges of sixteen lobes, Japanese (Imari) pattern, richly painted in colours with gilding ; bird, tree with phcenix, and flowers in the border. Mark, crossed swords and K in blue. (PI. I., tig. 4.) Diam. 9 in. These formed part of a large Japanese service of Imari porcelain, which they had bejn evidently made to match (one of these ia exhibited). 39. Meissen. V^ase with globular body ; canary-coloured ground, with birds on branches and butterflies in brilliant colours. Mark in blue, A. R. in monogram (PI. I., fig. 7.) H. 14| in. 40. Meissen. Plate with shaped edge painted in greyish- blue under the glaze : flowers and butterflies ; on the edge A. R. in monogram (Augustus King of Poland). Mark, crossed sworls, with G., and K. H. C. W. (Konigiiche Hof Conditorei, Warsaw), all in blue under glaze. (PL I., tig. 8.) Diam. 9 in. 41. Meissen. Cup, painted in blue under glaze with flowers and insec's and A. R. in monogram. Mark, crossed swords with H. F. combined, and K. H. C. W. all in blue under glaze. Diam. 2| in. 42. Meissen. Cream Jug, with foot and pointed lip ; the surface pale green celadon, with scattered flowers of Japanese (Kakiyemon) pattern ; on each side in low relief in white the crown and monogram of Augustus, King of Poland. Mark, the crossed swords in blue. H, 2i in. 43. Meissen. Beaker, painted in colours with gilding, Oriental patterns, consisting of a boy standing on a carpet, a kylin, a bunch of flowers, a bird on a branch, and scattered insects and flowers. Mark, the rod of iEsculapius in blue. (PI. I, tig. 5.) H. 12 m. 44. Meissen. Pair of Bowls, openwork edge of intersecting circles, painted in colours in Japanese (Kakiyemon) style ; detached creepers. Mark, the rod of iEsculapius in blue. Diam. 6 in. 45. Meissen. Box, in the form of a tortoise; plain white. Mark, crossed swords in blue. L. 6^ in. 46. MEI^SEX. Bowl, with indented edge and broad lobrs on the lower part of the body ; painted with Chinese de- signs in blue. Ma k, crossed swords, and on inner edge of foot M. in blue. H. 3^ in., Diam 6^ in. 47. Meissen. Bowl, originally painted in blue under glaze, with Chinese flowers touched up with gold ; subsequently decorated with colours ; inside military figures ; outside a few additional flowers, and one figure ; broad gilt border on the inside. Mark, crossed swords in blue. H. 3| in., Diam. 6| in. J GERMAN PORCELAIN. 48- Meissen. Bowl, painted in colours with gilding; three panels with pairs of figures ; inside a panel with Venus and Cupid. Diam. 7j in. 49. Meissen. Bowl painted in colours; inside a bunch of flowers ; outside two large medallions, with fanciful framework, composed of branches, vines, flowers and baskets, enclosing landscapes; in one a man with staff; in the other a lady with fan, seated ; between them detached flowers. Mark, crossed swords in blue. H. 3^ in., Diam. 6| in. 50. Meissen. Bowl, decorated with pencilled designs in black, a boar hunt.; inside hounds and deer ; on the bottom falcon and stork, Diam. 6| in. 51. Meissen. Bowl, painted in light red with peasants in a landscape ; inside a tree. Diam. 7 in. 52. Meissen. Teapot, pencilled in red and black ; Euro- pean ships bringing merchandise to an Oriental port. H. 4f in. 53. Meissen. Two-handled Cup and Saucer, painted in colours ; on the cup a portrait of an abbot in lilac and his arms, R.A. and three shields with crozier and sword ; on the saucer a view of an abbey, and the same arms supported by cherubs. H. of cup, 3 in., Diam. of saucer, 5 in. 54. Meissen. Cup with two handles (one lost) decorated in gilding ; Chinese figures, and arms of Leopold Joseph Charles, Duke of Lorraine, Knight of the Golden Fleece in 1690 ; died 1729. Diam. 2| in. and 5 in. 55. Meissen. Basin with tw^o handles, cover, and stand or plate, decorated in gold with hunting scenes ; also a pair of two-handled cups and saucers and t\\ o other cups and sauctrrs, similarly decorated with Chinese subjects. Mark on stand only, the crossed swords in blue. Staniforth colleciion. Diam., basin, 6^ in.; stand, 9^ in.; H. of cups, 3^ in. and 1| in. Diam. of saucers, 5| in. This is evidently a travelling set for some important personage, and is provided with its original leather case with gold tooling. 56. Meissen. Tall Cup and Saucer; outside each three panels with flowers in Japanese style ; the rest of the ground covered with black lacquer, upon which formal flowers in gold ; inside the saucer, flowers and a bird ; edges of red and gilding. Diam. 2| in. and 5f in. 57. Meissen. Basin with two handles and cover, pencilled in black ; on both, landscapes, with buildings and figures ; gi;t rim. H. 3^ in., Diam. 3^ in. 58. Meissen. Cup and Saucer, pencilled in black with lilac details ; on the cup a skating scene ; on the saucer a lady and gentleman walking. Diam. 3 in. and 5 in. >^H- GERMAN PORCELAIN. 9 59. Meissen. Cup and Saucer, pencilled in black; water scenes, gilt borders ; mark on cup, the rod of -^sculapius in blue. Diam. 3| in. and 5 in. 60. Meissen. Cup and Saucer, with arabesque frames in colours, and landscapes pencilled in black. Diam. 3^ in. and 5^ in. 61. Meissen. Cup and Saucer, painted in colours with gilding; on the cup a lady playing a guitar ; on the saucer a lady and an old gallant on whose head a Cupid is about to place a pair of horns. Diam. 2| in. and 5 in. From the make and colouring this may be a Venetian copy of Meissen. 62. Meissen. Two Cups and Saucers of thin but opaque porcelain, delicately painted in faint colours with land- scapes in Chinese style. Maik, crossed swords in blue. Diam. 3 in. and 5 in. 63. Meissen. Cylindrical Tankard, painted in colours; a Chinese soldier holding a shield inscribed " George Ernst Keil, Meissen den 6 Juli 1724." (PI. I., fig. 9.) H. 6i in. 64. Meissen. Teapot and Cover, the lower part of the spout with a mask in relief, painted in colours with gilding; two panels with scroll edges enclosing groups of Chinese figures ; between them sprigs of flowers. Mark, K.P.M. and crassed swords in blue, and 86 in gold. (PI. IL, fig. 10.) H. 4| in. 65. Meissen. Bowl and Cover, with leaves in relief, gilt; gilt lace-like borders. Mark, crossed swords and B.P.T. " Dresden, 1739, in blue." (PI. II., fig. 11.) Diam. of bowl, 4| in. As the factory had been removed to Meissen long before 1739, it is probable that the name has been inscribed to indicate that the establishment or person for whom this service was made belonged to Dresden. 66. Meissen. Cup and Saucer, \vith leaves in relief, painted in colours with Chinese figures ; gilt lace-like borders Mark, crossed swords " Dresden, 1739," in blue, and 26 in gold. (PI. II., fig. 12.) Diam. 3 in. and 5^ in. 67. Meissen. Two-handled Basin and Cover, and shaped stand with handles, painted in brilliant colours with gildirig ; circular design on each in gold with a centi-al black eagle for Prussia ; round the edge the letteis SOPHIE, from which proceed inscriptions of which each letter of the name forms the initial ; in the siaces groups of Chinese figures. Mark, crossed swords in blue. Han.ilton Palace Coll., No. 1,694. Diam. of ba&in, 6| in., of stand, 11^ in. This bowl was probably made for Sophia Dorothea, daughter of George I. of England and wife of Frederick William I., King of Prussia; married 170G, died 1757. O 92689. B 10 GERMAN PORCELAIN. 68. Meissen. Ci'P, painted in blue with birds and flowers, on gilt g ound. Mark, crossed swords in blue. Diam, Sin. 69. Meissen. Gup and Saucer, plain white, with formal desigiis in raised gold. Diara. 3 in, and 4| in. 70. Meissen. Cup and Saucer, decorated with figures in low relief in gold and silver ; the insides gilt. On the bottom of the cup in gold the zodiacal sign libra and 9 ; on the saucer Aquarius and 1. Diam. 3 in. and 4^ in. 71. Metssen. Cup and Saucer, of remarkable workmanship. They bear a floral design slightly moulded in relief, with ruins, && in g'ilding, outlined with lilac, over seven of which have been plated classical figures in gold in low reli f, repetitions of two designs, one being Mars and Hercules joining hands with a figure of discord (?) under their feet, and the other a king with a kneeling female, probably representing a city, offeiing him a crown, t)n his shield the arms ot Austria. Mark, crossed swords in blue, and the inscription in lilac " C. F. Herol 1 invt. eb fecit a Meisse 1750; d. 12 Sept." (PI. II., tig. 14) Bohn Collection. Diam. 3^ in. and 5| in. 72. Meissen. Barrel-shaped Pot and Cover, bluish-grey glaze, with oriental birds painted in colours ; a white stalk forms the handle, Mark, crossed swords with dot, in blue over glaze. H. 4^ in, 73. Meissen. Teapot, Coffee-pot, and Sucrier, all with covers, the bodies divided into five broad flutes, with branches of prunus moulded in relief and left white, the ground covered with a warm brown glaze, H. 4| in., 44 in,, and 4 in, 74', Meissej^. Four-lobed Cup covered with a bluish-grey glaze, with floweis in white in relief. Mark, crossed swords in blue, O scratched under glaze. L. 3 in. 75. Meissen. Teapot, white ; on each side and on the cover a group of roses and leaves in full relief ; straight spout. H. 4>k in. 76. Meissen. Globular Pot-Pourri Vase and Cover with fluted sides; raised flowers painted in c 'lours. Mark, crossed swords in blue, stamped number 46. Straw- berry Hill Collection, 18th day sale. H. 5i in. In Walpole's Catalogue, 1774, p. 11, "a pot pourri of Saxon china, Ji^ith coloured flowers embossed," 77. Meissen. Figure, on plinth, of Johann Frohlich, the court fool of Saxony, with conical hat, painted in colours ; on the straps across his breast the letters " I. F. 1741." H. 9| in. A similar figure with the date 1 738, from the collection of Lady Charlotte Schreiber, is represented in Chaffers, Keramic Gallery, pi. cxii. Another was in the Staniforth Collection, dated 176-» and marked with the crossed swords. GERMAN PORCELA.IN. 11 78. Meissen. Statuette of a flower seller, painted in colours, holding up her apion with flowers in her left hand, and supporting a basket of flowers with her right hand. Mark, crossed swords in blue. H. 5| in. 79. Meissen. Statuette of a fruit seller painted in colours holding a tray of fruit and a bucket in her left hand. Mark, crossed swords in blue and " 19 " staniped in the paste. H. 5^ in. 80. Meissen. Tobacco-pipe Bowl, painted in colours, with a horseman with drawn sword. Bragge Collection A. h. 64. H. li in. 81. Meissen. Spoon, p'^ncilled in black with flowers, outside a bird ; slight gilding on handle. L, 4^ in. 82. Meissen. Spoon, painted in colours with group of tulips, &c. ; the back gilt. L, 4^ in. 83. Meissen. Two Spoons, painted in colours in Japanese (Kakiyemon) style; on the handles the arms of Hennicke of Saxony, L. 7i in. 84. Meissen. Cup and Saucer, painted in lake with gilding ; on the saucer the arms of Tiepolo of Venice ; on the cup the same arms, and a panel with a Chinese figure in lake. Diam. 3J in, and 5 in, 85. Meissen. Tall Cup and Saucer ; on the cup the arms of Tiepolo of Venice, and on the saucer the same with a landscape beneath, painted in colours. Mark, crossed swords in blue ; on the cup, VEN^ : in blue, the service having been probably made up at Venice by Vezzi. Diam. 2f in. and 5^ in. 86. Meissen. Cup and Saucer, painted in colours with the arms of the Cavalli family of Venice; on the cup a marine view ; the latter marked with an anchor in red (Venice) ; the saucer has crossed swords in blue. Diam, 2f in. and 5 in, 87. Meissen. Two Cups, reeded on the lower half and punted in colours with flowers ; on the upper part the arms of an Italian ecclesiastic in gold, viz., bendy on a chief a dog passant. Diam. 2| in. These are probably the arms of Antonio Xaverio Gentili, Arch- bishop of PetrsB 1727, and Cardinal 1731. 88. Meissen. Cup and Saucer, painted in colours with land- scapes ; on a sign post on the cup are the crossed swords and 1741. (PI. II., fig. 15.) Marks, on the cup crossed swords in blue and H. in gold ; on tlie saucer the swords in blue, and 17 impressed. Diam. 2| in. and 5\ in. B 2 12 GERMAN PORCELAIN". 89. Meissen. Cup and Saucer, painted in colours ; on the cup a landscape with sportsmen, and the arras, under a coronet, of Pisani impaling Cornaro, both Venetian families ; on the saucer a panel with horsemen in a landscape. Tlie inside of the cup and t!ie border of the saucer gilt. Mark, crossed swords in blue, and two dots in gold. Diam, 3| in. and 5 J in. 90. Meissen. Cup and Saucer, painted in colours with gilding ; landscapes and shield of arms, two coats accoll^s under a coronet, J. az. a chevron between three escallo]»s or, 2. argc^nt, three ducks sable membered gu. ; supporters two wild men ; inside riclily gilt. Mai k, crossed swords in blue. Diam. 2| in, and 5 in. 91. Meissen. Plate, with moulded basket-work edge, painted in colours with two coat aecolMs, Sulkowski of Silesia, and Stain of Wurtemburg. Mark, crossed swords in blue. Diam 9j in. This was probably made for Alexander Joseph von Sulkowski, Cabinet Minister of the Polish-Saxon Court. See Brinckmann, p. 15. 92. Meissen. Quadrangular Tea Caddy and Cover, painted in colours with landscapes ; border of gilt scrolls. Mark, crossed swords in blue, 52 in gold, and 19 impressed. H. 4| in. 93. Meissen. Cup and Saucer, painted in coloui-s with gilding ; on the cup two medallions with river scenes ; on the saucer a landscape in which a monument inscribed " Meissen, 1743," and a bugle-horn. Mark, crossed swords in blue, and S in gold. Diam. 3^ in. and 5| in. 94. Meissen. Bowl, painted in colours; within a circular medallion with landscape, a castle and river with boats ; on the outside a continuous landscape, old house, figures, &c. ; very fine painting. Mark, crr-ssed swords in blue, and H. in gold. H. 3 in., Diam. 6| in. Evidently from the same service as No. 88. 95. Meissen. Quatrefoil-shaped Cup and Saucer (from different services), with canary ground ; on the cup two panels with landscapes in colours ; on the saucer two panels with Watteau subjects and two with flowers. Mark, crossed swords in blue, and on the saucer S in gold. Diam. 3 in. and 5| in. 96. Meissen. Quadrangular Tea Caddy, with canary ground, painted in colours with quatrefoils enclosing flowers. H. 5 in. GERMAN PORCELAIN. 13 97. Meissen. Cup and Saucer ; the cup with lilac ground ; two shaped medallions painted in colours ; meicliania with goods standing near a river; inside a bunch of flowers; on the saucer a larger medallion with similar subjects; detached flowers at ihe sides: lilac back. Mark, crossed swords in blue. Diam. 3 in. and 5 in. 98. Meissen. Teapot, with pale green ground ; medallions enclosing Chinese tigures and flowers in colours. Mark, crossed swords in lilac over glaze and N=494W. engraved (PL II., fig. 16.) H. 3| in. 6 9. Meissen. Small Cup, turquoise gwund with a female bust in blue camaieu in a four-lobed panel. Mark, crossed swords and dot in grey-blue, and 119? 14 Novebr 1769 etc., in lilac and other marks in olive green. (PI. II.. fig. 17.) Diam. 2i in. 100. Meissen. Coffee-pot and Cover, four-lobed body; painted in colours with Watteau subjects. Mark, crossed swords in blue, and 70 in gold. H. 9 in, 101. Meissen. Milk Pot and Cover, painted with Watteau figures in green and pink. Mark, crossed swords in blue. H. 5| in, 102. Meissen. "Vase and Cover (not belonging to it), painted in colours ; two landscapes with groups of Saxon miners superintended by a man with AR. in monogram (Augustus, King of Poland) in gold on his cap; de- tached flowers ; on cover, a branch in relief. Mark, crossed swords in blue. H. 7^ in. 103. Meissen. Cup and Saucer, painted in colours with land- scapes in framework. Mark, crossed swords in blue, Diam. 3^ in. and 5|^ in, 104. Meissen. Circular Box, with slightly moulded scrolls, forming the framework of the designs, which are Watteau subjects in blue ; figures dancing and three groups re- posing ; inside the lid a vase containing flowers painted in colour ; the inside of the lower part gilt. Gilt metal mounts. Diam. d^ in., H. 1^ in. 105. Meissen. Cylindrical Toilet Pot and Cover, painted with three landscapes in lilac, within a framework of gilding. Mark, crossed swords in blue. H. 3 in. 106. Meissen Saucer Dish, painted in colours, with gilding. View of " De Kerk te Samarang." Mark, crossed swords and dot in blue. (PI. II., fig. 18 .) Diam. 8 in. From a service made for the King of Holland. 107. Meissen. Two Tall Cups, painted in colours, with groups of flowers in Chinese style. Mark in blue, crossed swords with lozenge between the points. (PI. II., fig. 13.) Diam, 3 in. 14 GERMAN PORCELAIN. 108. Meissen. Cup, painted in greyish-blue under the glaze with groups of flowers. Mark crossed swords and star in blue, « impressed, and q painted in black, (PI. IL, fig. 19.) Diam. 2| in. 109. Meissen. Plate with pierced edge, painted in colours ; in the centre a view of a battle ; on the edge the inscrip- tion : 1. Que tou jours armes pour la guerre, Nos Rois soient les Dieux de la paix. 2, Que leurs mains portent le tonnere. 3. Sans se plaire a laricer ses traits ! Mark, crossed swords and star in blue ; above, in brown, " Manoeuvres aux Environs de Dracha le 13 Juillet 1776 " ; below " C. F. Kuhnel 35. Jahr in Dienst. 57, Jahr alt. (PI. IL, fig. 20.) Bohn CoUecticm, Diam. 9^ in. 110. Meissen. Cup and Saucer, painted in colours with stag bunting ; on the cup the chase, and on the saucer the death. Mark, the crossed swords with a star in blue, and written over it in brown " C. F. Kuhnel 35. Jahr in Dienst. 57. Jahr ait, 1776." Diam. 3^ in., 5i in. 111. Meissen. Cylindrical Cup and Saucer; gros-bleu ground with medallions enclosing views in colours. On the cup a view of "London " with St. Paul's from the Thames ; on the saucer a vie w of " Dresden." .Mark, crossed swords and star, in blue, Diam. 2|j in. and 5^ in. 112. Meissen. Two Turkish Coffee Cups, the outside of each moulded in petals, coloured blue, pink, and green ; round the edge a Turkish inscription in gold : " Please God may there be healtli in it," and the date of the Hejira J170 = A.D. 1756. Inside flowers in colours. Mark, the crossed swords in blue, and P impressed. Diam. 2^ in. 2f in. 1 1 3. Meissen. Saucer with circular medallion in biscuit in relief ; portrait bust to right of a lady in natural colours on bine ground ; knot and wreath above. Mark, crossed swords and star in blue. Diam. 5^ in. 114. Meissen. Cup and Saucer, biscuit with gilding. Classical groups in low relief. Mark incised, crossed swords in triangle, with star above, and stamped number 16. (PI. II,, fig. 21.) Diam. 3 in. and 5^ in, 115. Meissen. Coffee-pot, partly glazed, the rest white biscuit ; figures of four Muses in low relief. Mark, crosHed swords and I. in blue. H. 6 in. 116. Meissen. Stick Handle of a cylindrical form with button top, cameo decoration on a greyish-blue ground ; blue and white veirtioal stripes with festoons and pen- dants in relief ; on the top, in beaded medallion, portrait of a gentleman wearing an order. H. 2f in. GERMAN PORCELAIN. 15 117. Meissen. Thrfe Circular Medallions, with subjects in white biscuit on pale blue ground in imitation of Wer]g- wo(jd. 1. A lion with two tails, crowne I, holding the double cross of Hungary, and supporting the simple shield of Austria, 2, An altar with a sword and sceptre crossed within a wreath ; on the side the eagle of the Empire charged with the arras of the Elector of Saxony, under a crown, 3, A view of a battle between Turks and Christians. Marks, the crossed swords with star and B in blue. Diam. 2^ in,, 2^ in., 2^ in. 118. Meissen. Circular Plaque of biscuit ware, imitating Wedgwood. The Apotheosis of Homer ; white cameo figures on a sage green ground. Mark, crossed swords in blue. Diam. 12| in. This is a copy of a medallion designed by Flaxman for Wedgwood, frotn a Greek vase in the British Museum, formerly in the Hamilton Collection. It was employed both as a medallion and to ornament vases. See Miss Meteyard, Life of Josiah Wedg- wood, ii., p. 365. 119. Meissen. Group, consisting of an elephant with housings ; on his back three figures, viz., a mnn seated upon a high saddle, a female in front with a pierced vase, and a second behind playing a lute. The whole covered with a celadon glaze. Ormolu base. H. 12 in. 120. Meissen. Saucer, printed in colours with a circle enclos- ing plan of the battle of Leipsic, 18-19 Oct., 1813, with the position of the contending armies. Mark, crossed swords with star and 4 in blue. Diam. 5^ in. 121. Chinese, painted at Meissen. Milk Pot, Cover and shaped Tray, painted in colours ; shipping and agricul- tural scenes. Mark on stand, crossed swords in blue over glaze and K 1 in gold. H. of pot 4^ in. ; L, of tray 4 J in. 121a. Meissen, painted at Dresden. Tall Cup and Saucer, painted in colours with gilding. Framework enclosing Chinese subjects ; two on the cup and one on the saucer, the latter au execution, Jiorders of scroll work in gold. Mark on both pieces in red "Lauche fecit Dresden." (PI, III, fig, 22.) Diam. 3^ in,, 6| in. 122. Meissen, painted at Augsburg. Tall Cup and Sauces, painted in red and lilac with gilding ; emblematical figures, indifferently executed; on tne cup Water and Fire, on the saucer Air, Mark, in red, on the saucer lAW. and " Augsburg " in German script; (PI. III., fig 23.) the same on the cup, but badly written. Stauiforth collection, Diam. 2| in. and 5^ in. IQ GERMAN PORCELAIN. 123. Meissen, painted at Breslau. Cup and Sauceh painted in colours with gilding; boldly designed arabesques with half figures of bacchanals and eupids. Mark on saucer W. in gold andA.B. 1726 in red. (PI HI, fig. 24) Diam. 3^ in. and 5 in. Painted by Bottengruber of Breslau, who was afterwards one of the painters at the Vienna factory, 124. Chinese, painted at Breslau. Saucer; the original decoration is a, flower within a circle, painted in blue under the glaze and a similar border of diaper work. These have been enriched with oil gilding. The later decoration consists of a circle of boors carousing, painted in black over the glaze after a design of Beham ; and inside is a wreath of flowers. The Chinese mark is in blue under the glaze, a symbol. Diara. 5^ in. This is probably painted by Preussler, a Breslau artist. See Brinckmann, Bescbreibung des europaischen Forzellans (Ham- burg MuiBeum), p. 73. 125. Meissen, decorated in Germany. Two-handled Bowl AND Cover, plain white ; landscapes scratched with a- diamond and filled with black ; by Canon Busch of Hildesheim. Mark, crossed swords in blue. Chaffers, Keramic Gallery, PI. cxii. H. 5^ in. 126. Meissen, decorated in Germany. Shaped Oval Tray, plain white, with design scratched with a diamond and filled with black. Funeral vase inscribed D.M., &c. in a landscape. Signed " Busch." Mark, crossed swords in blue. Chaffers, Keramic Gallery, PL cxii. L. 6| in. 127. Meissen, decorated in Germany. Deep Plate, plain white The designs scratched with a diamond and filled with b'a-^'k. Dog and butterfly under tree. Signed " Busch l7-t9." (Pl. III., fig. 25.) Diam. 9 in. 128. Meissen, decorated in Germany. Cup and Saucer, plain white with prunus branches in relief ; the design scrritched with a diamond and filled with black. Birds and branches. By Canon Busch. Mark, crossed swords in blue and CC impressed. Diam. 3| in. and 5^ in. 129. Meissen, decorated in Germany. Coffee Cup and Sauckr, white porcelain scratched with a diamond and filled with black ; birds, ruins, &c. The outside of the saucer has prunu3 branches in relief. Mark, crossed swords in blue. By Canon Busch. Chaffers, Keramic Gallery, PI. cxii. Diam. 2| in., 5^ in. GERMAN PORCELAIN. 17 Vienna. Many of the German potentates were anxious to follow the example of the Electors of Saxony and to have factories of their own, aiid this extended also to the important towns. There was, therefore, a great competition to secure the services of an arcanist, or possessor of the secret of making porcelain, and runaway workmen from other factories were received with open arms. One of the first was the Imperial city of Vienna, where, however, a factory was established by private enterprise. With the help of Samuel Stolzel and Christoph K. Hunger, from Meissen, C. I. Du Paquier founded at Vienna, in 1718, a factory, which after several vicissitudes was sold to the State under Maria Theresa in 1744, and it continued a State factory till 1864. The earlier specimens resembled Meissen, as did the porcelain up to about 1784, when Baron Konrad von Sorgenthal became director, and he introduced the rich style for which Vienna porcelain is renowned, and which continued more or less till the end. The painting was then executed in very fine colours with remarkably good gilding. The mark of the early period is said to have been occasionally W., a mark unfortunately used elsewhere, but as a rule the specimens were unmarked. On passing into the possession of the State the Austrian shield was used, generally painted in blue under the glaze, but after 1827 impressed from a wood block. In 1784 it became not unusual to impress or incise the last twonumeials of the date of the year, which is useful to indicate the exact time when the porcelain was made, but not necessarily the exact date of the painting. The best work on this factory is " Die K. K. Wiener Porzellan- fabrik," &c., by Jacob von Falke, Vienna, 1887. 130. Vienna. Tall Cup painted in black with a combat of five figures in costumes of the ea»ly part of the last century, one of them carrying a spear with a pennon with the eagle of the Empire. Mark incised, N. Diam. 2| in. This is attributed to Vienna as being like the service with battle scenes formerly in the Strawberry Hill and Marryat Collections. 131. Vienna. Trembleuse Cup and Saucer, painted in colours with groups of flowers, the socket for cup pierced. Marks, the shield in blue, _„ in red and 5 impressed. Diam. 2^ in. and 5^ in. 132. Vienna. Milk Pot and Cover painted in colours with gilding ; on the sides two busts of ladies with elaborately dressed hair, entitled " L'Heris^on " and " Fantaisie moderne." Mark, the shield in blue, and 96 incised. H. 6 in. 18 GERMAN PORCELAIN. 133. Vienna. Coffee Pot and Cover, painted in colours with gilding. Two groups of peasants and bunches of flowers. Mark, the shield in blue, and 96 incistd. H. 7^ in. 134. Vienna. Figure of a flower seller; a girl standing holding with both hands her apron full of flowers ; pink bodice and striped skirt. Mark, the shield in blue, and H impressed. H 4| in. 135. Vienna. Circular Plaque from the centre of a dish, painted in colours with two horsemen in a lands ape. Mark, the shield in blue, 8 and 1 impressed, and '* Ant^^s Anreiter V°Z 1755 " in lilac. (PI. III., fig. 29.) Metal mount, W. 4|^ in. 136. Vienna. Flower Holder, painted in blue under glaze and lilac ; the body is an oval flask, from the upper edge of which proceed five radiating tubes, the two outer ones supported on camels' heads. On one side of the body CBM in cypher under a coronet, on the other a shield of arms, viz. : Quarterly 1 and 4, a female bust ; 2 and 3, a griffin rampant. Crests, the charges of the shield, but the female holds a sword and a heart. Mark in lilac, •* Vienne 12 Julij 1771." (PI. Ill, fig. 27.) H. 9| in. 137. Vienna. Cup and Saucer, painted in colours with gilding : pale green ground with medallions of classical heads in camaieu on f)ink background. Mark, the shield in blue, (PI. III., fig. 26) and 8 and 24 impressed. Diam. 2| in. and 5 1 in. 138. Vienna. Cabaret, consisting of an oval tray with open- work edge, chocolate-pot and cover, milk-pot and cover, sucrier and cover, and cup and saucer, all decorated in camaieu with a lustrous purple ground and very rich gilding. The design on each is a medallion with a bust supported by arabesque cupids. Mark on plateau, the shield crowned, in blue (PI. III., fig. 28), and impressed 85, (1785), and on the others the shield and the saipf number repeated. L. of tray 12 in., H. of chocolate poc 5f in. ; milk pot 4| in. Diam. of sucrier 3^ in., of cup 2^ in. and 5 in. 139. Vienna. Cylindrical Cup and Saucer, painted with a band of ara^jcsques in gold with touches of colour, between two bands of deep blue. Mark, the shield in blue, and 94 (1794), and 39 incised or impressed. Diam. 2^ in. and 5iin. 140. Vienna. Cylindrical Cup and Saucer, painted with bands of gros-bleu and pale blue, and decorated with wavy lines and zigzags in burnishe 1 gold and silver. Mark, the shield in blue, and 94 (1794) and 47 on the cup and 95 on the saucer impressed. Diam. 2^ in. and 5j in. GERMAN PORCELAIN. 19 Anspach. Anspach, or Oiiolsbach as it is sometimes called, was the residence of the Margraves of that name, a junior branch of the House of Brandenburg, and is now in Bavaria. There was here a factory of faience, in which good ware was produced, somewhat in the style of Rouen. Whether this was turned into a porcelain factory is uncertain, but t'^e date is usually given as 1718, probably much too early, and both Dr. Brinckmann and Mr. Stegmaim doubt if the porcelain factory can be carried back beyond 1760. In 1764 it was removed to the Margrave's schloss at Bruchberg. It never seems to have been of great importance. The marks are A, sometimes accompanied by the shield of the town, or by the eagle of Brandenburg. The manufactory of Anspach in Thuringia, mentioned in the books, seems to be imaginary, there being no such place in the gazetteers. 141. Anspach. Cup and Saucer, pamted with landcapes in lake within rococo gilt borders. Mark, a shield and A in blue. (PL III., fig. 32.) Diam. 2| in. and 6 in. 142. Anspach. Cup and Saucer, painted in colours with gilding; festoons of flowers suspended from borders of scalework in lilac; inside the cup sprig of flowers. Mark, an eagle and A in blue. (PI. III., fig. 30.) Diam. 24 in. and 4 in. 143. Anspach. Basin, painted in colours, inside a sprig of flowers ; outside a German landscape with three peasants in the foreground, near them is a sign-board inscribed, 5 Gulden straff" 1772 ; on the rest of the outside sprigs of flowers. Mark, A in blue. Diam. 6^ in., H. 3 in. 144. Anspach. Small Pot with Cover, with handle and spout at right angles to each other, painted in colours with gilding ; on the body wreaths of flowers suspended from a bind of scale work in lilac, above which gilt scroll-work ; the same design is repeated on the cover, which is sur- mounted by a flower in relief, forming a knob ; the spout is in the form of a dragon's head, and the handle is moulded in scroll-work. Mark, A in blue. H. 3^ in. 145. Anspach. Cup and Saucer, the edge of each moulded in basket-work, painted with figures in colours ; on the cup a woman undressing to bathe, and a man peeping through the rushes ; on the saucer a lady seated, and a young man standing before her in Oriental dress ; above is inscribed " Vous etes charmant et je puis me flatter d'avoir un amant unique . . . ." In the comer of both subjects is scratched the signature " Schelh pinx." Mark, A in blue, (PI. III., fig. 31), and on saucer 3, scratched. Diam, 3 in., 5^ in. 20 GERMAN PORCELAIN Bayreuth. This place was under the same rulers as Anspach, and is now also in Bavaria. It had likewise a factory of faience, where both stoneware and delicate paintings in blue were produced. The porcelain factory is referred back to J 720, but Dr. Brinck- mann doubts if it existed before 1766. It would, however, appear that in 1744 the agent of the Duke of Brunswick was in communication with J. C. Glaser, of Bayreuth, to assist in founding a porcelain factory, which lie came to do, without much success, in 1746, when he exhibited specimens of his porcelain, wliich seems to show that he had come from a porcelain factory. His want of success may be explained by his having been only a painter, or ratlier the assi>^tant of a painter named Metzsch, and med not necessarily have known much of the making of the porcelain itself. This Metzsch has signed the specimen No. 1+6, which is dated 1748, and a cup mentioned by Chaffers, marked Bayreuth 1744, has also the letters C. M., probably the initials of the same painter. Jucht, who signs another specimen in the collection (No. 147), was a Hofmaler at Bayreuth. Very little seems to be known of the history of this factory. 146. Bayreuth. Tall Cup, painted in colours with a view of the terrace of a chateau with a group of courtly figures, large ship, &c. ; inside gilt. Mark, "Metzsch 1748 Bay r" in grey. (PI. III., fig. 33.) Diam. 2| in. 147. Bayreuth. Tall Cup with fluted base, thickly gilt, the upper part painted in lake with a shipwreck ; the inside gilt. Mark in lake, "Bayreuth Fee. Jucht." (PI. III., %. 34.) Diam. 2| in. 148. Bayreuth ? Small Cup, painted with rococo festoons in pink with gilding. Marks CB in grey under glaze and HB, and an indistinct bhield impressed. (PI. III., fig. 35.) Diam. 2^ in. Hochst • This town, situated on the Main, and now in Nassau, belonged to the Electors of Mainz. A porcelain manufactory was estab- lished here in 1746 by two merchants of Frankfort, J. C. Goltz and J. F. Clarus, with the help of A. F. von Lowenfinck, who is said to have been a painter at Meissen. They received various privileges from the Elector, who assigned to them a building at Hochst. After sundry changes and disputes the factory was formed into a company, and became in 1778 an ele.toral estab- lishment, but it came to an end in 1796. GERMAN PORCELAIN. 21 The porcelain at Hochst hc.kls a high rank, more especially for its charming statuettes and medallions. Some of these were made by Johann Peter Melchior, who worked there from 1770 to 1780, when he went to Frankenthal, and thence to Nymphen- burg, where he died in 1825. About 1»40 some of the old moulds for the figures passed into the hands of some potters at Damm, near AschalFenburg, where they were reproduced in a fine faience, with the addition of D to the usual mark. The mark is a wi.eel, painted or impressed, sometimes with a crown, being the arms of the Elector of Mainz, On the history of this fabric it would be well to consult " Die Kurmainzische Porzellan-Manufaktur zu Hochst," by Ernst Zais. Mainz, 1887. 1 49. Hochst. Cup and Saucer, painted in colours ; a landscape on each ; handle, a branch. Mark, the wheel in lilac. (PI. III., fig. 36.) Diam. 2^ in., 5^ in. 150. Hochst. Cup and Saucer painted in colours; on each a small landscape and sprigs. Marks, the wheel and IK, both impressed, and cypher LS in purple. (PI. III., fig. 37.) Diam. 2f in., 5| in. 151. Hochst. Flower Vase of rococo style, on one side of which is seated a female figure, with pink bodice and yellow sprig;^ed skirt. Mark, the wheel in red. H. 5| in. 152. Hochst. Two Plates, with shaped edges and pink borders, interrupted by four quatrefoil panels containing flowers; in the centre of each a square panel with a copy of a painting at Herculaneum, with titles in gold, viz.," Bacchus L'Indien et une Bacchante," and " Un faune s'efForcant d'embrasser une Nymphe," the latter signed, " Hen : Usinger. p : 1784." Mark, the wheel in blue, and incised 113 NI. Diam. 9^ in. Usinger lived at Mainz, and only occupied himself with special work. See Zaie, p. 84. 1 53. Hochst. Two Plates, with shaped edges and blue scale borders ; within scattered sprigs ; in the centre of each an oblong panel with a copy of a painting at Hercu- laneum, with titles in gold, viz., " Andromede " and " Hippodamie Euritns et Thesee." Mark, the wheel in blue, and incised 113 NI and B 24. Diam. 9| in. 154. Hochst. Cylindrical Cup and Saucer ; on each an oval medallion painted in camaieu, with a classical figure within a red border. Mark, the wheel in blue, and KP impressed. Diam. 2^ in., 5| in. 22 GEKMAN PORCELIIN. 155. HocHST. Vase with two upright hanlles, at the bases of which are female heads in relief ; on the body are two cameo medallions in biscuit, with a kneeling Cupid on each, placing a wreath on a shield inscribed F, ; festoons connect the medallions with the handles, and similar festoons ornament the square base ; on the neck drapery ; the ground of the vase is painted a lilac pink, interspersed with small patches of yt'llow and green with red dots ; the festoons, female heads, &c. richly gilt. Mark, the wheel in blue, and scratched N. 25 R. H. 8 in. 156. HoCHST. Statuette of a girl painted in colours; a basket of flowers in her right hand, the left raised, the skirts of her dress tucked up. Mark, the wheel in blue and incised MAHM conjoined. (PI. III., fig. 38.) H. 7 in. 157. HocHST. Statuette of a little boy, painted in colours ; pale blue dress with a yellow scarf round waist; pink hat, and broken bow in hand. Mark, the wheel in blue, and incised, N. 24, MEI LE. (PI. IV., tig. 39.) H. 5i in. 158. HocHST. Statuette of a little girl, painted in colours ; black apron, yellow skirt, flower in left hand, drapery flying. Mark, the wheel under crown in blue, and in- cised TK in monogram. (PI. IV., fig. 40.) H. 5| in. 159. Hochst. Figure of a young man, in white biscuit, stand- ing and playing a flute ; beside him a vase on a plinth. H. 7 in. FiJRSTENBERG. The Duke of Brunswick being anxious, like other German potentates, to have a porcelain manufactory, entrusted the busi- ness to the Oberjagermeister von Langen, who, as we have already seen, entered into communicaticm with J. C. Glaser, of Bayreuth as an arcanist about 1744, though he did not actually go to Brunswick till 1746. The schloss of Fiirstenberg was assigned to him at Von Langen's request, and though when he arrived he brought with him specimens of porcelain, he did not succeed in making it, whether from want of proper materials or of sufficient knowledge does not appear. The first burning did not take place till 1750, but it was not till 1752 that satisfactory results were obtained, by the help of Benckgraflf (or Bengraf) of Hochst. The productions are of the usual kind, of good white porce- lain, but rather cold in effec t. The landscupes are well painted. A speciality of the factory was work in biscuit ; groups of figures, busts, and especially medallion portraits by Rombrich, GERMAN PORCELAIN. 23 Schubert, Luplau, and Descxjhes. The works continued down to the middle of the present century. The mark was generally F in blue under glaze, but for the biscuit work tlie horse of Brunswick, impressed. See " Die Fiirstlieh-Braunschweigisehe Porzellanfabrik zu Fttrstenberg," by Heinrich Stegmann. Brunswick, 1893. 160. FCrstenberg. Cup and Saucer, each painted with two birds with fantastic head dresses ; the edges gilt in a scalloped pattern. Mark, F in blue. (PI. IV., fig. 41.) Diam. 3 in., 5 in. 161. FCrstenberq. Bowl, painted in colours ; inside a bunch of flowers ; outside two landscapes with fanciful scrolls ; in one of them a shepherd and sheep, in the other a shep- herd and a girl fishing ; between them bouquets of flowers ; inside a bouquet. Mark, F in blue. H. 3 in., Diam. 6^ in. 162. FuRSTENBERG. BowL CovER AND Stand, pa'nted in colours with bunches of roses and other flowers, on a gold ground. Mark, F in blue. Diam. 4| in. and 7| in. 163. FuRSTENBERG. FIGURE of a man in a yellow jacket and black breeches^ concealing a cudgel under his right arm. Mark, F in blue. (PI. IV., fig. 42.) Height 5 in. 164. FuRSTENBERG. BusT of Augusta, Duchess of Brunswick, granddaughter of King George II., in white biscuit on a pyramidal pedestal of glazed porcelain, on the front of which is an escutcheon with mantlings and a German prince's crown ; on the escutcheon are painted the arnjs of England (alone) diflerenced by a label, and surrounded by the Garter. Mark, F in blue ; on truncation, impressed, a running horse and W. Height 20 ^ in. 165. FCrstenberg. Oval Medallion in white biscuit with glazed border ; portrait bust three-quarters to left of a man in wig and frilled shirt. Mark impressed a running horse, W, and No. 3. (PI. IV., fig. 43.) L. 4^ in. 166. FuRSTENBERG. Pair OF OvAL MEDALLIONS in white biscuit with glazed borders ; portrait busts to right and left of O. D. Beckmann and A. L. Schlotzer, with their names incised on the backs. Marks, on one a running horse and No. 1 impressed, on the other F. No. 1 incised. L. 2| in. 167. FOrstenberg. Pair of Oval Medallions in biscuit ; on each the head of an ecclesiastic in profile, with his name above in gold, viz. : i. H. s. forme Y and L E. silber- SCHLAG ; framework gilt. Marks, F in gold, and^W im- pressed. Diam. 2 1 in. and 2 in. 24 GERMAN PORCELAIN. 168. FOrstenberg. Two Oval Medallions with heads in relief in white biscuit, the background coloured a greyish blue ; glazed and gilt edges ; on the upper part pendent festoons and knot ; names inscribed on upper part of front, and incised in the paste behind, HESIODUS, thesesus. [Theseus.] Marks, F in gold, and F. No. 2 incised ; undt r the loops R incised, probably the signature of the artist Rombrieh. H. 3^ in. W. 2f in. Berlin. The earliest porcelain factory at Berlin was established in 1750 by Wilhelni Caspar Wegeli, with the help of workmen from Hochst. It lasted, however, only till 1757, having pro- duced services and figures of considerable excellence. The mark was W. The establishment ultimately passed into the hands of Johann Ernst Gotzkowski, an army contractor, who used the mark G. He sold it in 1763 to the King, who formed it into the still existing Royal Factory, with the sceptre as a mark, the emblem of the Elect- >r of Brandenburg as Grand Chamberlain of the German Empire. The manufactory was greatly advanced by the help of workmen from Meissen, who had been reduced to a state of poverty by the war between the two countries. The earlier specimens are in the rococo style down to about 1786, when the classical style came into fashion, treated in a somewhat formal manner. The various styles and patterns have been fully treated of by Dr. Brinckmann in his account of the Hamburg Museum. The history of the factory forms the subject of the following work : " Geschichte der Konigliche Porzellan- manufactur zu Berlin," by G. Kolbe. Berlin, 1863. 169. Berlin (Wegeli). Ornament of plain white in the form of a lion seated upon a rock, upon which are flowers in full relief. Mark, W boldly incised. H. 9| in. 170. Berlin (Wegeli). Group in plain white representing a lady and gentleman beneath a tree, beside which is a rococo vase. The lady is seated playing a mandoline the gentleman stands beside her holding a roll in his uplifted hand. Mark, W in blue, and impressed 2, 90, 16. H. 9 in. 171. Berlin (Wegeli). Group representing a pair of lovers embracing ; the lady is bare-headed and wears a low dress with blue bodice and yellow skirt ; the man has a brown jerkin and breeches. Mark, W in blue, and 2, 90, 40 impressed. H. 6| in. GERMAN PORCELAIN. 25 172. Berlin (Wegeii). Figure of Gupid as a physician ; he is dressed in top boots, wig and three-cornered hat, with belt and sword ; beside him on a pedestal a pestle and mortar, bottle, «Sz;c. Mark, W in blue, and 1, 90, 32, impressed. (PI. IV., fig. 45.) H. 4^ in. 173. Berlin (Wegeii). Milk Pot and Cover painted In colours, with bunches and sprigs of flowers. Mark, W in blue. (PI. IV., fig. 44.) H. 6^ in. 174. Berlin (Gotekowski). Cup and Saucer painted in colours, with ducks and fowls and long bunches of flowers. Marks in blue, G on the saucer, and the sceptre on the cup. On both 8. in gold, (PL IV., figs. 46, 47.) Diam. 2 1 in. and 5^ in. 175. Berlin. Cup and Saucer, delicately painted in light red with Cupids ; on the cup two panels, in the centre of the saucer a single panel ; ground of deep blue covered with scale pattern in gold. Mark, the sceptre in blue. Diam. 3 in. and 4^ in. 176. Berlin. Oval Dejeuner Tray, painted with bunches of pii)k roses with green leaves ; border of gilding, from which hang small bunches of roses. Mark, the sceptre in blue. Diam. 13 in. x 10|^ in. 177. Berlin, Cup and Saucer, with decoration printed in reddish brown. On the cup a bust of Frederick the Great in an oval frame, beneath which a lion holding a tablet inscribed Nat d. 24 Jan. 1712 Denat d. 17 Aug. 1786. Signed F. Berger fe. In the saucer a circular medallion with frames enclosing the names of the victories of Frederick, and having in the centre an eulogistic in- scription in Latin. Signed, F. Berger fe. Mark, the sceptre in blue. Diam, 2f in. and 5 in. Frankenthal. In 1755 Carl Theodore, then Elector Palatine, granted a privilege to Paul Antoine Hannong of Strassburg to found a manufactory of porcelain, and assigned to him buildings tor that purpose at Frankenthal in the Palatinate, now in Bavaria, Paul Antoine was succeeded by his son Joseph Adam, and the factory seems to have existed till about 1800. The marks are various. The crowned lion of the Palatinate, with or without a cypher coriiposed of the initials of Joseph Adam Hannong; but more generally the crowned cypher of Carl Theodore, who became, in 1778, Elector of Bavaria. A remarkable plate of the year 1775 -(No. 182) gives specimens of the colours and gildings employed. A printed price list of the O 9S68». C 26- GERMAN PORCEI^IN jwrcelafn ma-ie in 1777, was issued by J. A. Meyer in that year. See Brinckmanii. p. 51. See also Schwarz, " Zur Geschichte der Porzellanfabrik Frankenthal,"in" Mittheilungen des historischen Tereias der Pfalz/' 1884, 178. Frankenthal, Statuette, coloured, of a boy walking carrying on his back a peep-show; scroll foot, on the edge of which is the mark in blue under glaze, the crowned lion of the Palatinate. Underneath is stamped P H N 3. (PL IV., fig 48,) H. 5^ in. 179. Frankenthal. Cuctard Cup and Cover, painted with bunches of flowers in colours ; gilt line round rim. Mark, I on rampant crowned and monogram I AH in blue, and impressed i H 11. (PI. IV., tig 49.) H. 3^ in, 180. Frankenthal, Two-handleo Bowl, Cover, and Stand, painted in brilliant colours with Watteau-like figures in landscapes. Of the two subjects on the stand one is signed " P. Hy Gastel," and the other " Gastel." Marks, cypher C T under crown and 6 in blue, G (Gastel) in brown over glaze, and Me in gold, probably the gilder. Diam. 3| in., 7^ in. 181. Franeenthal. Coffee Pot, Cover, and Shaped Oval Stand, both painted in lake with a landscape, one signed " Magnus pi." the other " Magnus pinx." Rococo borders in gilding. Mark, C T under crown and -^ 6 in blue ; on the coffee pot, De in gold. H. 6f in. Diam. 7 J in. A painter named Magnus was working at Hochst in 1758. 182. Frakkenthal. Plate, painted with two circles of sprigs of flowers in radiatiug panels, each in a different tint so as to give the various colours and gildings used at the factory ; in the centre in gold C T, the initials of Carl Theodore, under an electoral ctown and surrounded by ravs, and between the two circles of flowers the following inscription : VarIantIbVs fLosCVLIs DIVersI CoLores FABRlCiE sVb reVIVIsCentIs soLIs hVIVs raDIIs eXVLtantIs In frankenthaL. (Chronf^gram for 1775.) Mark C T under crown. (Pl. IV., fig. 50.) Staniforth Collection. Chaffers, Keramic Gallery, pl. cxvii. Diam. 10 in. 183. Frankenthal (?) Cylindrical Toilet Pot without cover, painted in lake with two chiLlren in a landscape. Mark, L.V.O. in lilac. (Pl. IV., fig. 51.) H. 2 in. i84. Frankenthal (?) Cylindrical Cup and Saucer, painted in colours with detached roses and buds. Mark V.R. combined and F in blue (Pl. IV., fig. 52.) Diam, 24 in. and 5^ in. german porcelaiv. 27 Nymphenburg. This factory was established about 1754 by Max. Joseph III., Elector of Bavaria, at Neudeck on the Au, with the help of the Viennese workmen Lippich and Ringler, and was removed in 1758 to Nymphenburg, one of the electoral residences. In 1778 the Elector Palatine succeeded. His successor, Max. Joseph IV., removed to Nymphenburg some of the best of the Frankenthal artists. The manufactory still exists, but the best painting is now done at Munich. The marks are various forms of the Bavarian coat. A triangle with letters and numbers at the angles was also used. In 1771 services seem to have been made for the various offices about the court. The following work on this factory was issued : " Grundziige 2ur Geschichte der Kbnii^lich-Bayerischen Porzellan-Manufactur zu Nymphenburg," by K. Sclimitz, which appeared in " Kunst- und Gewerbe-biatt des polytechnischen Vereins im Konigreich Bayern/' 1819. 185. Nymphenburg. Tankard, with the sides moulded in relief in panels, painted in colours with groups of flowers. Pewter cover. Mark, the coat of Bavaria impressed, 1765. in gold, two leaves and lAH in green. (PI. IV., fig. 53.) H. 7i in. 186. Nymphenburg. Coffee Pot and Cover, painted in colours with two groups of peasant lovers. Mark, the coat of Bavaria in a shield and D impressed, and interlaced triangles with letters and numerals at the angles in blue. H. 7;^ in, 187. Nymphenburg. Leaf-shaped Dish, painted in colours with a landscape in a rococo frame ; green handle. Marks, the coat of Bavaria impressed, 5 and D incised, and interlaced triangles with letters and numerals at the angles in dark grey. (PI. IV., fig. 54.) L. 9^ in. 188. Nymphenburg. Oval Dish with flowers moulded in relief and groups of flowers painted in colours ; gilt edge. Mark, a quarter of the coat of Bavaria in blue. (PI. V., fig. 58.) Diam. ]2| in. 189. Nymphenburg. Leaf-shaped Dish, painted with a large green leaf and groups of flowers in colours. Mark impressed, the coat of Bavarifk in a shield. On the bottom in red " C. H. Zbhrgaden 1771." (The Electoral Court Storeroom ) (PL V., fig. 56.) L. lOf in. 190. Nymphenburg. Plate, the inside moulded in relief to imitate open basket work and painted with a bunch and sprigs of flowei-s. Mark impressed, the coat of Bavaria in a shield. On the bottom in lilac, " C. H. Conditoreij, 17, 1771." (The Electoral Court Confectionery.) (PI V., fig. 57.) Diam. 9 in. c 2 28 GERMAN PORCELAIN. 191. Nymphenburg. Two Cups and Saucers painted in colours with groups of flowers. Marks, on saucers the shield oi Bavaria and other impressed marks, and Amherg 177 Jf, in lilac, probably the painter. (PL V., fig. 60.) On the cups Awh. 1774. Diam. 2^ in. and 5^ in. 192. Nymphenburg. Snuff Box, oval, moulded in slight relief ; on the lid a bust in biscuit of Maximilian Joseph III., Elector of Bavaria, 1745-1778, on blue ground within a wreath ; twisted border, blue and gold. On the edge blue festoons hanging from pillars; on the bottom a bunch of flowers in biue and border similar to lid ; inside an Italian garden in colours. Grold mounts. Mark, impressed inside, the coat of Bavaria. L. 3| in. 193. Nymphenburg. Cup and Saucer painted in colours; on each an eagle of the Empire, surmounted by a prince's ■ crown and charged with a shield containing J D in cypher ; border, green and gold wreaths intertwined. Marks, the coat of Bavaria impressed, with the addition of an incised A on the saucer, and 70 impressed on the cup. Diam. 3j in. and 5^ in. 194. Nymphenburg. Cup and Saucer painted in colours with gilding ; on both B S in cypher in gold and flowers, surmounted by a floral crown. On the bottoms in black, 1787. Mark, the coat of Bavaria impressed in an oval. Diam. 3^ in. and 5| in. 195. Nymphenburg. Cylindrical Cup and Saucer, painted in colours; on the cup, the arms and crests of Torring von Seefeld, Bavaria ; order of forget-me-nots ; on the saucer J G A T in cypher under a coronet. Marks impressed, the coat of Bavaria, on the cup in a quatrefo:!, on the saucer in a shield. Diam. 2| in. and 5| in. 196. Nymphenburg. Cup and Saucer with straight sides decorated in green and gold ; on the cup silhouettes of a lady and gentleman in gold in oval frames with green fefc toons ; in the saucer a similar silhouette of a lady with garland in green. Mark, the coat of Bavaria impressed in a quatrefoil. (PI. V., fig. 59.) Diam. 2f in. and 4 1 in. 197. Nymphenburg. Cup and Saucer with straight sides, the outside of cup and inside of saucer painted to imitate the grain of wood, upon which are fixed up with nails engravings of views, that on the cup being signed S. Heismeir inv. Marks impressed, the coat of Bavari.i, in a quatrefoil on the cup, on the saucer in an oval. Diam. 2 1 in. and 5 in. GERMAN PORCELAI>r. 28f- 198. Nymphenburg, Cup and Saucer with straight sides, painted in colours with gilding. On the cap a me lallion with a lady feeding fowls, panels with instruments, fe-rigs. Mark, a hunting horn in blue. H. ^\ in, 349. Chantilly. BoNBONNifeRE, circular, painted in colours in Japanese (Kakiyemon) style with formal fl,owers ; silver mount. Diam. 2^ in. 350. Chantilly. Dish, with rich yellow ground, delicately painted in blue ; in the centre a hawking party ; around four panels, with game ; gilt borders. Mark a hunting horn and P in gold. (PI. IX., fig. 138.) Diam. 12 in. 351. Chantilly. Knife and Fork with porcelain handles, painted in colours in Jananese (Kakiyemon) style. On the knife blade is stamped Bern ADO, L. of knife 9| in., of fork, 6f in. 352. Chantilly. Stick Handle in the form of a hook, painted in colours ; boy with a magpie ; below a motto " II a trouv^ la pie au nie " ; on the end flowers. H. 2 ^ in. 353. Chantilly. Stick Handle in the form of a hook, painted in colours ; a man pointing upwards ; below a motto '* Ta maitresse tes fidel, vie content " ; on the end flowers. H. 2i in. 54 FBENCH PORCELAIN. 354. Mennecf. Tall Egg-oup; with ribbed body; the edges painted in blue with formal borders, Mark D.V. in blue, under glaze. (PI. X., fig. 139.) H. 3| in. S55. Mennecy. Salt Cillar in the form of a shell upon rocks ; the inside painted in colours with roses, &;c. ; pink edges. Mark D.V. and 2, incised. (PL X., fig. 140.) W. ^ in. 356. Mennecy. Shaped Vase and Cover, moulded in lobes, and painted in colours with gilding ; on one side a rococo medallion with two Cupids ; on the other raises, &c. The shoulders and cover pierced with sixfoils, on the latter a pink flower in relief. Mark D.V., incised. H. 6i in. 357. Mennecy. Pair of Small Vases on quadrangular pedestals, painted with flowers in colours ; lilac rim. Mark D.V.L., incised. H. 3^ in. 358. Mennecy. Cylindrical Pot and Cover, painted with bunches of roses and other flowers ; a rose in full relief on the cover. Mark D.V., incised. H. 5| in. 859. Mennecy (?) Pair of Cylindrical Pots and Covers, plain white ; the body of each moulded in the form of a boar's body, the cover representing the head. Mark D. C. O., incised. (PI. X., fig. 142.) H. 9 in. These two pots have an original leather case in the form of a pile of books lettered '* Bail des Fermes," tomes I.-VIH. 360. Mennecy. Figure of a bagpiper, plain white. He is dressed in a wide brimmed hat and a loose cloak. H. 9iin. Cop'ed from an engravinef by J. Dumont le Rom, 1739, where the piper is working marionettes with his foot. 361. Mennecy. Pair of Groups, plain white, each representing two juvenile musicians playing violoncello, drum and flute, the fourth holding a bagpipe (?) and a book. Mark on one D. V. f., incised. (PI. X, fig. 141.) H. 7^ in., 7 in. 362. Mennecy. Group in plain white ; a young man in three- cornered hat seated with young woman holding a pitcher ; he has a cup in his hand. On the bottom LOUIS, incised in large letters. H. 5^ in. There was a sculptor named Jean Louis, who had come from Strassburg to Sceaux and thence to Orleans. See Jacquemart, p. 615. 363. Mennecy. Group in plain white ; a young man with a spade seated with a young woman holding a bucket of fruit. On the bottom Pierre Renau, incised. H. 5| in. 364. French (Mennecy ?) Group in plain white ; a young man and woman seated upon an openwork scroll base ; he holds a basket of flowers ; she has flowers in her lap. H. 9i in. FRENCH POHCELAIN- 55 365. Bourq-la-Reine. Custard Cup and Cover, painted in colours with flowers ; lilac edges ; fruit on cover. Mark B R, incised. (PI. X., fig. 143.) H. 3^ in. 366. Bourg-la-Rkine. Cylindrical Pot and Cover, rudely- painted in blue with isolated flower. Mark B R, incised. H. 3 in., Diam. 2^ in. 367. ScEAUx. Custard Cup and Cover, painted in colours with flowers ; lilac rims ; fruit on cover. Mark S. X, incised, H. 3| in. 368. Sceaux. Cup and Saucer, painted in colours with birds ; lilac edge. Mark on cup only, S. X, incised. (PI. X., fig. 144.) Diam. 2^ in., 5 in. 369. Arras. Seau with two handles, dark blue decoration ; a line with trailing festoons round it ; A B in monogram on each side. Mark A R, in blue under glaze. H. 3^ in., Diam. 4 in. 370. Arras. Saucer with a border of wavy pattern in blue under glaze; blue line and scalloped line round edge. Mark AR. 1 in blue under glaze, andN incised. (PI. X., fig. 145.) Diam. 5 in. 371. Arras. Saucer painted round the sides with a blue trail- ing pattern ; edge of a plain line and a scalloped line. Mark AA in blue under glaze, and CS scratched. (PI. X., fig. 146.) Diam. 5 in. Vincennes and S^.vres. The history of this famous establishment, the most renowned, and perhaps the most important in Europe, is so well known, and has been so fully described that few words are necessary concerning it. After some unsuccessful attempts the works were established at Vincennes, under Charles Adam. In 1753 the King of France became the owner of a third, and the factory became " Manufa ture royale de porcelaine de France." In 1756, for want of space, the works were transferred to Sevres, and in 1759 the King became sole owner. About 1768 the making of hard porcelain was introduced, but the two kinds were made simultaneously till the end of the century. Then, unfortunately, the soft paste was given up. The works were in jeopardy during the French Revolution, but were ultimately maintained, and are now one of the glories of Europe. The mark from the beginning was the royal cypher, the double L. In 1753 a letter was employed to denote the year, commencing with A and ending in 1776 with Z. Then a double letter A A commenced in 1777, ending with RR in 1793. 66 FRENCH PORCELAIN. In that year the royal cypher was replaced by R. F. (R^publique Fran9aise), with various signs up to 1817. From 1804 to 1809 a stencilled mark was in use, " M. Imp'* de Sevres," and subse- quently other marks according to the changes of government. One of the peculiarities of the Sevres marks is that signs or initials were commonly employed to indicate the names or initials of the painters and gilders, tables of which are given in most books on the subject. Of the works on this celebrated factory perhaps the most important is " The Soft Porcelain of Sevres," by Edouard Gamier, London, 1892, with excellent coloured illustrations. 372. ViNCENNKS. Leaf-Shaped Sauce Boat, the end moulded to represent shells ; coarsely painted in colours with a peony, &c. On the bottom TAVNAY in red. (PI. X., fig. 147.) L. 6f in. Taunay is given in the list of painters at Sevres in 1/50. 373. ViNCENNES. Thick Bowl, painted in colours ; outside small bunches of flowers; on the inner edge a formal bordt-r in lilac ; gilt edges. Mark double L and a dot in blue. Diam. 6^ in. 374. ViNCENNES. Octagonal Cup and Saucer, painted in colours with detached sprigs of corn flowers, pinks, &;c., and insects ; brown edges. Marie, double L and three dots in blue and C incised. Diam. 3 in., 5| in. 375. "ViNCENNES. Plate, the edge moulded in basket work in twelve divisioris ; in the centre a landscape with water painted in lake. Mark, double L accompanied by dots. (PI. X., fig. 149.) Diam. 9 in. 376. ViNCENNES. Vase of simple form and decoration ; painted in colours with groups of flowers. Mark in blue, double L enclosing a dot. H. 4| in. 377. ViNCENNES. Vase with ovifcrm body and cover ; bleu du roi ground ; on the sides two wliite panels with biids in gold ; on the foot and on the cover two similar smaller panels; borders and single birds in burnished gold, Mark in gold double L enclosing a dot. (PI. X., fig. 148.) H. 9i in. 378. ViNCENNES. Cup and Saucer, with bleu du roi ground ; on each a white medallion encloping two birds, and sur- rounded by floral borders, all in rich gold. Maik, double L in blue that on the cup enclosing A. (1753). Diam. 2| in., 5| in. 379. ViNCENNES. Octagonal Cup and Saucer, with branches of prunus moulded in relief ; in the spaces sprigs of flowers painted in blue ; gilt edges. Mark, in blue, double L enclosing A (1753), below an H, (PI. X., fig. 150), and in addition, on saucer, L and JI incised. (PI. X., fig. 151.) Diam. 3 J in., 6 in. FRENCH PORCELAIN. 57 380. SliVRES. Two Cups with liandles, painted in blue ; flowers twining round a horizontal hne ; gilt edge. Mark in V'lue, double L enclosing G (1759) and the mark of the painter Catrice. Diani. 2 in. From Lady Mary Fox's Collection, and formerly in the possession of King William IV. 381. Si^VRES. Cup and Saucer, painted in colours, with gilding. On the cup two, on the saucer three, oval medallions con- taining busts in camaieu on brown ground, the medallions connected by laurel wreaths tied with blue ribbon ; the ground covered with thick oarallel lines of gilding. In the centre of saucer military trophy in camaieu. Diam. 2| in., 6i in. 382. S£:vRES. Oval Tray with wavy outline, painted with de- tached bouquets and flowers in colours, gilt edge. Mark, double L enclosing u (1772), Ch (Chabry) and B D the mark of the painter Baudouin. Diam. 9| in. x 6| in. 383. Sevres, Saucer, delicately painted in black ; in the centre musical trophy with two doves ; around these straggling branches with a bird in the centre of each ; gilt edge. On the back is inscribed " Leve feu d'or. Teinte faite en Juillet 1786." (PI. X., fig. 152.) Diam. 3^ in. 384 Sevres. Oblong Tureen, with stand in one piece, and cover, painted in cohurs, with a border of small vases of flowera, between which are bunches of pink and blue flowers ; tlie edges of the border, turquoise and blue. Mark, double L, kk, (1786) Y, in blue, and 2000 in gold, the 'ast the mark of the gilder Vincent. (PI. X., fig. 153.) L.9 in. 385. Sevres. Tea Kettle, covered with a brown g'aze, sprinkled with gold and painted with figures ; intended as an imitation of Japanese painted lacquer ; gilt spout, handle of wood and metal. Mark, in red, double L crowned and enclosing two AA (1777). (PL XL, fig. 154.) Bemal Coll. lot 468, and C. S. Bale Coll. L. 7| in. 386. Sevi.es. Sucrier and Cover, brilliant apple - green ground ; on the sides two oval panels with flowers in colours, on the cover two similar panels, and gilt fruit as knob ; borders of flowers. Mark, R F in cypher and P M (the painter Mass}) in blue, aud G I in gold. (PL XL, fig. 155.) H. 4^ in. 387. Sevres. Two Saucers with straight edges ; in the centre of each a female bust in bistre within a pale pink band ; border of roses in colours on a gold ground. Mark, R F in cypher, Sevres and Sis. in lilac and L f in gold ; E T on one and M O on the other in bistre. (PL XL, fig. 156.) Diam. 4§ in. O 92:669. B 58 FRENCH PORCELAIN". S88. SEVRES. Cylindrical Cup, bleu du ^oi ground with gilt scrolls, inside and handle gilt ; on the front a delicately- painted panel of a young girl led captive by Cupid. Mark in blue, R F de Sevres S S k. (PI. XL, fig. 157.) Diana. 2| in. 389. SEVRES (?) Cylindrical Cup and Saucer, bleu du roi ground with gilt decorations and jewels, of which a portion only remains ; on the cup a medallion enclosing a portrait of Charles James Fox, painted in camaieu ; on the saucer is inscribed : ** A patriot's even course he steered, 'Mid factions wildest storms unmoved; By all who marked his mind revered, By all who knew his heart beloved." On the cup engraved in the paste, 27 and 3lA. No regular mark. Diams. 2| in,, 5^ in. 390. Sevres. Cup and Saucer ; coloured a deep blue, powdered and marbled with gold to imitate Inpis lazuli ; formal gilt border. Mark stencilled in red, M. Imp^^ de Sevres, 7 (? 1807). (PI. XI., fig. 158.) Diam. 3 in., 5^ in. S91. Sfev^RES. Deep Plate painted in colours ; in the centre the arms of the Elarl of Stair, with mantlings, on the border his crest (Dalrymple). Mark printed, in blue, double C enclosing X (Charles X.), and Sevres 24 (= 1824) Me, in brown and various incised numbers, &c. (PL XI., fig. 159.) Diam. 9^ in, 392. SiiVRES. Group, in white biscuit, representing a young girl seated with one of her sabots on her lap, with a child seated on the ground beside her. Mark, F incised (? Fidconnet). (PI. XL, fig. 160.) H. 6^ in. 393. SiiVRES. Statuette, in biscuit, of fat old man with a wen on his forehead ; he is a dressed as a lawyer and holds in his right hand a purse, in his left a roll, and another is in his left pocket ; his hat under his arm. Incised on the bottom M.G. (PI. XL, fig. 161.) H. 9 in. 394. Sevres. Pair of Circular Mfdallions, with gilt busts in relief to right and left of a lady and gentleman on gros bleu ground ; gilt borders. On the back inscriptions in old ink M. de L""""" and M" de L . Diam. 3^ in. These are probably C. F. Frederic, Marechal de Luxembourg 1702- 1764, and his wife, the widow of the Due de BouflSers, who died 1787. 395. SfevREs. Four Circular Medallions, with subjects in relief, in white biscuit on blue ground, imitating Wedg- wood ; on three of them ornamental designs, on the fourth fasces sui mounted by a helmet between three flrurs-de-lis and with the motto vivre libre ou mourir. The last has a cursive C upon the back. The backs of three are white, the other blue. Diam, 1^ in. to 1^\ in. FRENCH PORCELAIN. 59 396. SEVRES. Circular Medai-t.ion ; portrait in white biscuit on pale blue ground, a bust of Louis XIV. to the left. Marks incised on the back, Sevres, Li, and g, Diam. 3^ in. 397. Sevres. Circular Medallion ; portrait in white on pale blue ground, a bust of Louis XVIIL to the left, in coat with epaulette and decorations. On truncation Sevres. On the back o g incised. Diam. 3^ in. 398. Sj^vres. Portrait Bust, in white biscuit, mounted on glass, a young lady to the left ; on the truncation Brachard f a.nd 1820; on the back the same signature, both impressed. H. 3 in. 399. Sevres (?) Circular Medallion, in white biscuit ; Bust to right B. G. SAGE n6 l. 7 MAY 1740 DE L^'' DEs 8*=". Moni^ F. 1779. Diam. 2^ in. Balthasar Georges Sage was born in Paris in 1740, as stated above, and died there in 1824. He was a distinguished chemist, and in 17S3 became director of the newly-established Lcole des Mines. Strassburo. Like many others, this factory had its origin in works for making faience, perhaps in this case more important than the porcelain. About 1721 Charles Fran9oia Hannong leceived at liis faience factory a German workman, Johann Heinrich Wackenfeld, who is said to have come from Anspach, by whose help he commenced making hard porcelain. Charles F. Hannong died in 1739, and was succeeded by his sons, Paul Antoine and Balthasar, the first of whom took charge of the Strassburg works. The success of the factory at Strassburg gave umbrage at the Royal Factory at Vincennes, which had a kind of monopoly, to which in 1753 Hannong offered to sell his secret of making hard porcelain. The negotiation proved abortive, and Paul Antoine Hannong entered in 1755 into the service of the Elector Palatine at Frankenthal, being succeeded in 1759 by his son Joseph Adam. Paul Antoine died at Strassburg in 17(J0, It'aving a large family, and one of his sons, Pierre Antoine, carried on the works, but got into difficulties. Ln 1766 he started a factory at Vincennes (from which place the Royal Factory had been removed), which was unsuccessful, and in 1773 he started another factory in the Faubourg St Lazare, at Paris, afterwards under the protection (>i the Comte d'Artois. He also went to Vinovo, near Turin. The eldest son, Joseph Adam Hannong, returned to Strassburg from Frankenthal, and was protected by the Cardinal de Rohan, but. he also got into difficulties, and the Strassburg works ended, in 1780. There was no general factory mark, but on some of the specimens are. the initials of the Hannongs. See for this factory E ^ 60 FRENCH PORCEtAIN. " Recherches sur les anciennes manufactures de porcelaine et de " faience ; Alsace et Lorraine," by A. Tainturier. Strassburg, 1868. 400. Strassburg. Octagonal Plate, coarsely made like faience, painted in colours with a Chinese figure and de- tached flowers ; brown line within edge. Mark, the monogram of Josenli Hannong V.G. and 46, in blue under glaze. (PI. XI., fig. 162.) Diam. 9^ in. 401. Strassburg. Cup and Saucer, painted in colours; on the cup a medallion with the fable of the wolf and the lamb ; in the saucer a goat in a similar panel. Mark in blue under glaze I H, combined, the monogram of Joseph Hannong and C (or G) 46, in blue under glaze. Diam. 2| in. and 5f in. 402. Strassburg. Cup painted in colours with five detached sprigs of flowers. Mark, i H, in blue under glaze. Diam. 31 in. 403 Strassburg. Cup and Saucer, painted in colours with bouquets of flowers. Marks P Z in cypher and Kin blue over glaze, and other marks incised. (PI. XI., fig. 163.) Chaffers, p. 543. Diam. 2^ in. and 5^ in. Orleans. A faiencerie was established at Orleans in 1753, which came into the possession of Charles Claude Gdrault-Durobert, who added soft paste porcelain to his product'ons. Few speci- mens of this are known, and it was to be marked with a crowned O. In 1764 G6rauli succeeded in making hard porcelain, to which is attributed the mark of a labfl, with or without a fleur-de-lis. Some doubts have, however, been expressed as to this mark, which would be derived from the aims of the Due d'Orleftna^ and it has been attributed by M. Riocreux toCIignan- court, which was under that Duke's protection. See the Catalogue du Mus^e de Sevres, p. 444. 404. Orleans. Two-handled Bowl, cover and circular stand ; decorated . in gold with detached sprigs ; borders of similar flowers twined round a line. Mark, a heraldic label in blue under glaze. (PL XI., fig. 164.) Diam. 8| in. and 12^ in. 405. Orlkvns. Milk Jug, painted in colours with gilding ; on each side a gilt frame hanging by a ribbon and containing a bird under a tree ; between, garlands of flowers. Mark, a heraldic label in blue under glaze. H. 5^ in. FRENCH PORCELAIN. ^1 406. Orleans. Ctlindrical Cup and Saucer; on each of them is painted a medallion containing roaes in colours ; borders of in^rlaced gold lines and blue flowers. Mark on saucer, a heraldic label in blue under glaze, and on both St. incised. (PI. XI., fig. 166.) Diam. 2^ in. and 6 in. 407. Orleans. Cylindrical Cup ; the border of intersecting festoons, one of a pink ribbon, the other of flowers ; gilt edge. Mark, a heraldic label above a fleur-de-lis in red. Diam. 2^ in. 408. Orleans. Cup on foot, coarsely pninted with festoons in blue, and blue lines inside. Ma'k, a heraldic label above a fleur de-lis in blue under glaze. (Fl. XL, fig. 165.) Diam. 3 in. Marseilles. A large and important factory of faience was established here. One of its potters, Savy, asked in 1765 for a privilege to make porcelain, which he did not obtain, and it is uncertain whether he had really succeeded in making it. Another potter, J. C. Ro- bert, was more successful, and seems to have executed porce- lain vases of a large size, &c., but few of his products are now known. M. Daviilier gives several marks attributed to him, including FR. combined, as on the specimen exhibited. This attribution has, however, been doubted. See for this factory, " Histoire des faiences et porcelaines de Moustiers, Marseille, &€.," by J. C. Daviilier. Paris, 1863. 409- Marseilles (?) Two-handled Sccrier, painted with a ribbon round which is trailed a scarf with flowers. Mark, F R combined in blue under glaze. (PL XI., fig. ] 67.) H. 2| in., Diam. 3i in. NiDERWILLER. In 1754 Baron Jean Louis de Beyerle created at this place, which is not far from Strassburg, a factory of faience, and in 1765, having obtained workmen from Meissen, he proceeded to make hard porcelain. From him the establishment passed into the hands of the Comte de Custine, by whom it was confided to Fian9ois Lanfrey. During this time some excellent biijcult figures were made, modelkd by Lemire and Cyffl^. Under the Comte de Custine the mark was double C under a- coronet, often confused with Ludwigsburg. See for thia factory the work by Tainturier quoted under Strassburg. 62 FRENCH PORCELAIN. 410. NlDERWTLLER. MiLK JuQ AND CovER, painted with detached bouquets of flowers, and pink edges ; fruit on double cover. Mark, double C under a coronet, in blue over glaze. (PI. XL, fig. 168.) H., 6^ in. Etiolles. A small factory founded in 1768 at Etiolles, lie de France, by Monnier. Both soft and hard paste were made. The first mark was MP combined ; later on the mark of Pelleu^ given under No. 411. 411. Etiolles. Cup and Saucer ; on each a medallion enclosing a sea view, painted in lilac ; the rest of the decoration consists of festoons of flowers. Marks, on cup P, on saucer, E. Pelleu^ 1770, both incised. (PI. XII., figs. 169, 170.) Reynolds collection. Diam. 2^ in. and 5 in. Bordeaux. Founded about 1770 by Verneuille. The mark is W forming a monogram, which was thought at one time to be Vaux, but a similar monogram occurs with a label inscribed " Bordeaux." See Jacquemart^ p. 658. 412. Bordeaux. Two-handled Bowl and Cover, painted with slender festoons and wreaths containing roses in purple, gold, &c. Mark, two V V, in monogram in blue under glaze. (PL XIL, fig. l7l.) Diam. 6 in. Hard Porcelain of Paris. A nun»ber of factories started into existence at Paris towards the end of the last century, when the rigorous monopoly of the Royal Factory at Sevres was somewhat relaxed. Of these the produ'jts weie very similar, and it may be convenient to treat them as a group, taking them in the order of the dates at which they were founded, following Jacquemart (p. 658-667). In these porcelains the collection exhibited is not rich. Passing over the interesting experiments of the Comte de Brancas- Lauraguais in 1758, we come to the following : — 1769. Faubourg St. Lazare, by P. A. Hannong ; afterwards under the protection of the Comte d'Artois. Marks, h and CP under coronet. 1773. Faubourg St. Antoine, by Morelle. Products unknown, 1773. Rnie de la Roquette, by Souroux. Mark, S. FRENCH PORCELAm. 63 1773. La Courtille, by J. B. Locr^, in German style; an important factory, of which the mark was two arrows, or torches, or ears of wheat in saltire, suggested by the crossed swords of Meissen. 1774. Rue de Reuilly, by J. J. Lassia. Mark, L ; productanot known. 1774. Rue de la Roquette, by Vincent Dubois. Not identified. 1775. Clignancourt, by Pierre Ueruelle. Afterwards under the protection of Monsieur the King^s brother. Marks, a windmill, M under coronet, &c. 1775 or earlier. Rue du Petit Carrousel. Mark, PCG and name of factory. 1778. He Saint Denis, by Lafertd. Products not known. 1778. Rue Thiroux, by A. M. Leboeuf, under patronage of the Queen. Mark, A with or without a crown. 1780. Rue de Bondy, by Guerhard and Dihl, under the protection of the Due d'Angouleme. The porcelain is of good quality and well painted. Marks, the names of the manu- facturers, or the name or cypher of the patron, with or without a coronet. 1780. Rue de Popincourt, by Lemaire ; purchas'ed in 1783 by Nast, whose name is the mark. 1784. Pont aux Choux, first established at the Rue dea Boulets by L. H. de la Marre de Villiers, afterwards removed to Pont aux Choux, and placed in 1780 under the patronage of Louis Philippe Joseph, Due d'Orleans. Mark, LP, the initials of the patron. 1784. Barri^re de Reuilly, by H. F. Chanon. Mark, CH. 1789. Rue de Crussol, by an Englishman, Potter, who gave the name of Prince de Galles to his establishment. The mark is his name or initials. 1790. Belleville, by Jacob Petit ; his mark his initials. 413 Paeis (Faubourg St. Lazare). Saucer, painted in colours with Howers : a tulip, rose, &c. Mark, h, in blue, under glaze. (PI. XII., fig. 172.) Diam. 5 in. 41 4^ Paris (Faubourg St. Lazare). Two-handled Bowl, cover and shaped stand ; painted | in colours with arabes- ques. Mark, C. P. under coronet in gold. (Pl. XII., fig. 174.) Diam. 5^ in. and 8| in. 415. Paris (Faubourg St. Lazare). Cylindrical Cup and Saucer, painted in colours ; on each a medallion with a landscape and buttertiies ; ground of variously coloured thin lines, vertical on the cup, radiating on the saucer. Mark C P under coronet in gold. (PI. XII., fig. 173.) Diam. 2^ in. and b\ in. 416. Paris (Courtille). Jug and Cover ; the neck and cover painted with scroll garlands of forget-me-nots on powdeied gold ground ; in front a wreath in gold enclosing pots of flowers and fruit ; gilt mount. Mark, crossed arro^vs in blue. (PI. XIL, fig. 175.) H. 8^ in. 64 FRENCH PORCELAIN. 417. Paris (Courtille). Cylindrical Cup and Saucer, painted in colours with sprigs and border of cornflowers, Mark, crowed arrows on saucer m blue, aisd N incised ; on the saucer the arrows are badly formed and resemble an A. Diam. 2| in. and 5| in. 418. Paris (Courtille). Saucer, painted in colours, with a bunch of roses in a square gold frame. Mark, A or crossed arrows in blue. (PL XII., fig. 176.) Diam. 4| in. 419. Paris (CJourtille). Plate, painted in colours with gilding ; in the centre a winged female flying with a Cupid ; around, dots between broad lines of gold ; border, festoons of vine bi-anclies on salmon-pink ground. Mark, A or crossed arrows in blue. Diam. 9^ in. 420. Paris (Rue de la Roquette). Sucrier and Cover, painted in blue with festoons of flowers ; neat gilt edges. Mark, S, badly formed in blue. (PI XIL, fig. 177.) H. 4| in. 421. Paris (Rue de la Roquette). Saucer, painted in blue, with festoons of flowers ; gilt border of dots and circles. Mai-k, S-in blue. (PI. XII., fig. 177.) Diam. 5| in. 422. Paris (C!lignancourt). Coffee-pot and Cover, decorated in gilding. On the body two rows of festoons ; on the cover a wreath. Mark, a windmill in blue. (Pl. XII^ fig. 178.) H. 7 in. 423. Paris ((/lignancourt). Shallow Bowl, painted in colours with detached bouquets of flowers, inside and out. Marks, a windmill in gold, and cypher L S X stencilled in red, the initials of the Count of Provence (Louis Stanislas Xavier). (PI. XIL, fig. 179.) Diam. 8^ in. 424. Paris (Clignancourt). Square Tray witJi border of gilt branches. Mark, the initials of the Count of Provence under a coronet stencilled in red. (PI. XIL, fig. 180,) W. e^in. 425. Paris (Clignancourt). Cup and Saucer, painted ' in colours ; on each a medallion with a basket of flowers ; gilt border of festoons. Mark, a monogram stencilled in red. Diam. 2 1 in. and 5 in. 426. Paris (Rue Thiroux). Cylindrical Cup and Saucer, painted in colours with interlaced garlands of flowers ; blue scale ground ; gilt borders and flowers in gold on the lower part. Mark, stencilled, A crowned (Marie Antoinette) in red over glaze. (PI. XIL, fig. 181.) Diam. 2^ in. and 5 in. 427. Paris (Rue Thiroux). Cylindrical Cup and Saucer; deep blue ground with gilt borders ; white panel on each, inscribed in gold at the top " Souvenir D'amitie." Mark, A in blue. (PI. XIL, fig. 182.) Diam. 2^ in. and 5| in. , This may be German. FRENCH PORCELAIN. (S 428. Paris (Rue Thiroux). Saucer, with straight edges, painted in colours with sprigs of flowers. Mark, A, in greyish blue under glaze. Diam. 5 in. 429. Paris (Rue de Bondy). Cylindrical Cup ; lilac ground with gilt border and handle ; on the front a medallion in colour!? with a half-length of a yoiin^ woman with a spiu'ile. Mark, stencilled in red, " Manuf™ de Me^ le Due d'Angouleme a Paris," and D E. in gold. (PI. XII., fig. 18.S.) Diam. 2^ in. 430. Paris (Rue de Bondy). Cylindrical Cup and Saucer, painted with sprigs of cornflower in proper colours. Mark, stencilled in red, " manufr' de MM. Guerhard et Dihl, k Paris." (PI. XIL, fig. 184.) Diam. 2^ in. and 4| in. 431. Paris (Rue de Bondy). Saucer, with straight sides ; the edge glazed to imitate tortoiseshell, on which is a formal border in gold. Mark, Dihl, in blue under glaze. (PI. XIL, fig. 185.) Diam. 5^ in. 432. Paris (Rue de Bondy). Cylindrical Coffee Pot and Cover, with panels of bleu du roi divided by ropes of roses ; in each panel a frame with roses ; gilt borders. Mark, cypher G A in gold. (PI. XII., fig. 186.) H. 4| in. 433. Paris (Rue de Popincourt). Basin and Stand, of a very pure white, with raised ornaments richly gilt ; the bowl is hemispherical, and rests on a stem with three lions' feet and a round base ; the inside gilt ; the stand is flat, and has a palraette border. Mark on bowl and stand in gold, "nast a Paris par brevet d'invo°." (PI. XIL, fig. 187.) Diam. 6 in. and 7| in. 434. Paris (Bairi^re de Reuilly). Cylindrical Cup and Saucer, painted in colours ; pairs of Dutch figures dancing, with a yellow background ; narrow black bor- ders with white circles enclosing a gilt star ; in the centre of the saucer a radiating prittem in gold. Mark on cup in gold, CH (Chanon). (PI. XII., fig. 188.) Diam. 2^ in. and 5 in. 435. Paris (Rue de Crussol). Cup and Saucer; on each is painted a medallion with a Cupid in grisaille on a lilac ground, emblems of p anting and music ; borders of gilt Vandyke pattern. Marks, in blue under glaze, on cup, B. Potter 42; on saucer PB. (PI. XIII., figs. 189, 190.) Diam. 3 in. and 5^ in. 436. Paris (Rue de Crussol). Cylindrical Cup and Saucer, painted in colours with gilding ; a band with a pink zigzag ribbon crossing garlands of flowers ; at the inter- sections are arrows in gold ; on each side of this band is a narrow border in yellow with lilac diaper, from the lower one hang festoons in gold. Mark, EB in bluet (Fl XIIL, fig. 191.) Diam. 3 in. and 5| in. 66 FRENCH PORCELAIN. 437. Paris (Belleville). Watch Stand, plain white, of rococo form. Mark, j P in blue. (PI. XIII., fig. 192.) H. 5 in. 438. Paris. Gylindkical Cup and Saucer, painted in colours with gilding ; upper part of cup and rim of saucer with vertical bands of buff with black running pattern be- tween which are roses Mark, V® M. & C stencilled in red. (PI. XIIL, fig, 193.) Diam. 2^ in. and 5 in. BOISSETTE. At this place, which is near Melun (Seine et Marne), Ver- monet obtained in 1778 permission to establish a factory of porcelain of an ordinary quality ; tho mark is B . . 439. BoissETTE. Oviform Teapot, painted in colours with two bunches of flowers on the body ; sprigs on the cover. Mark, B in blue. BL 4| in. 440. BoissETTE. Boat-shaped Tray, painted in colours with bunches of flowers, inside and out. Mark, .B . . in blue. (PI. XIIL, fig. 194.) L. 11^ in. Lille. The making of faience at Lille continued for many years. We have seen that soft paste was made there from 1711 to 1730. In 1784 Leperre-Durot established a factory of hard porcelain, which he placed under the protection of" the dauphin, and adopted a crowned dolphin as his mark ; but sometimes the name of the town. It seems to have come to an end about 1817. See the work by Houdoy quottd above (p. 51). 441. Lille. Cylindrical Custard Cup and Cover of hard paste ; on the former a panel enclosing a green wreath ; on the rest of the cup and cover blue borders with pendent wreaths in gold and pink. Mark, a lille in black. (PL XIIL, fig. 195.) H. 3 in. Valenciennes. About 1735 a faiencerie was started at Valenciennes by F. L. Dorez ; but it was not till 1785 that a porcelain factory was established there by Fauquez, the owner of the neighbouring faiencerie at Saint Amand. Besides services, biscuit figures of great excellence seem to have been made there. The mark FRENCH PORCELAIN. 67 was V L, variously combined. See " Recherches historiques sur les manufactures de faience et de porcelaine de I'arrondissement de Valenciennes," by Dr. Alfred Lejeal. Valenciennes, 1868. 442. Valenciennes. Tall Two-handled C[tp and Saucer, with central well ; decorated with wavy garlands of flowers in colours, intersecting similar lace-like garlands in gold. Mark, F. L. V. in cypher in blue. (PL XIII., fig. 196.) Diam. 3| in. and 6| in. 443 Valenciennes (?) Cylindrical Cup and Saucer, decorated with bioad parallel lines of gold ; border of flowers in sepia. Mark, two LL in red over glaze. (PJ. XIII., fig. 197.) Diam. 2| in. and 5^ in. ViNCENNES. Quite apart from the Royal Factory which had been removed to Sevres, a manufactory of hard porcelain was founded here in 1786 by Lemaire, under the protection of the Due de Chartres (Louis Philippe) and which was directed by Hannong. The mark was two tobacco pipes in saltire with H ; but the letters given in Plate XIII., fig. 198, are also attributed to the factory. 444. ViNCENNES. Cylindrical Cup and Saucer, painted colours with a double Hue of blue dots, between which hang lace flounces dotted in gold, and crossed by branches ; between them arrows in gold. Mark in gold, H L L. (PI. XIII, fig. 198.) Quoted in Chaffers, p. 530. Diam. 2^ in. and 5 in. Caen. A late and unimportant factory commenced here in 1798, and only lasted a few years. The mark is the name of the place, stencilled. 445. Caen. Bowl-shaped Cup and Saucer ; round the edge of each a wavy band of black and gold, with pink roses. Mark, caen, stencilled in red. (PL XIII., fig. 199.) Diam. 4^ in., 5f in. 68 ITALIAN PORCELAIN. ITALIAN PORCELAIN. Venice. As already mentioned, from documents published by the Marchese Campori (Majolica e porcellana di Ferra'-a. Modena, 1871) it will almost appear that porcelain of some kind was made at Venice as early as 1519 ; Urbani de Gheltof says still earlier ; and considering how expert the Murano workmen were in making glass, a cognate substance, this is not impossible. Until, however, specimens have been seen it would be rash to accept the statement, as the ware may have been only a devitrified glass, like Reaumur's porcelain. From the frequent intercourse between Venice and the principal towns of Germany, and the artistic taste and wealth of the inhabitants, it was to be expected that a porcelain factory would be established there. This took jJace in 1719, probably with the aid of Saxon workmen, by means of Francesco Vezzi and other associates ; but it only la ted till about 1740. The mark was tlie name of the city, 7enezia, generally abbreviated. In 1758 Nathaniel Friediieh Hewelcke and his wife Mary Dorothea, natives of Saxony, obtained a privilege to found a factory " ad uso di sassonia," but it seems to have come to an end about 1763. Acceding to the decree the mark to be used was V for Venice, which may account for the large V below the bust on No. 455. In 1764 a new factory was started by Geminiano Cozzi, which came to an end in 1812, and where the red anchor was used as a mark. See " Notes on Venetian Ceramics," by William Richard Drake, F.S.A. London, 1868. 446. Venice. Tall Cup and Saucer with designs moulded in relief ; on the cup two coats of arms, viz., those of Pope Benedict XIII. (Pietro Francesco Orsini, 1724-1730), with papal tiara and keys ; the other, a coat composed of a dog holding a torch and a crown with star and lilies, an angel's head as a crest ; on the saucer are four em- blems, the papal tiara and keys, the Orsini rose, the dog with torch, and the crown with star and lilies. The Pope was of the Dominican order, and the star, lilies, and dog with torch are emblems of St. Dominic. Marks incised, on saucer, Ven*, on the cup Ven* and A. (PI. Xin., fig. 200.) Diam. 3^ in., 5^ in. 447. Venice. Tall Cup and Saucer, painted in blue with slight gilding ; birds on vines. Marks, ven^ ; on the cup, and the same in elaborate script on the saucer. (PI. Xlll., figs. 201, 202.) Diam., 2| in., 5^ in. 448. Venice. Two-handled Cup and Saucer ; the outside of each moulded in gadroons and lustred ; the inside of saucer and edge of cup decorated in similar lustre with blue, red, &c. Diam., 2| in., 4| in. This may have been made at Meissen. ITALIAN PORCELAIN. 69 449. Venice. Cup, painted in colours with gilding ; in front, two coats of arms accoll^s under a coronet, viz. : 1. the arras of Davia of Milan. 2. or three chevrons sa, in chief an eagle displayed of the last; on the back a bunch of flowers tied together by a ribbon ; gilt edge. H. 3 in , Diam. 2| in. 450. Venice. Saucer, painted in crimson. A lady seated in a landscape, holding up a cup into which a flying Cupid is pressing a bunch of grapes ; floral scroll border. On the back, in lake, " Lodouico Ortolani Veneto dipinse nella Fabrica di Porcelana, in Venetia." (PI. XIV., fig. 203.) Reynolds Collection. Chaffers' Keramic Gallery, pi. cviii. Diam. 5^ in. Probably painted at the Cozzi factory. 45 1 . Venice. Coffee Pot and Cover, painted in pale colours, with groups of flowers ; moulded spout and handle. Mark in red, " 1765 Venezia Fab* Geminiano Cozzi." (PL XIV., fig. 204.) H. 6f in. 462. Venice. Bowi- and Cover, with two handles; on the sides, two medallions with landscapes in colours; on the cover two similar medallions ; gros bleu ground ; the knob of cover a tulip. Mark, the anchor in red. (PI. XIV., fig. 205.) Diam. 4| in. 453. Venice. Coffee-pot and Cover, p tinted in green, &c., the body is divided into four zones, decorated with vertical bands of diaper alternating with sprigs of flowers ; the handle, a vine branch wiih leaves and grapes in relief. Mark, the anchor in red. H. 9 in. 454. Venice. Cup and Saucer, painted in colours, with three detached bouquets, and sprigs of flowers on each ; the boi der of scale pattern in green, with gilt enrichments, Mark, the anchor in red. Diam. 2^ in., 4^ in. 455. Venice. Oval Medallion portrait in relief of greyish ware. It represents a half length of a gentleman in profile to right, with tie wig, the hair below the knot voluminous and curly ; at the bottom, V in relief, per- haps the mark of the maker, Hewelcke of Venice. On the back is engraved " Fortunato Tolerazzi Fece Ve- nesia. 1763." (PI. XIV., fig. 206.) Modem metal mount. L. 9 in. 456. Venice (?). Figure of a warrior in classical costume, with sword and shield, seated on a rock ; plain white. Mark E Z incised. (PI. XIV., fig. 207.) H. 12i in. P. 457. Venice (?). Group in plain white ; Bacchus standing beside a tree trunk encircled with a vine branch ; before him two boys, one in a tub pressing grapes. H. 11 in. 7U ITALIAN PORCELAIN. 458. Chinese (painted at Venice), Cup and Saucer of Chinese eggshell porcelain, painted in colours at Venice ; on each side of the cup a lady seated among trees ; in the saucer two ladies. Diam. 2J in. and 4^ in. 459. Chii^ese (painted at Venice). Oviform Teapot and Cover of Chinese porcelain painted in colours at Venice, with two pairs of ladies in conversation ; scroll in relief round foot, gilt. H. 4| in. Florence and Doccia. The early n aking of porcelain at Florence under the Grand Duke about 1580 has been already mentioned. In 1735 the Marchese Carlo Ginori commenced experiments for making porcelain on his estate at Doccia, a few miles from Florence, which, with the help of Carl Wandhelein of the Vienna works, were brought to a successful result in 1737. Since then the works have been carried on by the Ginori family, giving em- ployment to a number of people, and are now very flourishing. No general mark sf-ems to have been used. In later times the best known productions have been the imitations of early majolica, and the reproductions of the specimens with bas-reliefs made at Capo di Monte, near Naples, it is said out of the original moulds. There is a short memoir on the works prepared for various exhibitions by Signor Carlo Lorenzini. 460. Chinese (painted at Florence). Cup painted in colours with a tree on which are growing different kinds of flowers ; on the other side the arms of Medici under the grand-ducal crown. H. 2^ in. Stated by M. Eugene Piot to be unquestionably Medici porcelain, but more probably a specimen of ivory wbite Chinese, the decoration being added in Florence. 461. Doccia, Two-handled Low Vase of plain whitt ; the sides are pierced and moulded to represent flowers, and through the openings can be seen the actunl exterior of the I owl, which is painted to imitate granite ; ram's head handles. Diam. 4^ in. 462. Doccia. Basin of plain white ; round the sides a broad band of flowers pierced and standing in full relief from the surface, which is coloured a dull blue. Diam. 5^ in. 463. Doccia. Cup with a band of raised network on the outside, in imitation of Chinese, with four cameo medallions : Venus and Cupids, Europa on the Bull, Hercules and the Cretan Bull, and Sea Divinities : the surface behind the network marbled. Diam. 3^ in. ITALIAN PORCELAIN. 71 464. DocciA. Cylindrical Cup and Saucer ; on each is painted in colours a figure in a landscape enclosed in an arabesque framework of red, gold, and lilac. Diam. 2^ in. and 5^ in. 4b5. DocciA. Cup and Saucer, painted in colours with a man and «oman bathing; gilt borders and sprigs. Marks, on the saucer N.S. in blue and H. impressed, and on the cup N.S. in blue and X C A. impressed. Staniforth collection. (PI. XIV., fig. 208.) Diam. 3 in. and 5 in. 466. DocciA. Milk Pot and Cover, delicately painted in colours with an Italian landscape. Mark N.S. in gold and A incised. H. 4| in. 467. DocciA. Statuette of Venus, plain white. The upper part of the body nude, the lower draped, the left leg raised on a pile of rockwork. On the plinth is incised Venere in Roma. H. 16| in. 468. DocciA. Figure of Zeno in white, standing, toga draped round body and held up by left hand, right holding roll ; on the front of the square pedestal zenone. H. 17 in. 469. DocciA. Circular Medallion, with nearly full-face bust of Jupiter with wreath, in white on mottled blue ground. Diam. 2f in. 470. DocciA. Circular Medallion for suspension, with portrait in relief in white on a grey-blue ground ; " Camilla Martelli de Medici Due " ; bust to left : open dress with rutf and veil. Scratched on the back, 12. Diam. 2| in. Camilla Martelli second wife of Cosmo, first grand duke of Tuscany. 471. DocciA. Circular Medallion for suspension, with portrait in relief in white on a grey-blue ground of " Victoria Robor M.D. Etrur" : bust to left with veil. Scratched on the back, 21. Diam. 2| in. Vittoria della Revere, daughter of the Duke of Urbino and wife of the grand duke Ferdinand II., 1623-1G70. 472. DocciA. Circular Medallion of grey ware, with portrait of Hercules III., Duke of Modena, Reggio, and Mirandola ; bust to right wearing Golden Fleece and Cross of Malta ; le- gend "Hercules iil mvt. reg. mir. dvx. fvistl dvx. es. dvx. eris. 1797. B.M." highly glazed on front. Diam. 2|in. Heriules III. was Duke of Modena from 1780 to 1796, when he was dispossessed by the French under Napoleon. To this the inscription may refer. The medallion is probably by Bartolomeo Manfredini of Milan. 473. DocciA. Oval Medallion with portrait bust in white biscuit on glazed blue ground ; bust of a man to left, wearing order of the Elephant ; back, white biscuit ; on truncation C S F impressed. Diam. 2^ in. 72 ITALIAN PORCELAIN. 471 DocciA. Two Pairs of Oval Medallions, differing in size, of pale blue biscuit ware, with portrait busts in relief in white ; on two of them a young dandy, oa the others a young lady in extravagant dre-s. On the trun- cations C S impressed, L. 3| in., 2 J in. and 2| in. Le Nove. A successful manufactory of majolica was established at Le Nove near Bassano, then in Venetian territory, in response to an invitation of the Chamber of Co nmerce at Venice, issued in 1728. This was by Giovanni Battista Antonibon, in 1732, or earlier, and lie was succeeded by Pasquale Antonibon, who, after some attempts, succeeded in 1762 in making porcelain. This seems to have been of unusually fine quality, as shown by specimens fotmerly in the Reynolds Collection. Figures were also made, well modelled, and very similar to some attributed to Venice. The making of porcelain is said to have ceased about 1825. The mark was a star, sometimes accompanied by the name of the proprietor, or of the aitist. 475. Lii Nove. Cup and Saucer, painted in colours with flowers and a shield of arms, viz., gules a bend arg denticulated on one side ; crest a demi-lion issuing from a coronet and holding a sword. Mark on the cup, a six-pointed star in gold. Diam. 3 in , 5 in. 476. Le Nove. Two Saucers painted in colours ; one with three figures of men with casks, the other vith man and woman with mule laden with fruit ; gilt edges. Mark, a six-pointed star in red. (PI. XIV., fig. 209.) Diam. 4^ in. 477. Le Nove. Shaped Oval Jardiniere on detached foot, painted in colours with rich gilding ; on the sides four panels representing interviews of ladies and military officers ; between the panels pilasters with gilt arabesques on gros bleu ground ; on the base military scenes. Mark, a star of eight points in blue. (PL XI V, fig. 210.) Reynolds Collection. H. 8^ in., L. of stand 8 1 in. A set of three other jardinieres of the same form and very similar decoration was in the Collection of Captain Reynolds. The cen- tral one bore the signature of the painter, Giovanni Marconi, and had on it the arms of Tiepolo. See Chaffers, Kerainic Gral- lery, PI. cviii. The mark on this specimen was a star with a tail like a comet, and M. Jaquemart suggests that it may refer to the comet of 1 769. 478. Le Nove. Cylindrical Cup and Saucer, painted in colours with gilding ; gros bleu ground. On the cup two panels delicately painted with the toilet of Venus and the Judgment of Paris ; on the saucer the death of Mele iger. Mark, a star of six points in blue under glaze. Diam. 2f in., 4^ in. ITALIAN PORCELAIN. 73 479. Le Nove. CrLiNDRiCAL Cup and Saucer, painted in colours with gilding ; on each an imitation of an oblong engraving on yellow paper; at the edges sprigs of flowers. - Mark, JZ. in cypher and a star of six points in gold. (PI. XIV., fig. 211.) Reynolds Collection. Diam. 2^ in., 4^ in. 480. Le Nove. Group in plain white, on detached pedestal. Man standing by tree and picking fruit, which he is giving to two ladies seated below him. Mirk incised, " Noue." Entite H. 9^ in. Tretiso. A manufactory of soft or mixed poreehxin was established here on Venetian territory by the Fonte basso family towards the end of the 18th century. It is chiefly known by somewhat rare specimens with the name of the place, the initials of the makers, and sometimes with dates. One of 1799 is exliibited and looks earlier in style. Sir William Drake had a cup and saucer made by the brothers Giuseppe and Andrea Fontebasso in 1831. See his " Venetian Ceramics," already quoted. 481. Treviso. Two-handled Bowl, Cover, and Stand or plate, painted in colours with gilding; on the bowl two medallions with landscapes ; handles in the form of branches ; on the cover two similar medallions, and a rose in full relief as a knob ; on the stand a central medallion with hossemen in a landscape, and three oval medallions with landscapes ; gros bleu ground. Mark on the bowl in gold "Treviso FF."; on the stand in gold " F. F. Treviso 1799." (PI. XIV., fig. 2 1 2.) Staniforth Collection, Chaffers' Keramic Gallery, pi. ci. Diam. 5| in,, 9| in. ViNOVO. In 1776 G. V. Brodel, an unsuccessful manufacturer at Vische, started works, at Vinovo near Turin, in the royal castle, with the help of Pierre Antoine Hannong, of Strassburg, which were not successful and came to an end in 1778 or 1780, when Dr. Vittore Amadeo Gioanetti took them up. He died in 1815. The porcelain was of a peculiar composition, containing a notable quantity of silicate of magnesia, and of the kind termed by Brongniart a hybrid paste. The mark was a cross accompanied generally by V and later on the initials of Dr. Gioanetti. See " Discorso sulla fabrica di porcellana stabilita in Viuovo." Turin, 1859. Also " Sulle majoliche e porcellane del Pieraoute " &;c,, by Giovanni Vignola. Turin, 1878. O 92689. F 74 ITALIAN PORCELAm. 482. ViNovo. Long Octagonal Tray, of which the liandTes appear to have been cut off, painted in colours with sprigs ot" flowei's; gilt edge. Mark in dark grey, 1776 under crescent and cross. (PL XIV., fig. 213.) ^ Baldwin Collection. L. 10| in., W. 6 in. 483. VlNOVO. Two-handled Cup and Sauceb, painted with wreaths of blue flov\ ei s sitepended from crimson ribbons ; gilt ed'j;es. Mark, V under a cross in black under glaze, and scratched " Mi " on cup, " B2 " oo saucer. Bemal Collec- tion, lot 485. Diam. 2| in., 4^ in. 484. ViNOVO. SucRiER AND Cover with decoration in gold. Arms with crown, supporters, and trophies of the King of Sar- dinia ; gilt edges, trefoil border to cover, gilt fruit in relief. Mark, a cross in black under glaze. (PI. XV,, fig. 214.) Quoted by Chaffers, Keramic Gallery, p. 129. H. 3f in., Diam. 3 in. 485. ViNOVO. Cup and Saucer ; on each the arms of the King of Sardinia with crown, snpporters, and trophies in gold ; gilt edge. Mark in gold V.D.G., and scrritched on cup Al. (PI. XV., fig. 216.) Diam. 2| in., ^ in. 486. ViNOVO. Statuette in white of the Virgin in Assumption, kneeling on a globe, on which a snake and cherub, the whole resting on clouds. Mark on edge of pedestal in grey under glaze, V under a cross ; inside is inci.-ed MIA. (PI. XV., fig. 215.) H. 7i in. Rome. In 1790 a poicela'n factory was established at Rome by Gio- vanni Volpato, producing chiefly figures in biscuit after Canova and other sculptors. 1 he figures are sometimes signed G. Vol- pato, Roma. Faience was also made in the form of busts, &c, Volpato died in 1803, and the works lingered on to about 1830. 487. Rome (Tolpato). Pastille Burner of white biscuit, in the form of a young female holding a bird in its nest over the brazier, which is of gilt metal ; oval pedestal with step behind. From the Digby Wyatt Collection. H. 8| in. Capo di monte near Naples. Charles Bourbon, Duke of Parma became King of Naples and Sicily in 1735, and, like other potentates, desired to have a por- celain factory ; probably the more so as he married in 1738 a ITALIAN PORCELAIN, 75 princess of Saxony. He established a factory of soft pa^ste por- celain in 1743, but on suceeding to the crown of Spain in 1759 he carried off with him the best of the workmen to found his manufactory at Buen Hetira near Madrid, and the Capo di Monte factory piactically came to an end. The earlier specimens of the factory are not marked, but they are believed to have been the prettily moulded vessels formed like shells, some good figures very fully coloured, and the beautiful services with figures in low relief and enriched with colours, which have since be;^n successfully imitated at Doccia and Herend. To this period would also belong the room lined with porct^lain formerly at Portici and now in the paliee of Capo di Monte. The factory was partially destroyed on Charles' departure, and under his successor, his thir 1 son Ferdinand, it was re-esta- blished about 1771, but at Portici, and afterwards removed to Naples. The style of the wares changed greatly, and classical paintings, native costumes, and views of places about Naples were introduced. A very elaborate service was made and pre- sented to King George III. of England in 1787, which is still at Windsor. It is decorated with representations of various antique vases in the Neapolitan Museum, and a work illustrating it was issued by Domenico Venuti : '* Interpretation dea peintures Hetrusques dessindes sur un service de table, travaill^ d'apres la bosse dans la Royale Fabrique de Porceiaine par ordre de sa Majeste le Roi des Deux Siciles." Naples, 1787. During this later period the mark was a crowned N, painted or impressed, as well as the crowned cypher of King Ferdinand, The factory* came to an end in 1807 and was transferred to a company, finally closing in 1834. Some writers consider that the fleur-de-lis was used to denote the earli. r wares of the fabric, but as it does not seem possible, to distinguish it from the well known fleur de-lis used at Buen Retiro, it has been thought best to keep them under that factory.- Four interesting notices by Camillo Minieri Riccio have been printed in the " Atti dell' Accademia Pontaniana, Naples, 1878, 488. Naples. Bonbonni^re, of plain white, the whole moulded in relief to represent a group of marine sheila Silver mount. L. 3^ in. 489. Naples. Tall Cup and Saucer, with subjects mouldo'l in relief, and painted in colours. On the cup the triumph of Neptune, the Judgment of Paris, ; nd Bacchus and Ariadne ; handle of gi een and white twigs twisted. On the saucer heavy festoons of flowers hanging from rococo shields. Bernal Collection, lot 471. Diara. 2| in., 5| in. 490. Naples. Tall Cup, with the design moulded in relief and painted in colours with gilding, viz, women ploughing and spinning, the triumph of Neptune, and the Judgment of Paris. H. 3^ in. F 2 76 ITALIAN PORGELAm. 491 Naples, Lid of a qundrangnlar box, the exterior with moulded designs punted in colours, the interior painted only; on the outside, Venus seat'^d under a tree. Cupid flying-towards her ; a wreath of fl )wers forms the border ; iiiside, a woman lif ting^ a child off a horse, in an Italian landscape with water. Dimensions^ 2^ in. by 2^ in. Thrs portion of a snuff-box is interestinpr as giving examples both of the painted bas-reliefs and the flat painting of the same time. 492. Naples, Cylindrical Cup and Saucer, painted in colours with sprigs of flowers regularly disposed, and a broad Ine of silver on the border. M^irk, N under an open crown, both painted in blue and impressed. (PI., XV., figs. 217, 218.) Diam. 2^ in. and 5| in, 493. Naples. Saucer, painted in colours, with rich gilding. In the centre, a halt-length profile of Ferdinanu IV., King of the Two Sicilies, surrounded by his name and title ; beyond, a twined wreath in gold. Mark N under an open crown in blue. Schreiber Collection, Chaffers, Keramic Gallery^ pi, civ. Diam. 5^ in. 494. Naples. Jug in the form of a Greek oenochoe ; in front an oval medallion enclosing figm^es of an Italian peasant woman and girl, indicated on t!;e bottom as being " del Paese di Ca-uUo " ; the body is further decorated with ^ sprigs in gold ; the han-lle terminates with a female mask and scrolls moulded in relief; git edges. Mark N under a royal crown impressed and incised 3<'. (PJ., XV., fig. 219.) H. 51 in. 495. Naples. Cup, with straight sides, painted in c dours, with two female classical figures holding a vase and a thyrsus ; handle, a tigure partly gi t. Mark N wnder a roya) crown impresseil. Diam. 2^ ip. 496. Naples. Cup, painted in c lours ; an oval medallion , with a ruined building and figures. Mark N (reversed) under an open crown impressed. Diam. 2^ in. 497. Naples. Cup and Saucer, painted in colours, with gild- ing ; on the former an oval medallion with view of ruins described as " Ponte antico detto Eronico sito nella Marina di Sei^sa." On the latter a circular medallion with Vesuvius: " Eruzione del Vesuvio del 14 Maggio 1771." Mark on saucer, F.R.F. under a royal crown in red. (PI. XV., fig. 220.) Diam. 2| in., 4| in. ITALIAN AND SPANiSH PORCELAIN. 77 Italian, Uncertain. 498. Itatjan UNCERTAIN. STATUETTE of the Virgin and Child, crushing a snake, and with a crescent under her left foot ; shaped pedestal ; details of dress, &c, in red, lake, and yellow. H. 11| in. SPANISH PORCELAIN. BUEN RETIRO, NEAR MADRID. This important factory was established in 1760 at Buen Retiro, the Royal gardens near Madrid, hy Charles III., King of Spain, who had been previously King of N.iples, and took a great personal interest in porcelain works. He therefore removed a large number of the best workmen (it is said as many as 225) from the Royal Factory of Capo di Monte, near Naples, and provided libeially for the establishment, which produced soft paste porcelain of superior quality. For the first few years tlie porcelain was re-erved for royal use, or to be given as presents, and very highly decorated rooms in the palaces at Aranjuez and Madrid were lined with porcelain, like the room now at Capo di Monte. The room at Aranjuez was executed from 1763 to 17C5 by Giuseppe Grieci. Tlie room at Madrid has been described by Gaston le Breton, under the title of " C^ia- uiique Espagnole." Paris, 1879, where engravings of some of the panels may be seen. After the death of Ciiarles III. the works were continued, but the products were allowed to be s(>ld, and show rooms were established at Buen Ketiro and Madrid for the puipose. The porcelain became harder, of a hybrid paste like Vinovo, and had also a considerable propoition of silicate of magnesia. The factory came to an end in 1808. The usual mark was a fleur-de-lis, generally painted rn blue, and which is said to have been a^so used at Capo di Monte. The double C without a erown, but with a small o, have been sup- posed to be the cypher of the King, but their small size and inconspicuous position seem to i ender this improbable, and it is more likely a workman's mai k. The mark of double C under an unquestionably German crown, assigned to this factory by Chaffers and others, is elrarly Ludwigsburg. An excellent account of the factor} , with lists of the directors, artists, workmen, &c., was published by Don Juan F. Riano in his Handbook of Spanish Arts, issued by the Department of Science and Art in 1879, which has been to some extent re- produced by ChaffeJS. An account by Seiior Riauo also appeared in the Gazette des Beaux Arts, 1879. 78 SPANISH PORCELAIN. 499. Madiud. Two Tall Cups and Saucers, with branches of the Chinese prunus in relief. Mark, a fieur-de-lis in blue under the glaze. (PI. XV., fig. 221.) Diam. 2| m. and 5 in. fiOO. Madrid. Cup, painted in cdours with detached sprigs of fliwers. Mark, the fieur-de-lis and F.G. in blue over glaze. H. 2f. 601. Madrid. Tall Cup, painted in colours., with two birds and two sprigs of flowers. Mark, the fleur-de-lis in blue under glaze, and two interlaced letters C with an o. (PI. XV., fig 223.) H. 2| in. 5§2. Madrid. Pair of Oviform Vases and Covers, with deco- ration in gold ; on each of them three Chinese figures y borders of delicate lace-work, gilt margins, and gilt knobs. Mark, the fl,eur-de-lis iti blue under glaze. H. 5^ in, 503. Madrid. Cup and Saucer painted with groups of fruit ; inner edges with pattern ingokl ; handle gilt. Mark, the fleur-de-lis in blue uitiier glaze. Diam, 3.^ in., 5^ in, 504. Madrid. Cup, painted in colours with fe-toons of flowers and leaves, suspended from a slender blue garland. Marks, the fleur de-lis and F.G. in' blue, and the same letters as a monogram incised. (PI. XV,, fig. 222.) H. 2| in. 505. Madrid. Plate, painted in pale colours with detached sprigs of flowers ; gilt edge. Mark, the fleur-de-lis in blue under glaze. Diam. 8| in. 506. Madrid. Seau, with two handles in the form of branches, painted in ( olours ; the ground a lozenge diaper in pink ; on eaah side a panel, in one Venus and Cupids, in the other Perseus rescuing Andromeda, H, 6| in., Diam. 7jin, 607. Madrid. Pedestal, painted in colours ; in the centre a square column; atound figures of two mermen and a mermaid. Mark, the fleur-de-lis in blue. H. 5^ in. 508. Madrid. Pair of Flower Holders in the form of a negro kneeling and holding upon his back a conical shell ; on the base various marine shells, painted in colours. Mark, the fleur-de-lis in relief upon one (PI. XV., tig. 224,), upon the other painted in blue. H. 5| in. 609. Madrid. Stick Handle in the form of a naked bust of a roan, supporting on his shoulders a long horn or shell. Fine white paste. H, 2^ in., L. Sin. The fabric at Gerona, mentioned in varii us books, is probably- imaginary, as the arms and name of the town appear on Oriental porcelain, made and probably painted in China for the Spinish market. tORTUGUBSE PORCELAIN. 79 PORTUGUESE PORCELAIN. Vista Aleqrb. A factory was started about 1790 at Vista Alegre near Oporto, which is still carrie^i on. It was directed by M. Finto Basto. The mark is V. A. with or without a crown. It appears with the crown in a specimen in the South Kensington Museum. 510. Vista Alegre. Octagonal Plate, painted in pale blue with gilding, witli a central bunch of flowers and eight others on the edge. Mark, V.A. in gold, and a triangle incised. (PI. XV., fig. 225. j Diam. 9| in. Lisbon. Some good cameo medallions were made here about 1775 to 1785, stated to have been first made by Bartholomeu da Costa, and then by Don Joao Figueireido, both of the military arsenal, of which Lady Charlotte Schreiber had some remarkable speci- mens. They are generally inacribed with their names, and are in the style of Wedgwood. 511. Lisbon. Two Oval Medallions in biscuit, the surface slightly glazed and the background lilac. Portrait busts of Maria L, Queen of Portugal (1777-1816) nearly full faced, with laurel wreath, necklace and rich dress. Round the edge of the back of one of them the fallowing inscrip- tion * LISBOA ARCENAL REAL DO EXEHCITO lOAO DE FIGUIE- REIDO FECIT 1792. The other has a stamp at the back PEDRO. H. -^in. These small medallions were evidently made to set in rings or brooches. One of the former is in the collection of Sir A. W. Franks. There is a companion medallion of the King Dom Pedro, inscribed us boa. 1783. This was in Lady Charlotte Schreiber's Collection, with larger medallions by the sanne hand. See Chaffers, p. 460. A much larger medallion of the queen in a similar attitude, was issued by Wedgwood ; generally in wlut« cameo on a black ground. 80 TURKISH PORCELAIN. TUKKISH PORCELAIN. 612. Turkish. Six Foil Large Cup, cover, and stand, with a sunk design inside the cup and cover and on ihe back of the saucer, which is only visible by transmitted light ; the edges gilt ; rose in relief on the cover. Diana. 4| in., 6J in. From the Universal Exbibition of 1861, 81 MARKS ON CONTINENTAL FORCE LAIN^ From early times it was not unusual to inscribe on pottery tlie names of the painters, as on Greek vases, or to aflBx a stamp, as on Roman examples, but there is very rarely any indication of the place where the specimens were made, or any sign to show that they belonged to any particular fabric. On Italian majolica we often find the names of the painters, and sometimes those of the places at which they worked. There is scarcely, however, a true fabric mark on the earlier pieces, unless the circle and cross attributed to the Casa Pirota at Faenza, can be considered as such, or the cypher SP of Caifagiolo. In some of the later majolica we find such marks ; for instance, on the wares of Savona and Genoa. On the Dutch delft a great number of makers are recorded by their initials, and occasionally with the name or emblem of the sign of their establishments ; but, as a general rule, the marks are individual and not collective. The earliest known porcelain made in Europe, the Medici porcelain, has such maiks : the dome of the cathedral at Florence, or the Medici roundels. It is not, however, till a later date that true fabric marks are frequent, when the factories became more important, and especially when they were under the patronage of the governors of the countries where the porce- lain was made. These fabric marks are of various kinds, and as we are only concerned with contin3ntal porcelain, it will be sufficient to deal with them without reference to other ceramic wares. We get, for instance, the permanent marks, such as the familiar crossed swords of Saxony, adopted soon after the discovery of European hard porcelain, and the sceptre of Berlin, both marks still in use. In both . cases, moreover, they are derived from the addition made to the arms of the Electors of Saxony and Brandenburg in respect of the offices they held under the German Emperor, so that there would be no necessity to change the marks. In other cases where the fabrics were under the patronage or owned by the sovereigns of the country, as at Ludwigsburg, Vincennes and Sevres, St. Petersburg, &c., the mark might change with each successive sovereign. The perma- nence of the Sevres mark down to the French Revolution was owing to the accident of there being successive kings of the name of Louis. In private factories we get the initials qf the owners, which would, however, vary from time to time. Lastly, we have an emblem employed, like the tower of Tournay, the three Belts 82 MARKS ON CONTINENTAL PORCELAIN. of Copeuhapfen, or the anchor of Venice, which might last as long as the factory where they were used. • There are various ways in which the mai ks are applied. For instance, painted, generally in blue before the glazing ; or by stamping on the wet clay, both of them marks that can he depended upon. Wljere the marks are painted over the glaze the certainty of their authenticity is diminished. In late specimens stencilling was employed, almost invariably over the glaze. These are true fabric marks, but we often find other signs indicating the decorators or modellers, or the number of the pattern in the stock book of the factory. In some cases we find a numeral, generally in gold, which indicates some particular service, the object being that the agents through whose hands such services passed should easily keep together the pieces of one service. Occasionally, but very rarely, we find inscriptions indicating for what person or place a particular service was made. V\ here these additions to the true factory marks occur on the specimens exhibited it has been thought well to engrave or describe them, as in the absence of factory marks they may jgerve to identify particular fabrics, and they may give informa- tion ns to dates, modellers, &c. With one exception the marks are represented in the woodcuts of the actual size of the originals. As a rule, in the catalogue or elsewhere, where the marks are stated to be in blue, they are under the glaze ; excepting black or dark grey, the other colours are over the glaze. With regard to the soft paste porcelain, especially of France, it is not easy to see whether the nsarks are above or under the glaze. This being very soft the enamel colours are apt to sink into it, and appear below it. They are generally, however, over the glaze, excepting where the decora- tion is entirely in blue. This remark applies especially to the porcelain of Vincennes and Sevres. On the subject of marks it may be well to consult the olio wing works, besides those mentioned in the introduction : — Guide de I'amateur de Porcelaines et de Poterie, by Dr. J. A. Theodor Graesse. Dresden, 1864, 1866, 1872,1873. New edition by Jaennicke, Dresden, 1894'. Guide to the Knowledge of Pottery, Porcelain, &c., including a Catalogue of the Bernal Collection, by Henry G. Bohn. London, 1867, 1862. Nouveau dictionnaire des Marques et Monogrammes des faiences, &c., by Oscar Edmond Ris-Paquot. Paris, 1 873. The China Collector's Pocket Companion, by Mrs. Bury Palliser. London, 1874. A Manual of Marks on Pottery and Porcelain, by W. H. Hooper and W. C. Phillips. London, 1876. Pottery and Porcelain ; a Guide to Collectors, by Frederick Litchfield. London, 1879. MARKS ON COirriNENTlL PORCELAIN. 83 The diflBculty with regard to these works, as well as the more general ones mentioned already, is that each author seems anxious to increase as much as possible the numb r of m irks, and adopts all those given by liis predecessors, often without discrimination, and sometimes the same mark occurs under more than one head. The sources from which the marks are derived are not indicated, so that there are no means of judging how far they can be relied on. An amusing instance of copying occurs in the work of Dr. Graesse, wlio, though the director of the Dresden Collection, contented himself by copying from Demmin the marks in that collection, which were not altogether correct. Under figure 18 in our plates is a note on the Meissen mark with a circle between the hilts, which is probably an error in drawing the correct mark. It appeared for the first time in Marryat, but only in the first edition. It was suppressed in the later editions, but still remains current. A characteristic example was the maik of Liverpool with the name and an anchor, whieh was only the usual mark of Davenport, misre;id from a badly stamped specimen. The number of letters in the two names happens to be the same, and four of them occur in the same position. On examining, however, the specimen from which this imaginary mark was derived, it was clear that there were one or two other letters which could not form part of " Liverpool." The mark is, however, given by Hooper and Phillips, and duly repeated by Jaennicke. On some of the specimens exhibited are engraved marks, which are not factory marks, but are of consideraMe interest. These are the marks of the Dresden Collection. Frederrck Augustus I. and II., successive Electors of Saxony, also- known as Augustus 11. and III., Kings of Poland, brought together a large quantity of porcelain, especially the first of thee sovereigns, who intended to use them as decorations of the Japanese Palace, and they served also as models for the earlier porcelain at Meissen first made under his re'gn. They have now been removed to the Johanneum, where they are well displayed. In order, it is said, to prevent the courtiers and others from making away with the royal property every specimen was marked with a number engraved on the lathe. To avoid high numbers and facilitate classificatif.n a s'gn was used for each kind of porcelain. An inventory was made, of which the one now existing is a later copy, and is in five volumes. The signs used for the various kinds of Oriental porcelain are described in the Franks Catalogue of Oriental Porcelain (1878), pp. 235, 236. This, however, did not include the marks for Bottger ware, or the porcelain of Dresden and Meissen. The former was R., probaVily for Roth, Bottger's ware being often teruied Rothes i^orzellan. The sign for the early Saxon true porcelain was W., no doubt intended for Weiss or white. There being a great number of duplicates, some of the^e were disposed of about the middle of this century, and specimens 84 MARKS ON CONTINENTAL PORCELAIN. are tliereff>re to be found in various other collections. In the one now exhibited there is no specimen of Bottger's ware with the R, but a certain number with the W. ; for instance, Nos. 19-22, 24-32, 98. Some valuable information might be obtained by going over the specimens at the JoLanneum with the inventory, as it is possible that the numbers may have been affixed at various successive times, and they might help to fix the chronology of the earlier specimens. For the Dresden Collection it would be well to consult " Die Koniglich Sachsische Porzellan-Sammlung," l)y Dr. Gustav Klemm. Dresden, 1834 ; and " Beschreihender Catalog der K. Porzellan- und Gefass-Sammlung zu Dresden," by Dr. Johann Georg Theodor Graesse. Dresden, 1873. GERMANY. Plate I., fig. 1. Bottger (No. 6). Impressed ; probably suggested by the square mark often found on Chinese boccaro, with which the Bottger ware has much afhnity. The crossed lines have some resemblance to the crossed swords of Saxony. Plate I., fig. 2. Bottger (No. 10). Impressed ; shield with crossed swords, which, contrary to usage, have their points downwards. Plate I., fig. 3. Meissen (No. 27). Painted in black, like lacquer ; this is not a factory majk, but the number of the Dresden Collection ; it is peculiar in having no N. before the numeral. Plate I., fig. 4. Meissen (No. 38). In blue under glaze; crossed swords and K, which may indicate the director, or the painter. Plate I., fig. 5. Meissen (No. 43). In blue under glaze ; a serpent twined round a staff"; the rod of ^sculapius, said to have been adopted by Bottger in allusion to his having been biought up to be a physician. This mark is veiy commonly called the Caduceus mark, but the Caduceus, or rod of Mercury, was formed of two snakes symmetrically disposed round a staff. Plate I., fig. 6. Meissen (No 32). This curious mark is stated only to occur on some bowls made for the Countess von Cosel, mistress of Augustus II., King of Pi. land, and must be of early date, as the Countess fell into disgrace in 1 71 3. The ornannental lozenge with two staves in saltire is in gold, and may have been suggested by a Chinese mark. The staves might almost do as crossed swords. The usual crossed swords is on this specimen in blue over the g'aze,and the number of the Dresden Collecti* n, 285 W., engraved. In the Dresden collection are six of these bowls with the same number, and another with N. 203, and the crossed swords in blue under the glaze. The mark seems to have been first copied by Demrain, from whom it was taken by Graesse, ChafiFers (p. 46 8 j^ and others. Chaffers is in error MARKS ON CONTINENTAL PORCELAIN. 86 as to the Countess, who, as we have seen, was not a danseuse, and was mistress of Augu.-.tu3 11., not cf his son Augustus III. Plate 1., fig. 7. Meissen (No. 39). In blue under glaze ; the well-known cypher or monogram of Augustus II., King of Poland. This mark has been frequently copied on modem porcelain, even, it is said, on pieces issued from the Royal iTactory, but the letters are more angular. Plate I., fig. 8. Meissen (No. 40). In blue under glaze ; the crossed swords with G and K.B.C.W. (Konigliche Hof Conditorei, Warsaw). Made for the use of the Royal Court Confectionery at Warsaw. Plate I., fig. 9. Meissen (No. 63). This is not a factory mark, bat forms part of th« decoration of the tankard on which it occurs, being on a shield held by a Chinese warrior. The inscription has been made with a point through a coat of brown colour before the piece was fired in the ena'iielling kiln, and it records, no doubt, the name of the painter Geoige Ernst Keil at Meissen, the 6th of July 1724. There is no factory mark on this specimen. Plate II., fig. 10. Meissen (No, 64). In blue under glaze ; K. P. M. (Konigliuhe Porzellan Manufactur) and crossed swords. The number 86 has been added in gold, piobably the number of the service. Plate II., fig. 11. Meissen (No. 6o). In blue under glaze; the crossed swords, B. P. T, Dresden, 1739. The signification of t!.e initials has not been ascertained, but they are probably those of an office at Dresden, or of some person residing in the city, as the fa.tory had been remored to Meissen in June 1710. For a similar mark see Chaffers, p. 469. Plate II., fig. 12. Meissen (No. 6Q). In blue under glaze; the crossed swords and Dresden, 1739, 26, probably a service number, in gold. Though very similar in style to No. 65, this has not formed part of the same service, as the disposition of the gold on the raised leaves and the pattern of the lace-like borders are different. It was possibly, however, made for the same office or person. Plate II., fig. 13. Meissen (No. 107). In blue under glaze ; the crossed swords with a lozenge between their points instead of between the hilts as is more usual in additions to the mark. Plate II., fig. 14. Meissen (No. 71). In lilac over glaze, like most artists' marks. It recoids that the very unusual mode of decoration was invented by C. F. Herold and made by him at Meissen, the 12th September 1750. The invention, no doubt, refers to the appl cation of embossed plates of gold, but such decoration may be seen on the S(;ft paste of St. Cloud (N< s. 344, 345), one of which fr. m the date of its mount must be at least 16 years earlier. C. F. Herold may have been related to the former director of the Meissen factory, J. G. Herold. This specimen is quoted by Chaff*ers (p. 470) and repeated elsewhere. oa MARKS ON CONTINENTAL PORCELAIN. Plate IL, fig. 15. Meissen (No. 88). The crossed swords and 1741. Tliis is not a factory mark, but forms part of the deco- ration, being on a sign-post in a landscape. Such specimens are valuable as helping to fix the chronology of the various styles of painting. Plate II., fig. 16. Meissen (No. 98). The crossed swords in lilac over the glaze, and the number of the Dresden Collection engraved as usual. This looks of later date than most of the specimens from the Japanese palace ; but, oti the other hand, the number is a high one, and it may have been added to the inventory at a later date. Plate II., fig. 17. Meissen (No. 99). The crossed swords with a dot are in blue under glaze, a mark stated not to have been used till 1703. The rest of the marks geem to indicate a pattern piece. The inscription, " 1192. 14 Novebr. 1769 " and GA combined are in lilac ; the HA combined and the L in olive green. The painting is not remarkable. Plate IL, tig. 18. Meissen (No. 106). In blue under glaze; the crossed swords with dot between, used from 1763. This is probat,ly the same mark as the one with the circle betwt en the hilts, which first appeared in the first edition of Marryat, pro- bably from an erroneous drawing. It; was, however, suppressed in the later editions, but has survived in the mark books. It does not really seem to be known. Plate II., fig. 19. Meissen (No. 108). The crossed swords and star, indicating the period during which Count Cainillo Marcolini was director, 1774-1814, in blue under glaze, with 23 impressed. No. 97 C has been added in black over the glaze ; probably a pattern piece, as the decoration is all under glaze. Plate II., fig. 20. Meissen (No. 109). The crossed sworda and star of Marcolini in blue under glaze. As usual with decorators' signature?, the inscription is over glaze, and in black. It records C. F. Kiihnel, a painter at Meissen, who had been for 35 years at the factory, and was then 57 years old. It occurs on a plate with military manoeuvres dated 1776. The s ime inscription with the same date at the end of it occurs on No. 110. The mark is given in Chaffers, p. 470, and repeated by Jaennicke, said in both cas<^s to be from a specimen in the Bohn Collection, from which No. 1 09 was obtained, but from minute differences it can hardly be the same specimen. Plate II., fig. 21. Meissen (No. 114) Incised; crossed swords with a triangle with the star of the Marcolini period, on biscuit ware. On the cup is 16 impress^d. Plate III., fig. 22. Meissen (No. 121a). In red over glaze " Lauche fecit Dresden," the name of a paint r re-iding at Dresden, and perhaps not one of the regular employes of the factory. Plate III., fig. 23. Meissen (No. 122). In red over glaze ; lAW Augsburg, probably the name of a decorator. Chaffers MARKS ON CONTINENTAL PORCELAIN. 87 gives (p. 438^ two marks, AEW and IW, as from cups and saucers in the Reynolds Collection, which he attributes to Venice. The initial W and the dotted I seem to indicate a Gorman origin, and they may also be the works of Augsburg decorators. Plate III., fig. 24. Meissen (No. 123). The mark of a well- known d»^corator, A. Bottengruber, residing in 1726 at Breslau ( Wrattislavia) indicated by W in gold. He afterwards became, in 1731, a painter at Vienna. The initials and date are in lilac over the ghize. This specimen seems to be the one noticed in Chaffers, p. 471. In the Hamburg Museum is a cup and saucer with the same initials and "F. Wrat. 1726." ^ee Brinckmann, p. 37. Plate III, fig. 25. Meissen (No. 127). Not a fabric mark but the signature of a canon of Hildesheim, named Busch, who amused himself in decorating white Meissen porcelain by scratching on it, with a diamond, various designs, afterwards filled in with black, not burnt in. There are five specimens in the cnll'-ction, of which one (No. 121) is also signed Busch, but wit'iout a date. In the Hamburg Museum is a specimen dated 1752 (Brinckniann, p. 74). He also scratched on glass, as appears from a siijjned drinking goblet in the Brtish Museum. Plate IIL, fig. 26. Vienna (No. 137). In blue under glaze j the well known shield of Austria. Plate III., fig. 27. Vienna (No, 136). In blue over glaze ; Vienna, 12 July 1771. This scarcely looks like a production of the Imperial factory. Plate III., fiig. 28. Vienna (No. 138). In blue under glaze ; the shield of Austria, but crowned. On the tray of a cabaret, of which the other pieces have the shield not crowned. They have on them stamped 85, believed to indicate the date 1785. Plate III., fig. 29. Vienna (No. 135). In blue over glaze ; the signature of Antonius Anreiter, 1755 ; no doubt the painter. The specimen has the usual shield in blue under glaze. Plate III., fig. 30. Anspach (No. 142). In blue under glaze ; an eagle, derived probab y from the arms of the house of Bian- denburg, to which the ftlargraves of Anspach belonged. Plate III., fig. 31. Anspach (No. 145). In blue under glaze ; A. Plate III., fig. 32. Anspach (No. 141). In blue under glaze ; A and shield with a bend. The arms of Anspach (Onolsbach) area bend undul6 'a hack or rivulet) with fishes; but this would be diflSciilt to give on so small a scale, though it is better ex- pressed in a stamped mark, of which there is not a specimen in the collection. On account of the aims this mark has been attributed to Sirassburg by Tainturier, p. 57. Plate III., fig. 33. Bayreuth (No. 146). In grey over glaze ; the name of a painter, Metzsch 1748. Chaflfers (p. 491) gives the mark on a cup, which seems to be painted much in the same style, then belontjring to Sir Henry B. Martin, inscribed Baj^- reuth 1744, and states that over this inscription are indications 88 MARKS ON CONTINENTAL PORCELAIN. of the letters FM ; proT^ably, therefore, the same painter. Metzseh had much to do with the factory at Fiirstenberg and has been transformed into Metul by Marryat and others. Plate III , %. 34. Bayreuth (No. 147). In blue over glaze ; the name of the painter Jucht. Chaffers gives this mark (p. 490), apparently from the same specimen. Jucht was a hofmaler at Bayreuth. Plate III, fig. 35. Bayreuth? (No. 148). In grey under glaze; B within C, and HB combined, with an indistinct stamped shield, apparently not that of Bavaria. This is attri- buted to Bayreuth by Demniin (p. 795), Chaffers, (p. 490), and others. Had the shield been more perfectly impressed, any doubt might have been removed. Plate III., fig. 36. H(ichst (No. 1 49). In lilac over glaze ; a wheel, the armorial bearing of the Electors of Mayence, in wh( se territories Hothst was situated, and who afterwards became patrons of the factory. Plate III., fig. 37. Hochst (No. 150). The wheel impressed, not a common form of the mark, and LS or 8L in cypher painted in blue over the glaze, probably the initials of the decorator. Plate III. tig. 38. H(3chst (No. 156). The usual wheel in blue under glaze, and incised MAHM conjoined, probably the initials of the sculptor who designed the figure on which it occurs. Plate IV., fig. 39. Hochst (No. 157) The wheel in blue under glaze, and a numeral and sunlry letters incised. Plate IV., fig. 40. Hochst (No. 158). The wheel under the electoral crown in Hue under glase, and a monogram of TK incised. Plate IV., fig. 41. Fiirstenberg (No. 160). In blue under glaze ; F the initial of the town ; sometimes in gold. Plate IV., fig. 42. Furstenberg (No. 163). In blue under glaze ; F varied. Plate IV., fig. 43. Fiirstenberg (No. 165). Impressed, the Brunswick horse and W. Chiefly used on biscuit work. Plate IV., fig. 44. Berlin (No. 173). In blue under glaze ; the initial of the founder of the factory Wegeli, 1750 -57. It sometimes occurs incised, as on No. 169. Plate IV., fig. 45. Berlin (No. 172). The W of Wegeli in blue under glaze, and incised 1, 90,32, the two latter divided by a line like a fraction. This is generally the case with the first and second figures as well, of which examples may be seen on Nos. 170 and 171, where, however, the numerals are impressed, not incised. The significance of these numbers does not seem to be yet known. Plate IV., fig. 46. Berlin (No. 174). On a cup, in bine under glaze ; G, the initial of Gotzkowski, who revived the Berlin factory in 1761, and continued till 1763, when the factory passed into the hnnds of the King. With the G is an 8 in gold, which also appears on the next mark, which is on the sau.er of the eup, showing that they belonged to the same service. MARKS ON CONTINENTAL PORCELAIN. S9 Plate IV., fig. 47. Berlin (No. 174). This is on the saucer of preceding cup, in blue under glaze, with the same number 8 in gold. This well-known mark represents the sceptre which was borne by the Elector of Brandenburg as Grand Chamberlain of the Empire. This is the common Berlin mark, but must be an unusually early example. It lias to be remembered that the marks under glaze were put on when the porcelain was made and before it was decorated. Plate IV., fig. 48, Frankenthal (No. 178), Impressed on a figure, on the edge of which is the lion of the Palatinate in blue under glaze. It seems to be two of the initials of Paul Anthony Hannong, who seems to have gone to Frankenthal from Stras- burg in 1755. Plate IV., fig. 4.9. Frankenthal (No. 179), In blue under glaze ; the lion of the Palatinate and a cypher composed of the letters JAH, no doubt Joseph Adam Hannong, the son of Paul. On the same piece is impressed I H 11, probably the initials of Joseph Hannong, who has omitted his second name, as his father did on the last piece, Plate IV,, fig. 50. Frankenthal (No. 182). In blue under glaze ; CT, the cypher of Carl Theodor, the patron of the factory, under a crown. It occurs on the remarkable plate giving the various tints used in the factory, and the laudatory inscrip- tion round the same cypher in gold, Plate IV., fig. 51. Frankenthal ? (No. 183). In lilac over the glaze, the letters L.V. G. The similarity of the painting and colour on this specimen to No. 181 has suggested that this may be of Frankenthal make, but there is no certainty. Plate IV., fig. 52. Frankenthal? (No. 184). In blue under glaze. VR combined and F. This mark has iDeen attributed to Frankenthal by Chaffers (p. 488) and others, suggesting Ringler as the maker, but the specimen on which it occurs must be long after he had settled at Ludwigsburg, in 1759, and has somewhat of a French look. If made at Frankenthal it may indicate Von Recum, who purchased the factory in 1800. Plate IV., fig. 53. Nymphenburg (No. 185). The coat of Bavaria impressed, beneath which J 1 also impressed ; over the latter are painted, in green, the initials lAH. and two It aves or palm branches, with the date 1765 in gold. This is on a tankard painted with flowers ; on another tankard of Nymphenburg with figures representing the four quarters of the globe, formerly in the Reynolds Collection are the same initials and the date 1778, D. 17 H^'. See Chaflfers, p. 489. Plate IV., fig. 54. Nymphenburg (No. 187). In blue under glaze ; a six-pointed star formed of two triangles v ith the letters G, a, m, and the numbers 1, 2, 3, Also the shield of Bavaria impressed and 5 D incised. Demmin calls the triangles masonic, but lie describes the design erroneously as a pentalpha, which has but five points. The letters do not seem to have been explained. O 92689. G 90 MARKS ON COitTINENTAL PORCELAIIC. Plate v., fig. 55, Nymphenburg (No. 200), On one of a pair of biscuit statuettes. The shield of Bavaria impressed, the letters CA combined and H incised. These letters occur only on tlie figures, not on the pedestals, and proba'Jy indicate the modeller. Deminin gives this monogram, but refers it to the Elector Albert, who died in 1745, which is too early for the figures, and is before the f;ictory was founded, Plate V. fig. 56. Nyuiphenburg (No. 189). In brown over glaze; C. H. Zrihrgaden, 1771. (Cliurfurstliche Hof Zebrgaden, the Electoral Couit Store-room.) On a dish on which dainties might be sent to table from the Court Store-room, and the inscription would ensure the return to the proper office. In the Reynolds Collection was a Nymphenburg shell-shaped box inscribed C. H, Z., 1771, probably made for the same ofl&ce. The di^h htis also the Bavarian coat impressed, Plate v., fig. 57. Nymphenburg (No. 100). An inscription in brown over the glaze, " C. H. Conditorey, 17, 1771 " (Chur- furstliche Htjf Conditorei, the Eleitoral Court Confectionery.) This, like the hist, must have been made for the use of a court office, and has the same date. It has also the shield of Bavaria impressed. A third of the court offices was the *' C. H. Silberkamer, 1771 " (the electoral plate chamber), of which a specimen was in the Staniforth Collection as recorded by Chaffers (p. 489), who has misread the word as " Silber- tamer," and has considered it a man's name. It is evident that in 1771 services were ordered for the offices of the Bavarian court. Plate v., fig. 58. Nymphenburg (No. 188). In blue under glaze ; a quarter of an oval shield witli the arms of Bavaria. Chaffc-rs, p. 489 ; but he speaks of it as impressed. Plate v., fig. 59, Nymphenburg (No. 196). Impressed quatrefoil, enclosing the Bavarian arms, one of the many variations of this mark. From the small size of the stamp the figure is ir- creased to twice the size linear, Plate v., fig. 60. Nymphenburg (No, 191), In lilac over glaze ; on the I'o t rims of two saucers, '* Amberg,. 1 774," On the cups " Amb, 1774 " ; probably the name of an artist. On some of the pieces the shield of Bavaria impressed, Plate v., fig. 61. Ludwigsburg (No. 205). On a saucer in blue under glaze, the arms of Wiirtemberg, three stags' horns. The porcelain of inferior quality, Plate v., fig, 62. Ludwigsburg (No, 205). On the cup belonging to the last specimen in blue under glaze, L., no doubt for Ludwigsburg. These two marks are given from this speci- men by Chaffers, p. 494. Plate v., fig. 63, Ludwigsburg (No. 203). In blue under glaze ; a stag's horn out of the arms of Wiirtemberg ; also on po'celain of inferior quality, and possibly early. Plate v., fig. 64. Ludwigsburg (No. 209). On the edge of the pedestal of a small figure, in blue under glaze, two letters C marb;s on continental porcelain. 9i forming the cypher of Charles, Duke of Wiirtemberg. The crown may have been omitted for want of space. Plate v., fig. 65. Ludwigsburg (No. 206;. In blue under glaze ; the same cypher as the last, but with a ducal crown. This cypher also occurs as the decoration of a saucer. No. 204, on the cup of which is a portrait of the Duke of Wiirtemberg, the patron of the factory. By a strange error this mark appears in various works as the cypher of Charles III., King of Spain, and on Madrid porcelain. The German crown would alone show that this is a mistake. Plate v., fig. 66. Ludwigsburg (No. 211). In red over glaze ; the letters FR, the first of which is more like a T, under a royal crown; signifying, no doubt, Frederick I., King of Wiirtemberg (1805-16). Plate v., fig. 67. Kelsterbach (No. 213). HD for Hesse Darmstadt, Kelsterbach being in that duchy. Plate v., fig. 68. Rudolstadt ? (No. 215). In blue under glaze, R. This letter behmgs to several fabrics, but the specimen upon which this mark occurs seems to be Thuringian, and there- fore Rudolstadt, but it is doubtful whether there ever was a factory at the town itself, Plate v., fig. 69. Rudolstadt ? (No. 217). In brown; a hay- fork, a portion of the arms of the Princes of Schwarzburg, a branch of which possessed Rudolstadt. Plate v., fig. 70. Sitzerode ? (No. 218). In green over glaze a mark like an A, probably an imitation of the Meissen swords with an S impressed. Macheleid of Rudolstadt, who discovered Thuringian porcelain, is said to have had an establishment at Sitzerode, in the neighbourhood of Rudolstadt, afterwards re- moved to Volkstedt. On the saucer of the cup the same mark occurs in pink with an H impressed. The mark has often been attributed to Anspach in Thuringia, a place that does not exist. Plate v., fig. 71. Closter Veilsdorf (No. 220). In blue under glaze ; the arms of Saxony, no doubt for Saxe-Meiningen, with CV, the initials of the name of the place, which is in that duchy. This mark has been wrongly attributed to Volkstedt by Chaffers (p. 497), who imagined that Veilsdorf was spelt with a W ; but as Volkstedt is in the duchy of Schwarzburg Rudolstadt, the arms of Saxe-Meiningen prove that the attribution is wrong. Plate v., fig. 72. Closter Veilsdorf (No. :i23). In blue under glaze ; the letters CV in cypher, no doubt the initials of the factory. Plate VI., fig. 73. Wallendorf (No. 225). In blue under glaze ; W, and in gold J : Haag, proba' >ly the decorator's name. The specimens from which this mark is taken have been attributed to Wegeli of Berlin and by Chaffers (p. 505) to Weesp in Holland ; but the make of the china appea'-s to be Thunngian, and there is a good deal of similarity to No. 226, which is also markfd with a W, and has on it the Thuringian flutings. Demmin misreads the name as S. Haag, which he wants to make Sgraven Haag (the Ha^ue) as on the decoration of No. 280. G 2 92 MARKS ON CONTINENTAL PORCELAIN. Plate YI., fig. 74. Gross Breitenbach (No. 229). In Une under glaze ; a trefoil in outline, said to be an allusion to the junction of three factories under the direction of Greiner. I 'late VI., fig 75. Gross Breitenbach (No. 232). A trefoil in relief in white, on blue porcelain with cameo decorations like Wedgwood. Plate VI., fig. 76. Gross Breitenbach (No. 231). In red ; a trefoil. Plate VI., fig. 77. Gross Breitenbach and Limbach (No. 233). Engraved in the paste on blue porcelain with whitf. decoration, like No. 232. B<'low " Gruber/' probably the Director's name. Plate VI., fig. 78. Limbach (No. 235). In lilac over glaze, two letters L ba-k to back. This occurs on a teapot, which is very similar to No. 277, bearing the mark fig. 100, attributed to Luxemburg, and both specimens may have the same origin. Plate VI., fig. 79. Limbach (No. 236). In blue under glaze ; two letters L back to back. Limbach is a village in Saxe- Meiningen. Plate VI., fig. 80. Rauenstein (No. 237). In black over glaze ; R-n. This village in Saxe-Meiningen still has a porcelain factory. Plate VI., fig. 81. Gera (No. 241). la blue under glaze ; G, the initial of the town. That this letter belongs to the place is sho^n by a view of Gera being on the specimen. Plate VI., fig. 82. Gera (No. 242). In blue under glaze ; G, a variation of the last mat k. Plate VI., fig. 83. Thuringian (No. 244). In blue under glaze ; T. It is not known to what factory this mark belongs, but the style of the |>orcelain is Thuringian. I'late VI. fig. 84. Gotha (No. 245). In blue under glaze ; R. It has been said that G is one of the Gotha marks, but it is probable th it, having been adopted by the factory of Gera, it would scarcely have been used at Gotha. Moreover, the R is recognised at Gotha as one of the old marks indicating the Director Rotteberg. The specimen on which this mark occurs is of too good a quality to have be. n made at Rudolstadt, like fig. 68. Plate VI., fig 85. Gotha (No. 248). In blue under glaze R. g. and 2 ; no doubt another of Rotteberg's marks, and not Ratisbon (Regensburg) to which it has been sometimes attributed. Plate VI., fig. 86. Gotha (No. 251). Stencilled in red ; a fowl on a mountain, probably intended for Henneberg, within a garter inscribed GOTHA.. The same design is duplicated in an impressed mark on this specimen. Plate VI., fig. 87. Fulda (No. 253). In blue under glaze ; double F (Ftirstlich Fuldaisch ) under a CTOwn. Plate VI., fig. 88. Fulda (No. 255). In blue under g^aze ; a cross derived from the arms of the Prince Bishop of Fulda, chiefly used for figures. Plate VI., fig. 89. Fulda ? (No. 257). In black under glaze ; F under a crown. On a cup of coarse porcelain of a hybrid MARKS ON CONTINENTAL PORCELAIN. d3 cliaracter, wliich may belong to soaie other fabric. It is not unlike the coarser pieces of Ludwigsburg (sucli as No. 205), aud the porcelain has somewhat of an Italian character, but the crown is distinctly German. Plate VIL, fig. 90. Schlaggenwald (No. 258). In black over glaze; S, the initial of the place, Plate VIL, fig. 01. Pirkenhammer (No. 259). Impressed ; XI, CF and 4. The CF no doubt stands for Christian Fischer. Plate VII., fig. 92. Pirkenhammer (No, 259). Impressed ; XI, F&B, and 4, probably represenling Fischer and a partner. Plate VIL, fig. 93. Herend (No. 261), Impressed ; HEREXD, and in blue over glaze the arras of Hungary. This is the mark of a comparatively modetn factory at Herend in Hungary, of which the speciality has been the clever imitation of the porcelains of other factories. The same mark occur.3 on No. 260, an excellent copy of Sevres. Plate VII., fig. 94. Uncertain German (Na 265). In blue under glaze ; two swords, taken no doubt from the Meissen swords and with a third sword across them, Plate VII., fig. 95. Uncertain Germ .n (No. 266). In blue under glaze ; two staves crossing, and T an imitation probably of the Meissen crossed swords, and it is on a cup painted in the Meissi n style. There is a good deal of similaiity to the coffee pot from Closter Veilsdorf (No. 221), ao this ni&y be a Thuringian mark. Plate VII., fig. 96. Uncertain German (No. 267). In blue under glaze ; T (or jP) K in monogram ; on a cup and saucer somewhat Thutingian in character, and which is the specimen quoted by Chaffers (p. 495), as Ludwigsburg, Jaennicke also attributes it to Ludwigsburg (2049), reading it as TR. He has also given it among the unknown Gernmn marks as 2104 and 2115. Plate VIL, fig. 97. Uncertain German (No. 272). In dark blue under glaze ; a doubtful letter h or R; it may even be French. HOLLAND. Plate VIL, fig. 98. Weesp (No. 273). In blue under glaze ; crobsed swords and three dots. The mark has also been attributed to Amstadt. Plate VIL, fig. 99. Weesp (No. 275). In red over glaze ; LM and W. This specimen is quoted in Chaffers (p. 506), and seems too late in style for Weesp. Plate VIL, fig. 100. Luxemburg ? (No. 277). In lilac over glaze ; LB conjoined. On some figures not unlike No. 274 with the mark of Weesp. This mark is usually attributed to Luxemburg, probably from some resemblance to the LB conjoin 3d, on faience made at Sept Fontaines near Luxemburg 94 MARKS ON CONTINENTAL PORCELAIN, by the brothers B<>ch. The mark also occurs on a teapot, (No. 276),which greatly resembles No. 235, attributed to Limbach, and the monogiarn under consideration is given by Jaennicke as one of the Limbach marks (2077). Plate VII., fig. 101. Hague (No. 281> In blue, whether under glaze or sunk into the glaze it is not easy to determine, being soft paste. The well-known stork with an eel in its mouth the arms of the Hague. Plate VII., fig. 102. (No. 279). In brownish red ; No. 5. On other specimens of the service is the usual Hague mark. Plate VII., fig. 103. Oude Loosdrecht (No 284j. The letters M. OL. (Manufactuur Oude Loosdiecht) painted in blue under glaze and also incised. On a painting by N. Wicart. Plate VII., %. 104. Amstel (No. 285), In blue under glaze ; Amstel the name of the factory. Plate VII., fig. 105. Rotterdam (No. 287). In dark grey nnder glaze ; F.L.S. the mark of the maker of the porcelain ; on a gilt panel is marked, by scratching or burnishing, A Rotterdam WM : 181?, which may indicate a decorator, perhaps an amateur, who may have made use of a white porcelain vase from elsewhere ; there is no evidence that porcelain was made at Rotterdam, but the fabric mark is not known. DENMARK. Plate VIII., fig. 106. Copenhagen (N. 290). On soft paste, in blue over glaze ; F. 5 for Frederick V., King of Denmark 1746-1766. On rare specimens, of soft paste, very French in style, and probably made under Louis Fuurnier 1760-65. The mark also occurs in gold (No. 288). The latter are said to have been specially made for the use of the King, but from No. 289 this seems to be doubtful, as that royal piece is marked in blue, . Plate VIII., fig. 107. Copenhagen (No. 294). In blue under glnze ; three parallel wavy lines, said to symbolize the- three Belts which divide the Danish islands. Plate VIII., fig. 108. Copenhagen ? (No. 296). In blue under glaze ; a cross. On coarse porcelain like Thuringian. It is attributed to Copenhagen by Mrs. Bury Palliser in " The China Collector's Pocket Companion," p. 94, apparently from apiece of the same service. A similar cross with the addition of three smaller crosses is given by Chaffers as the mark on a dejeuner with portraits of the Kings and Queens of Denmark, SWEDEN. Plate VIII., fig. 109. Marieberg (No, 297). Incised in the paste MB combined. The mark appears on a specimen of soft jaste very like Mennecy or Bourg la Reine. MARKS ON CONTINENTAL PORCELAIN. 95 Plate VITL, fig, 110. Mane>ierg (No. 298). On liard paste, in blue under jilaze; the three crowns of the arms of Swed n, MB conjoined for the frictory, and F, probably Fleurot. Plate VIIL, tig. 111. Marieberg (No. 298). Similar to the last, but with S, possibly Sten. Plate VIIL, %. 112. I^Iarieberg (No. 299). In pink over glaze ; the three crowns of Sweden with the emblem of the house of Vasa. The porcelain seems to differ from the others, and may be of a hybrid paste, RUSSIA. Plate VITI., fig. 113. St. Petersburg (No. 300). In blue under glaze; E II, the initial of the Euipress Catherine 11. (Ekaterina), 1762-179(>, indicating it to be from the Imperial factory established in 1745 by the Empress Elizabeth. Plate VIIL, fi^'. 114. St. Petersburg (No. 301). In lilac over glaze ; n : K, ptobably the director's mark ; it occurs on a dish with the usual mark of Catherine II. and is quoted by Chaffers, p. 515. Plate VIIL, %. 115. St. Peteraburg (No. S03). In blue under glaze ; the initial of the Emperor Paul, 1762-1801, under a crown. On a plate from a service given by the Emperor Alexander I. to his sister Catherine, Queen of Wiirtemberg. Plate VIIL, fig. 116. St. Petersburg- (No. 305). In blue under glaze ; the initial of the Emperor Alexander L, 1801-1825, under a crow n. On the same service as the last, Plate VIIL, fig. 117. Moscow (No. 308). In blue under glaze ; All combined, the initials of A. Popofi, of Moscow, on [xjrcelain figures. Plate VIIL, fig. 118. Moscow (No. 310). In blue under glaze ; G, the initial of (A.) Gardner, an Englishman, who founded a factory at Moscow. Plate VIIL, fig, 119. Moscow (No. 311). Printed in red over glaze ; two devices, the Russian eagle with initial of the Emperor Alexander IL and a figure of St. George surrounded by a garter, inscribed (I)ABPHK lAP^HEPB • b3 Mockb3. The mark of A. Gardner. On the same piece are stamped TAP^HEPB and St. Georue and the Dragon. Plate VIIL, fig. 119.* Korzec (No. 311a). In red over gl »ze ; a triangle enclosing a human eye, below whichKorzec, 9. On a cup, the saucer of which has the same mark with 6 instead of 9. Plate VIIL, fig. 120. Baranowka (No. 312). In brown over glaze ; Baranowka, the name of a place in Volhynia ; under it 11* (Quoted in Chafiers, p. 518. BELGIUM. Plate IX., fig. 121. Tournay (No. 313). In gold ; a tower, the arms of Tournay, which has been sometimes miscalled a flaming 96 MARKS OX CONTINENTAL PORCELAIN. Surnkce. The gold tower seems to have been used on choice piecc3 ivt the beginning of the second period of the factory, Plate IX., fig. 122. Tournay (No. 314). In red over g'aze ; the tower of I'ournay with G. This, mark is given by Chaffers (p. 511) apparently from this specimen. M. Eugene Soil consider* the tower in colours to indicate the first peiiod of the factory. Plate IX., fig. 123. Tournay (No. 315). In blue under glaze ; crossed swords and three crosses ; perhaps derived fron» the arms of Peterinek, the founder of the factory, ennobled 1709, which were gults two swords in saltire between four crosses crosslet argent. Plate IX., fig. 124. Tournay (No. 316). In gold; crossed swords and four crossesv The mark in gold, according to Soil, was used on pieces of the first quality, and that in blue on the second quality, Plate IX., fig. 125. Tournay ? (No. 318). In dull pink over glaze ; a line crossed by two others. The porcelain has all the appearance of Tournay, but the maik is not mentioned by Soil ; perhaps a decorator's sign, Plate IX., fig. 126. Brussels (No. 320). In red over glaze ; L. Crette, Bruxelles, rue D'Aremberg, 1791. A similar mark is given by Chaffers, p. 512. Plate IX., fig. 127. Brussels (No. 321). In brown over glaze ; L. C, the initials of L. Crette. Plate IX., fig. 128. Brussels (No. 822). In brown ov^r glaze ; EB combined. This monogram is stated by Chaffers (p. 512) to occur on the teapot of a service of which other pieces have the name of Crette. SWITZERLAND. Plate IX., fig. 129. Zurich (No. 323). In blue under glaze; Z for Zurich, with two dots. There are other incised marks. Plate IX., fig. 130. Nyon (No. 326). In blue under glaze ; a fish. Plate IX., fig. 131. Geneva (No. 328). In gold ; P. M. Geneve ; probably a decorator ^s maik, as no porcelain is known to have been made at Geneva. FRANCE, Plate IX., fig. 132. Saint Cloud (No. 330). In blue under glaze ; the sun, the emblem of Louis XIV. Plate IX., fig. 133. Saint Cloud (No. 337). In blue under glaze ; 4 S.C, T, the initials of the factory and its director Henri Trou, who had married the widow of Pierre Chicanneau, tlie fimnder of the factory, and was received as a maltre faiencier of Paris in 1702. It also occurs incised. Plate IX., fig. 134. Saint Cloud (No. 335). In blue under glaze ; 1 and three crosses ; an uncommon mark, which has, no doubt, been rightly attributed to this factory. MARKS ON CONTINENTAL PORCELAIN. 97 Plate IX., fig. 135. Saint Cloud (No. 336). In blue under glaze ; S., probably for Saint Cloud. It occurs on a cup of which the saucer has the usual mark of Trou, like fig. 133. Plate IX., fig. 136. Lille ? (No. 34(j). In blue under glaze; L for Lille. On soft paste ; the better known mark is LL and a cross. The single L is given by Jacquemart, p. 615. Plate IX., fig. 137. Chantilly (No. 347j. In red over glaze ; a horn. Plate IX., fig. 138. Chantilly (No. 350). In gold; a horn and P or PL combined, the initial of a director or painter ; perhaps Peyrard. Plate X., fig. 139. Mennecy (No. 354). In blue under glaze ; D.V., for the Due de Villeroy, the | satron of the factory. Plate X., fig. 140. Mennecy (No. 355). Incised; DV and 2; the latter a pattern mark. Plate X., fig. 141. Mennecy (No. 361). Incised ; D,V and /. Plate X., fig. 142. Mennecy ? (No. 359). Incised DC,0. On porcelain closely; resembling Mennecy. Plate X., fig. 143. Bourg-la-Reine (No. 365). Incised BR, the initials of the factory, which was a continuation of that at Mennecy. Plate X., filx. 144. Sceaux or Sceaux Penthievre (No. 368). Incised S. X., the first and last letters of the name. Jacquemart (p. 631) proposes to read it X. S. for the Due de Penthievre, but the letters do not seem to fit his initials. Plate X., fig. 145. Arras (No. 370). In blue under glaze ; AR and I. Plate X., fig. 146. Arras (No. 371). In blue under glaze ; AA., a variant of the usual mark. Plate X., fig. 147. Vincennes (No. 372). In yellowish red over the glaze; TAUNAY, probably the painter's name, who occurs in a list of painters at Vincennes in 1750, printed by Jacquemart. The specimen seems to be a trial piece of an early period, and has no other mark. Plate X., fig. 148. Vincennes (No. 377). In gold ; the royal LL enclosing a dot, and therefore before 1753. Plate X., fig. 149. Vincennes (No. 375). In blue ; the royal LL accompanied by four dots. Plate X., fig. 150. Vincennes (No. 379). In blue; the royal LL enclosing A (1753), below which the decorator's mark H, not given in the lists. The establishment at Vincennes remained there till 1756, when it was removed to Sevres. Plate X., fig. 151. Vincennes (No. 379). Incised; on the same specimen as the last. Plate X., fig. 152. Sevres (No. 383). In black over glaze ; Lev6 feu d'or. Teinte faite en Juillet 1786. This interesting trial piece was probably painted by Leve senior, with a newly- discovered black colour, which was burnt at the same degree of heat as the gilding. Plate X., fig. 153. Sevres (No. 384). In blue; the royal LL accompanied by the letters KK (1 786) and Y, the painter's mark 98 MARKS ON CONTINENTAL PORCELAIN. {see Chaffers, p. 581) ; and, in gold, 2,000, the mark of the gilJer "Vincent. Plate XI., fig. 154. Sevres (No. 385). In red over glaze ; the Toyal LL surmounted by a crown, and enclosing the letters AA (1777), with the mark of the painter Dieu. This is on a remark- able kettle of hard paste porcelain, imitating Japanese lacquer, and it is said that the crown only appears on pieces intended for royal use. Plate XL, fig. 155, Sevres (No, aS6). In blue over glaze ; MF (R^publique Fran9aise) in cr])her, and the mark of thft painter Massy ; and, GI in gold, the mark of the gilder (sea Chaffers, p, 581). Plate XL, fig. 156. Sevres (No. 387). In lilie over glaze; RF (Republique Fran9a se) Sevres, and the decorator Sis; in bistre, ET, no doubt the painter of the busts in that colour ; and in gold Lf, the gilder. Plate XL, fig. 157. Sevres (No. 388}. In blue under glaze ; KF, de Sevres, ss k, Plate XI,, fig. 158. Sevres (No. 390). Stencilled in red; M. Impk de Sevres 7. (1807.) Plate XI,, fig, 159, Sevres (No, 391), Printed in blue over glaze ; double C enclosing X (for Charles X,), Sevres 24 (1824). There are several modifications of this mark for different years, the X being replaced by a fleur de-lisin 1827. Plate XL, fig. 160. Sevres (No, 392). Incited ; F, probably for the sculptor Falconnet; on a biscuit grouj*. Plate XL, fig. 161. Sevres (No, 393), Incised ; M. G., on a biscuit figure, indicating probably tlie sculptor. Plate XL, fig. 162, Strassburg (No, 400). In blue under glaze ; I H combined, the initials of Joseph Hannong, VG 46, The G is more like a C, but is said to be the initial of Valentin Gusi. Plate XL, fig, 163. Sbras-burg (No, 403), In blue over glaze ; PZ in cypher and R, with other marks incised. This specimen is quoted by Chaffers (p, 543) and, accompanied V>y W, is assigned to Strassburg by Tainturier (p, 73), Plate XL, fig. 164, Orleans (No, 404). In blue under glaze ; a heraldic label, for the House of Orleans. A good deal ot doubt has been expressed as to these marks being Orleans. The mark assigned to this factory by an ordinance of 1757 was an O crowned, of which only one example seems to be known. Plate XL, fig. 165. Orleans (No. 408). In blue under glaze ; a heraldic label above a fleur-de-lis. This also occurs in red. Plate XL, fig. 166. Orleans (No. 406), In blue under glaze ; a heraldic label, and St, incised, Plate XI , fig, 167. Marseilles ? (No, 409). In blue under glaze ; FR comb ned. This mark is attributed by M. Davillier to Robert of Marseilles, Jacquemart leaves it (p. 669) among the French uncertain, having considered it at one time Neapolitan. Plate XL, fig,' 168, Niderwiller (No. 410). In blue over glaze ; double C under a coronet, the mark of the Comte de Custine, the owner of the factory from 1780 to 1793. MARKS ON CONTINENTAL PORCELAIN: 99 Plate XII., fig. 169. EtioUes (No. 411). Incised; P for Pelleue ; on a cup. Plate XII., fig. 170. Etiolles (No. 411). Incised; E[tiolIes] Pelleue 1770 ; on the saucer of the last. The same date occurs on part of a service in the Sevres Museum. Another piece is mentioned by Chaffers (p .531) in the Jaoquemart (Jollection with the mark " EiioUes 1768 Pelleud" Etiolles (Seine et Oise) is near Corbeil. Plate XII., fig. 171. Bordeaux (No. 412). In blue under glaze ; VV combined. This mark used to be attributed to Vaux n^ar Melun , but the same cypher occurs with the name of Bordeaux. See Chaffers, p. 539 ; Jacquemart, p. 657, who considers it to belong to Vemeuille, the owner of the factory. Plate XII., fig. 172. Paris, Faubourg St. Lazare (No. 413). In blue under glaze ; h, supposed to indicate Pierre Antoine Hannong, who founded the factory in 1773. Plate XII., fig. 173. Paris, Faubourg St. Lazare (No. 415). In gold ; CP under coronet, the initials of Charles Philippe, Comte d'Artois, the patron of the factory. Plate XII., fig. 174. Paris, Faubourg St. Lazare (No. 414). In gold ; another variety of the last. Plate XII., fig. 175. Paris, Courtille (No. 416). In blue under glaze ; two crossed arrows, probably intended to rtsemble the crossed swords of Meissen. Plate XII., fig. 176. Paris, Courtille (No. 418). In blue under glaze; probably intended for the crossed arrows, but badly formed, so as to resemble A. The same mark occurs on the cup of No. 417, but the arrows appear clearly on the saucer. Plate XII., fig. 177. Paris, Rue de la Roquette(No. 420, 421). In blue under glaze ; two varieties of the letter S for Souroux. On portions of the same service, one badly formed. Plate XII., fig. 178. Paris, Clignancourt (No. 422). In blue under glaze ; a windmill. Plate XII., fig. 179. Paris, Clignancourt (No. 423). In gold ; a windmill and, stencilled in red, a cypher composed of the letters LSX, for Louis Stanis'as Xavier (Monsieur), the King's brother, aftei-wards Louis XVIII., the patron of the factory. There is another mark, not in the collection, with M under coronet. Plate XII., fig 180. Paris, Clignancourt (No. 424). Stencilled in red ; the same cypher as the last, but un^ler a coronet. Plate XIL, fig. 181. Paris, Rue.Thiroux (No. 426). Stencilled in red ; A under a crown, tor the Queen, Marie Antoinette, called therefore porcelaine de la Reine. Plate XIL, fig. 182. Paris, Rue Thiroux (No. 427). In blue under glaze ; A. This is inserted on the authority of Jacquemart (p. 662), who states that he found an A exactly similar on parts ol a service, while the usual crowned A occurred on the others. This example has somewhat of a German look, especially in the handle of the cup. 100 MARKS ON CONTINENTAL PORCELAIN. ■^ Plate XII., fig. 18^. Paris, Rue de Bondy (No. 429). Stencilled in red " Manuf" de M"*^' le Dae d'Angouleme." It is accom- panied by DE in gold, the painter or gilder's mark. Plate XIL,fig. 184. Paris, Rue de Bondy (No. 4.30). Stencilled in rei ; " Manufr* de MM. Guerhard et Dihl a Paris," giving the names of the two men who established it in 1780. On one of the specimens is added D in red. Plate XII, fig. 185. Paris, Rue de Bondy (No. 431). In blue under glaze ; Dihl, probably when he becanae sole proprietor. Plate XII, fig. 186. Paris, Rue de Bondy (No. 432). In go'd ; the cypher GA, while under the protection of the due d'Angou- leme. The cypher is better given in Jacquemart, p. 663, and sometimes has a coronet. Plate XII., fig. 187. Paris, Rue Popincourt (No. 433). In gold ; Nast a paris par brevet d'invon. The gilding unusually fine, quite metallic in appearance. Plate XII.. fig, 188. Paris, Barriere de Reuilly (No. 434). In gold ; CH, for Henri Florentin Chanon, after 1784. The letters are said to be sometimes interlaced. Plate XIII., fig. 189. Paris, Rue de Crussol (No. 435). In blue under glaze ; B, Potter, 42, the name of an Englishman named Potter, who established the factory in 1789, which was known under the name of Le Prince de Galles. Plate XIII., fig. 190. Paris, Rue de Crussol (No. 435). In blue under glaze ; PB ; on the saucer of the cup, on which appears the previous mark. Plate XIIL, fig. 191. Paris, Rue de Crussol (No. 436). In blue under glaze ; EB. Chafiers gives ttds mark (fig. 5s2) as on a saucer of which the cup bears Potter's name. It is given by Jacquemart (p. 668) as uncertain. Plate XIII., fig. 192. Paris, Belleville (No. 437). In blue under glaze ; J.P., the initials of the maker Jacob Petit ; a comparatively recent factory. Plate XIII., fig. 193. Paris, uncertain (No. 438). Stencilled in red ; V^ M & C. Given by Jacquemart (p. 669) as uncertain ; on porcelain like that made in the Rue Thiroux. Plate XIII., fig. 194. Boissette (No. 440). In blue under glaze ; B. . , the initial of the place. Plate XIII., fig. 195. Lille (No. 441), In black over glaze; d lille, on hard paste, first made in 1784 Afterwards, under the patronage of the Dauphin, a crowned dolphin was used as a mark. Plate XIIL, fig. 196. Valenciennes (No. 442). In blue under glaze ; FLV in cypher. This is given by Lejeal as the initials of Fauquez, Lamoninary, and Vannier, or Valenciennes. Plate XIIL, fig. 197. Valenciennes ? (No. 443). In red over glaze ; two LL. It is attributed to Valenciennes by Gamier (p. 505) but placed by Jacquemart (p. 638) among the unc^tdin. Plate XIIL, fig. 198. Vinoennes (No. 444). In gold; HLL. Quoted by Chafiers, p. 530. The second letter may be for and MARKS ON CONTINENTAL PORCELAIN. 101 (&), and it would then sgi ee with another mark H et L, which Chaffers reads as Hannong and Lemaire, who founded a factory of hard paste at Vincennes in 1786. The mark is, however, very uncertain. Plate XIII, fig. 199. Caen (No. 445). Stencilled in red; Caen, a comparatively recent factory of no merit. ITALY. Plate XIII., fig. 200. Venice (No. 446). Incised ; Yen*, the name of the city ; on a piece dating 1724-1730. Probably like the next two marks, on productions of the Yezzi factory. Plate XIII., fig. 201. Venice (No. 447). In blue under glaze; VEN^ on a cup. The same mark occurs on a cup with a Mir-issen saucer (No. 85). Plate XIII., fig. 202. Venice (No. 447). In blue under glaze ; the same inscription as the last but in ornamental writing ; on the saucer of the last specimen. A still more fantastic example is given in Chaffers (p. 436). PJate XIV., fig. 203. Venice (No. 450). In lake; on a well- painted s lucer, " Lodovico Ort lani Veneto dipinse nella Fabrica di Porcellana, in Venetia." This specimen, then in the Reynolds Collection, is represented in Chaffers, Keramic Gallery, pi. cviii., and he gives the mark in the same work (p. 131). He ascribes it to the Vezzi works, but it may well be later ; more probably Cozzi. Plate XIV., fig. 204. Venice (No. 451). In red over glaze ; " 1765 Venezia Fab* Geminiano Cozzi." This is an early piece of the factory, which was not established till 17'')4. Plate XIV., fig. 205. Venice (No. 452). In red over glaze ; an anchor, the usual Cozzi mark. It also occurs, with a Meissen saucer, on No. 86. Plate XIV., fig. 206. Venice (No. 455). Incised, on the back of a large portrait medallion, recording the artist " Fortunato Tolerazzi Fece Venesia, 1763." This, from the date, must have been made at the factory of Nathaniel Friedrich Hewelcke, a Saxon, who with his wife, had licence to establish a factory (ad uso di Sassonia) in 1758, with a special injunction to mark the pieces " con la lettera V dinotante Venezia," which may account for the large V below the bust. Their works are believed to have ceased about 1763, when Hewelcke and his wife are said to have returned to Saxony. Plate XIV., fig. 207. Venice ? (No. 456). Incised, on a white figure ; E Z P, probably the modeller. This may have been made at Le Nove, in the Venetian territory, where good figures were produced. See No. 480. Plate XIV., fig. 208. Doccia (No. 465). In blue under glaze ; N. S. and various impressed marks. This has been thought to be German, but the landscapes are very Italian in character, and Chaffers (p. 428) states that he has found the mark on a service of which other pieces had on them the name of Ginori. 102 MARKS ON CONTINEi^TAL PORCELAUf. Plate XIV., fig. 209. Le Nove (No. 476). In red over glaze ; a six-pointed star. A sf^ar formed part of the Ginori arms, but was unquestionably used at Le Nove, and the porcelain does not resemble Doccia. Plate XIV., fig. 210. Le Nove (No. 477). In blue ; a star of eight points ; on a fine jardiniere from the Rejmolds Collec- tion, where there was a set of three, similar in form, with the arms of Tiepolo, one of which was signed by Giovanni Marcone. {See Chaflfers, Keramic Gallery, pi. eviii.) This specimen may have been painted by the same artist. PI. XIV., fig. 211. Le Nove (No. 479). In gold; JZ in cypher, and a star of six points. From the Reynolds Collection, which was unusually rich in specimens from ttiis factory. Plate XIV., fig. 212. Treviso (No. 481). In gold; F. F. Treviso 1799. This, no doubt, stands for the Fratelli Fontebasso of Treviso. It is represented in Chaffers, Keramic Gallery, pi. ci. In the same work (pi. ciii.) is a cup and saucer from the Reynolds Collection, marked G. A. F. F. Treviso, and in Sir William Drake's collection another inscribed" Fabrica di Giuseppe ed Andrea fratelli Fontebasso in Treviso. Gaetano Negrisole dipinse, 1831." Had these Treviso specimens not been Italian, and dated, they would have been considered earlier. Plate XIV., fig. 213. Vinovo, near Turin (No. 482). In dark E:ey under glaze ; a cross above a 'crescent 1776. From the oraine Baldwin Collection. Quoted by Chafiers, p. 431. Plate XV., fig. 214. Vinovo (No. 484). In black under glaze ; a cross ; on a sucrier with the arms of the King of Sardinia ; quoted in Chaflfers, p. 431. For a cup and saucer of the same service, see fig. 216. Plate XV., fig. 215. Vinovo (No. 486). In grey under glaze ; a cross above V, the initial of the place ; on a statuette of the B. Virgin in Assumption ; inside is incised MIA. in monogram, possibly Maria. Plate XV., fig. 216. Vinovo (No. 485). In gold , a cross above V and DG, probably the initials of Dr. Gioanetti, the director of the factory ; this is on a cup and saucer from the same service as No. 484. Plate XV., figs. 217, 218. Naples (No. 492). On the same piece ; N, for Naples, under an open crown ; one in blue, the other impressed. These are late marks, long after 1759, wht-n Charles, King of Naples, became King of Spain as Charles III. Plate XV., fig. 219. Naples (No. 494). Impressed ; N. under a royal crown. Plate XV., fig. 220. Naples (No 497). In red over glaze ; F.R.F. under a royal Crown. On a piece dated 1771. This must be Ferdinand IV., King of Naples, 1759-1825. SPAIN. ' Plate XV., fig. 221. Buen Retiro, Madrid (No. 499). In blue under glaze; a fleur-de-lis, for the Bourbon Kings of Spain. MARKS ON CONTINENTAL PORCELAIN. 103 This mtrk is so netim'^s attributed to Naples, but it has been found convenient to place it under Spain, there being no proof to the contrary. Plate XV., fig. 222. Madrid (No. 50 i): In blue over glaze ; a fleur-de-lis, and F.G., perhaps the superintendent of the works, Felipe Gricci ; and apparently a cypher of the same letters, incised. Plate XV., fig. 223. Madrid (No. 501). In blue under glaze ; a fleur-de-lis ; and incised a double C with a small o, which has been looked upon as the cypher of Charles III., King of Spain, but is more probably a modeller's mark, from its insignificant position and the absence of any mark of royalty. The double C under a crown, given by Chafiers as a Madrid make, is, no doubt, Ludwigsburg, as shown by the German Prince's crown. Plate XV., fig. 224. Madrid (No. 508). In relief, slightly touched with blue ; a fleur-de-lis. This is on one of a pair of flower holders; the other having on it a fleur-de-lis painted in blue. PORTUGAL. Plate XV., fig. 225. Vista Alegre (No. 510). In gold ; V.A., the initials of the name, and a triangle incised. The letters are sometimes surmounted by a crown. INDEX. A. Adam, Charles, director at Vincennes, 55. Amherg, painter at Nymphenburg, 28. Amstel factory, 42. Angoul6me, Due d', patron of the factory of Guerhard and Dihl, Paris, 63. Afireiter, Ant., painter at Vienna, 18. Anspach factory, 19. Antonibon, G. B., factory at Le Nove founded by, 72. Antonibon, Pasquale, potter at Le Nove, 72. Arras factory, 51. Aue, Saxony, kaolin discovered at. 1. Auer, Aug., painter at Nymphenburg, 29. Augusta, duchess of Brunswick, bust of, 23. Augustus ir., king of Poland and Elector of Saxony, 1. portrait of, by Battger, 4. I toilet boxes made for, 6. B. Baranowka, Russia, factory, 47. Baudouin, painter at S&vres, 57. Bayreuth factory, 20. Beckmann, O. D. portrait of, 23. Belgium, porcelaiu, 47. Belleville, Paris, factory, 63. BenckgrafE of Ilochst, assists at Fiirsten- berg, 22. Benedict XIII., arms of, 68. Berger, F., painter at Berlin, 25. Berlin factory, 24. Beyer, J. C. W., modeller at Ludwigs- burg, 29, Beyerle, Baron J. L. de, factory at Nider- vriller founded by, 61. Bibliography of porcelain, vi. . of marks, 82. Boch Brothers, found factory at Luxem- burg 40. Boissette factory, 66. Bordeaux factory, 62. Bornholm, Copenhagen clay obtained from, 42. Bottengruber, of Breslau, cup and saucer painted by, 16. Bottger, J. F., hard paste of, ▼. notice of, 1. Bourg la Reine factory, 51. Brachard, modeller at Sevres, 59. Brancas Lauragais, Comte de, hard paste of, V. Breitenbach, Gross, factory, 3 1 . Brockdorff, Anna C. von. Countess von Cosel, 6. Brodel, G. V., factory at Vinovo founded by, 73. Brunswick, Augusta, duchess of, bust of, 23. Brussels factory, 48. Buen Retiro factory, 77. Busch, canon of Hildesheim, engraved designs by, 1 6. c. Caen factory, 67. Calonne, M. de, at Arras, 5 1 . Campori,Marchese, documents on Yenetian and Ferrarese porcelain, v, 68. Canova, figures modelled after, 74. Capo di Monte factory, 74. Carl Theodore, Elector Palatine, starts a factory at Frankenthal, 25. Carpentier, porcelain factory at Tournay founded by, 47. Catrice, painter at Sevres, 57. Cavalli, of Venice, arms of, 11. Chabry, of Sevres, 57. Chambrelan (chamber master), 8. Chanon, H. F., potter in Paris (Barriftre de Reuilly), 63. Chantilly factory, 51. Charles Bourbon, King of Naples, estab- lishes factory at Naples, 74. — — afterwards, as Charles III. of Spain, at Madrid, 77. Chartres, Due de (Louis Philippe), patron of Vincennes factory of hard paste, 67. INDEX. 105 Chicanneau, makes porcelain at St. Cloud, 50. Ciron, Ciquaire, factory at Chantilly founded by, 51. Clarus, J. F., founder of factory at Hochst, 20. Clignancourt, Paris, factory, 63. Copenhagen factory, 42. Cornaro, of Venice, arms of, 12. Cosel, Countess von, service made for, 6. Costa, Barth. da, potter at Lisbon, 79. Courtille, La, Paris, factory, 63 . Cozzi, Geminiano, potter in Venice, 68. Crette, L., factory at Brussels founded by, 48. Gustine, Comte de, owner of factory at Niderwiller, 61. Cyffl^, modeller at Niderwiller, 61. D. Damm, near Aschaffenburg, H5ohst models transferred to, 21. Danebrog order, bust wearing, 39. Davia, of Milan, arms of, 69. Delesseur, Demoiselles, factory at Arras founded by, 51. Denmark, Frederick IV., King of, por- trait by Bottger, 4. Denmark, porcelain, 42. Deruelle, Pierre, pottery at Clignanoourt, 63. Deioches, modeller at Fiirstenberg, 23. Di«tz, S. C. C, portrait of, 34. Dieu, painter at S&vres, 57 (No. 385). Dihl, potter in Paris (Rue de Bondy), 63. Doccia factory, 70. Dorez, Barth., factory of soft paste founded at Lille by, 50. Dorez, F. L., factory of faience at Valenciennes, founded by, 66. Dresden Collection, engraved marks on, 83. Dresden, factory established at, 1. Dubois, Vincent, potter in Paris (R. de la Roquette), 63. Dumont le Rom, J., figure from engraving by, 54. Du Paquier, C. I., founder of Vienna factory, 17. O 92689. E. Elizabeth, Empress of Russia, factory a St. Petersburg founded by, 45. Btiolles factory, 62. F. Falconnet, modeller at S&vres, 58. Fauquez, potter at Valenciennes, 66. Ferdinand, King of Naples, factory at Portici and Naples established by, 75. Ferrara, porcelain made at, v. Figueireido, Dom Joao, potter at Lisbon, 79. Fischer, of Herend, 37. Fischer, Christian, of Erfurt and Pirken- hammer, 37. Florence, porcelain mad* at, v. factory, 70. Fontebasso family, factory at Treviso, founded by, 73. Formey, I. H. S., portrait of, 23. Fournier, Louis, makes soft paste at Copenhagen, 42. Fox, C. J., portrait of, on Sevres porce- lain, 58. France, porcelain, 50. Frankenthal, colours used at, 26. factory, 25. Frederick the Great, portrait of, 25. Frederick V., of Denmark, porcelain mad* for, 48. Frohlich, Johann, Saxon court fool, figure of, 10. Fnlda factory, 36. Fiirstenberg factory, 22. o. G., M., modeller at Sevres, 58. Gardner, factory at Moscow founded by, 46. Gastel, P. H., painter at Frankenthal, 26. Genese, L., said to have been director of a factory at Nyon, 49. Geneva, porcelain marked with name of, 50. Gentili, Ant. Xav., Cardinal, arms of, 11. H 106 INDEX. George III., service made for, at Naples, 75. Gera factory, 31. Gerault-Durobert, C. C, potter at Orleans, 60. Germany, porcelain, 1. Gerona, imaginary factory at, 78. Gessner, Solomon, painter at Ziiricb, 49. Gheltof, Urbani de, statement on porcelain in Venice in the 16th century, 68. Ginori, Marchese Carlo, potter at Doccia, 70. Gioanetti, Dr. Vittore A., director at Vinovo, 73. Glaser, J. C, of Bayreuth, 20. " ■ , founds the factory at Fiirstenberg, 22. Goltz, J. C, founder of factory at Rochst, 20. G6rne, Von, factory of red ware founded by, 4. Gotha factory, 31. Gotzkowski, J. E., director of factory at Berlin, 24. Greiner, Gotthilf, founds factories in Thuringia, 31. Gricci, Giuseppe, modeller at BuenRetiro, 77. Gronsfeldt-Diepenbroick, Count, founds factory at Weesp, 40. Gruber, potter at Gross Breitenbach, 34. Guerhard and Dihl, potters in Paris (R. de Bondy), 63. Gusi, Valentin, of Strassburg, 98. H. Haag, I., painter at Wallendorf, 33. Haas, of Schlaggenwald, 37. Hague factory, 41. Hannong, C. F., potter at Strassburg, v, 59. Hannong, J. A., succeeds his father at Frankenthal, 25. works at Strassburg, 59. Hannong, Paul Ant., potter at Strassburg and Frankenthal, 59. . founder of the factory at Frankenthal, 25. Hannong, Pierre Ant., potter at Vinovo, Strassburg, and Paris, 59, 62. ■^ at Vincennes, 67. Heidegger and Korrodi, factory at Ztirich founded by, 49. Heisraair, S., painter at Nymphenburg, 28, Helchs, Jacobus, decorator, 38. Hennicke, of Saxony, arms of, 11. Herend, Hungary, factory, 37. Herold, C. F., remarkable cup and saucer made by, 10. Herold, J. G., director at Meissen, 2. Herstall, Adalbert von. Prince Bishop of Fulda, cypher of, 36. Hewelcke, N. F., potter in Venice, 68. Hildburghausen factory, 31. Hochst factory, 20. Holke and List, founders of factory at Pirkenhammer, 37. Holland, King of, service made for, 13. Holland, porcelain, 40. Hunger, Christoph K., of Vienna factory, 17. Ilmenau factory, 31. Italy, porcelain, 68. J. Japanese style of decoration adopted at Chantilly, 51. Joseph Frederick, Duke of Saxe-Hild- burghausen, 39. Jucht, painter at Bayreuth, 20. K. Kakiyemon, porcelain painted in the style of, 5 et seq. Kandler, J. J., sculptor at Meissen, 2. Keil, Geo. Ernst, of Meissen, 9. Kelsterbach factory, 31. Kessler, C. G., J. G. A., and S. J. M., portraits of, with arms, 34. Kloster Veilsdorf factory, 31. Korest. See Korzec. Korrodi. See Heidegger and Korrodi. Korzec, Russia, factory, 47. Kiihnel, C. F., painter at Meissen 14, 86. INDEX. 107 Laferte, potier in Paris (He St. Denis), 63. Lanfrey, Fran9oi8, director at Niderwiller, 61. Langen, Von, founds the factorj at Fiir- Rtenberg, 22. Lassia, J. J., potter in Paris (R. de Reuilly), 63. Lauche, painter at Dresden, 15. Lauchstadt, Prussian Saxony, view of, 35. Leboeuf, A. M., potter in Paris (R. Thiroux), 63. Leichner, founds factory at the Hague, 41. Leipsic, plan of battle of, 15, Lemaire, potter at Vincennes (hard paste), 67. , potter in Paris (R. de Popin- court), 63. Lemire, modeller at Niderwiller, 61. Leperre-Durot, founds a factory of hard paste at Lille, 66. Leve, of Sevres, 57. Lille, soft paste factory, 50 j hard paste factory, 66. Limbach factory, 31. Lippert and Haas, of Schlaggenwald, 37. Lippich of Vienna, works at Nymphen- burg, 27. Lisbon factory, 79. List, of Pirkenhammer, 37. Lister, Martin, describes factory at St. Cloud in 1698, 50. Locre, J. B., potter at La Courtille, Paris, 63. Loosdrecht. See Oude Loosdrecht. Lorraine, Leopold J. C, duke of, arms of, 8. Louis, Jean, modeller at Strassburg, 54. Louis XVIll., portrait of, 59. Ldwenfinck, A. F. von, of Meissen aud HSchst, 20. Ludwigfiburg factory, 29. Luplaa, modeller at Fiirstenberg, 23. Luxembourg, C. F. Frederic, Marechal de, and bis wife, portraits of, 58. Luxemburg factory, 40. Lynker. Sc« Leichner. M. Macheleid, a chemist, discovers kaolin in Thuringia, 31. Madrid (Buen Retiro) factory, 77. Magnus, painter at Frankenthal, 26. Manfredini, Bart., portrait attributed to, 71. Marcolini, Count Camillo, director at Meissen, 2. Marconi, Giovanni, painter at Le Nove, 72. Maria I. of Portugal, bust of, 7». Marieberg factory, 44. Marks on porcelain, account of, 81. description of those in the collection, 84. Marre de Villiers, L. H. de la, potter in Paris (R. des Boulets and Pont ftax Choux), 63. Marseilles factory, 61. Martelli, Camilla, wife of Cosimo d« Medici, portrait of, 7 1 . Mary of Egypt, St., figure of, 38. Massy, painter at Sevres, 57. Maubree, factory at Nyon founded by, 49. Maximilian Joseph I., Elector of Bavaria, portrait of, 28. Maximilian Joseph II., Elector of Bavaria, starts a factory at Nymphenburg, 27. Medici, arms of, 70. — — porcelain, v, 70. Meissen, Dresden factory removed to, 1. Meissen, painters from, at Copenhagen, 43. Melchior, J. P., modeller at Hochst, Fran- kenthal, and Nymphenburg, 21. Mennecy factory, 51. Merault, of Sevres, factory at Korzec founded by, 47. Metzsch, painter at Bayreuth, 20. Meyer, J. A., issues price list at Franken- thal, 1777; 26. Mieg, of Pirkenhammer, 37. Modena, Hercules III., Duke of, portrait of, 71. Moll, founds factory at Oude Loosdrecht, 41. Monnier, founds a factory at Etinlles, C2. Morellc, founds a factory in Paris (Faub. St. Antoine), 62. Moscow, factory, 46. Miiller, F. H., makes hard paste at Copen- hagen, 42. N. Naples (Capo di Monte) factory, 74. Charles Bourbon, King of, estab- bHshes factory at Capo di Monte, 74, and Buen Retiro, 75, 77. 108 IKDEX, Neudeck, Nymphenburg factory started at, 27. Niderwiller factory, 61. Nove, Le, factory, 72. Nymphenburg factory, 27. Nyon factory, 49, o. Okrilla, near Meisseii, clay from, 1. Oldisleben, 39. Onolsbach. See Anspach. Orleans factory, '60. Orleans, Louis Ph. J., Due d', patron of factory at Pont aux Choux, Paris, 63. Orsini arms (Beaedict XIII.), 68. Ortolani, Lud., painter at Venice, 69. Oude Loosdrecht, factory, 41. P. Paris, factories of hard paste, 62. Paris, Faub. St. Denis, factory started by Pierre Ant. Hannong, 59, 62. PeHeue, E., potter of EtioUes, 62. Penthievre, Due de, patron of factory at Sceaux, 51. Peterinck, F. J., factory at Tournay founded by, 47. Petit, Jacob, potter at Belleville, Paris, 63. Pinto Basto, Senhor, director at Vista Alegre, 79. Pirkenhammer factory, 37. Pisani, of Venice, arms of, 12. Plane factory of red ware, 4. Popoff, A., factory at Moscow, founded by 46. Porcelan, a name for majolica, t. Portici, Capo de Monte factory removed to, 75. Portugal, porcelain, 79. Poterat, of Rouen, soft paste of, ▼. Potter, maker of porcelain at Chantilly, 51. Potter, B .potter in Paris (R. de Crussol), 63. Preussler of Breslau, saucer painted by, 16. ' Pusteli:, F A. modeller at Ludwigsburg, 29. R. Rauenstein factory, 31. Rechenberg, of Silesia, arms of, 38. Reichenbach, of Pirkenhammer, 37. Renau, Pierre, of Mennecy, 54. Reverend, of Paris, soft paste of, v. Ringler, J. J., of Vienna, works at Nym- phenburg, 27. founds factory at Ludwigsburg, 29. Robert, J. C, potter at Marseilles, 61. Robillard of Sevres, director of factory at Nyon, 49. Roch, St., figure of, 38. Rombrich, modeller at Fiirstenberg, 22. signature of, 24. Rome, factory, 74. Rotteberg, Director at Gotha, mark of, 85. Rotterdam factory, 42. Rovere, Vittoria della, wife of Grand Duke Ferdinand II., portrait of, 71. Rudolstadt factory, 31. Riihlig, painter at Gera, 35. Russia, porcelain, 45. s. Sage, B. G., chemist, portrait of, 59. St. Cloud factory, 50. St. Petersburg factory, 45. Salzerode. See Sitzerode. Savy, potter at Marseilles, 61. Saxe-Weissenfels, J. G., Duke of, portrait by Bottger, 4. Saxony, John Fred. I., Duke of, medal by Bottger, 3. Saxony, porcelain, 1. Sceaux factory, 51. Schelh, painter at Anspach,- 19. Schlaggenwald, Bohemia, factory, 37. Schlegel, F. A., Meissen painter at Copen- hagen, 43. Schlotzer, A. L., portrait of, 23. Schnorrische Erde (kaohn), 1. Schubert, modeller at Fiirstenberg, 23. Sept Fontaines (Luxemburg), factory, 40. Sevres factory, 55. Silberschlag, J. E., portrait of, 23. Sitzerode, factory, 31. Solon, Louis, on porcelain pastes, v. Sonnenschein, J. V., modeller at Zurich, 49. INDEX. 109 Sophia, Queen of Prussia, bowl made for, 9. Sorgenthal, Baron Konrad von, director of Vienna factory, 17. Souroux, potter at Paris (R. de la Ro- quette), 62. Spain, Charles III., King of, establishes a factory at Madrid, 77. Spain, porcelain, 77. Spengler, of Hochst, works at Zurich, 49. Stain, of ^\'u^temburg, arms of, 12. StSlzel, Samuel, of Vienna factory, 17. Strassburg factory, 59. Sulkowski, of Silesia, arms of, 12^ Sweden, porcelain, 44. Switzerland, porcelain, 49. Sze-ma Kwang, Chinese story, on Meissen porcelain, 5. T. Taunay, painter at S^rres, 56. Thomas of VillanoTa, St., medallion of, 38. Thuringia, factories in, 81. Tit-polo, of Venice, arms of, 11. Tolerazzi, Fort., modeller at Venice, 69. Torring von Seefeld, Bavaria, arms of, 28. Tournay factory, 47 ; porcelain decorated at the Hague, 41. Treviso factory, 73. Trou, Henri, makes porcelain at St. Cloud, 50. Tschirnhaus, Von, chemist, 1. Tucher von Simmelsdorf, G., arms of, 3. Turkey, porcelain, 80. u. Usiuger, Hen., painter at Hochst, 21. Valenciennes factory, 66. Venice, porcelain made at, v, factory, 68. Vermonet, factory at Boissette founded by, 66. Vemeuille, founds factory at Bordeaux, 62. Vezzi, Francesco, potter in Venice, 11, 68. Vienna porcelain, 17. Villeroy, Due de, establishes factory at Mennecy, 51. Vincennes factory, 55. Vincennes factory of hard paste, 67. Vincent, gilder at Sevres, 57. Vinovo factory, 73. Vista Alegre factory 79. Volkstedt factory, 31. Volpato, Gio., factory in Rome founded by, 74. w. Wackenfeld,J.H.,potterat Strassburg, 59. WalUudorf factory, 31. Wandhelein, Carl, of Vienna, works at Doccia, 70. V\'edgwood, imitations of his ware at Meissen, 14, 15 ; at Sevres, 58, 59 ; at Lisbon, 79. Weesp factory, 40. Wegeli, W. C, founder of factory at Berlin 24. Wicart, N., subject signed by, 41. Wiirtemberg, Charles Eug., Duke of, portrait of, 30. Zorn, chemist, 1. Zurich, fectory, 49. PLATE I. GERMANY. Fia. 1. Fi». 2. Fig. 3. Fig. 4. K Fig. 5. Fig. 6. Fig. 7. Fig. 8. X G ■KM. CVt^ Fig. 9. O 92G89. PLATE fl. Fio. 10. ZJ". 7VP. 8t). Fig. 11. )( 3. f/. Fio. 12. Sbrtsdari' n.33. Fig. 16. X Fig. 17. Fig. 13. k Fig. 14. C.t H.r»Ji. Fio. 15. Fig. 20. i C.3.cAufoneL 5?^af)r ait Fig. 18. Fig. 19. No: or. Fio. 21. PLATE^ III. Fig. S2. Fig. 23. Fig. 25. Bit^cfL 7n Fig. 24. % Fig. 26. V Fig. 27. Z p) Fig. 28. Fig. 29. Fig. 80. A Fio. 31. Fig. 32. Fig. 33. Fig. 34. ^4^,'^c^J^ Fig. 35. tB Fig. 36. Fig. 37. ^BK X Fig. 38. M^A PLATE IV. Fig. 39. LE Fio. 40. « Fig. 41. Fig. 42. FtG. 43. Fio. 44. 3^ ^ 'W w Fig. 45. ^ Fig. 46. Fio. 47. Fig. 48. 31. 4- I PHN3 Fig. 49. Fig. 50. Fig. 51. i^f ITiG. 52. F Fig. 53. Fig. 64. PLATE V. Fio. 55. JK Fio. 56. Q cr« H Fig. 57. C. H. Co^c>v^we| Fig. 58. Fig. 61. Fio. 62. JZ. Fig. 59. Fig. 60. Fig. 63. Fig. 64. 3C Fig. 65. X Fig. 66. Fig. 67. Fig. 68. ft Fio. 69. If Fio. 70. k s Fio. 71. •:C Fio. 72. T PLATE VI. Fio. 73. 1 Fio. 74. ^ Fig. 75. Fio. 76. Fig. 77. ^< e^ ^ v^-- ' ^^^ V 57<^^ Fio. 78. l_A-4 Fig. 79. Fig. 80. R— ia Fig. 81. Fio. 82. Fig. 83. r Fig. 84. R Fig. 85. ^. ^ Fio. 86. Fig. 87. Fio. 88. + Fio. 89. Fig. 90. §• PLATE VII. Fio. 91. SI (GIF Fio. 92. 4S Fio. 93. HIIEMl) Fig. 94. % Fig. 93. I Fio. 96. sT FiQ 97. R HOLLAND. Fig. 98. Fig. 99. w Fig. 100. Fio. 101. I ± Fig. 102. J^S Fio. 103. M\o^z OLo L4i Fig. 104. hm/tdi. Fio. 105. c^ Ulotteyr'daitv PLATE Vin. DENMARK. Fig. 106. 7SI Fig. 127. j:.c Fig. 128. ;b SWITZERLAND. Fig. 129. Z • • Fig. 130. ^^>< Fig. 131. P.M Qeweve Fig. 132. Fig. 135. PRANCE. Fig. 133. 4 T Fig. 134. *:& Fig. 136. Fig. 137. % Fig. 138. O 92689. Fig. 139. .T)»V^ Fig. 142. J PLATE X. Fig. 140. BV Fig, 141. Fig. 143. Fig. 144. Fig. 145. I Fig. 146, A\ Fig. 147. TA/NAY Fig. 148. Fig. 149. Fig. 150. 4 H Fig. 151. X Fig. 152. Fig. 153. 2 OOO KK JS-Y PLATE XI. Fig. 154. rl^fJTi^ Fig. 155. Ci c:?< Fig. 156. ET. Fig. 157. RE de Se' evres. ss k Fig. 158. de Sevres 7 Fig. 159. X4> Fig. 160. Fig. 161. Fig. 162, H Fig. 163. L. Fig. 164. Pig. 165. 4 Fig. 166. JTTf^ Fig. 167. •K Fig. 168. X PLATE XII, Fic. 169. P Fig. 170. E Fig. 171. )0(. Fio. 172. h Fig. 173. Fig. 174. CP Fig. 175. Fig. 176. Fig. 177. Fig. 178. Fio. 179. Fig. 180. Fio. 181. 1 Fig. 182. A. FiQ. 183. MANUP"* tleM"'*leJ3uc d'Aii^ouleme Fig. 184. MANUFRs cleMM GuerliArcl et DihlaParis Fig. 185. Fig. 186. Fig. 187. 1\ctSt CI pat 15 Fig. 188. CH PLATE XIII t Fig. 189. Fig. 190. Fig. 191. Fig. 192. 3 Toiler /. 2. PB EB •T-P. Fig. 193. Fig. 194. Fig. 195. Fig. 196. ih.. a.lllU ^ Fig. 197. Fig. 198. Fig. 199. ^. hlK caen ITALY. Fig. 200. Fig 202. %W^ r . Fig. 201. ^I n- ven: ^^Wn)- PLATE XIV. Fig. 203. Jc(fouko (yrtoianiyeneto ^{[ininse neff(l%£rica (& \Porcefanainye.n£tia* Fio. 204. n6s Tab * Ci amimano Co22l Fio. 2C5. Fio. 206. JoJey